Well, let's just say...fast! Really fast!
Today Red Giant released a new version of its 'blazingly fast' PluralEyes audio/video syncing software. Purchased from Singular Software over the summer, Red Giant has quickly reached some impressive milestones with this time-saving (and many filmmakers might call it, life-saving) piece of software.
Since acquiring the product line from Singular, Red Giant has released a version 3 for Mac which jacked up the sync speed by a factor of 20x over version 2; they're now coming out with 3.1 upgrade that adds MXF support and timeline sync for Avid Media Composer. This will make a lot of editors happy (happier). And a Windows version is in development - coming soon, as they say.
The press release is copied below, but you can also get more info (and purchase) here.
It's worth noting, when Red Giant launched PluralEyes 3 for Mac, they tapped into the talented and very funny (and Webby Award-winning) filmmaker, Seth Worley, to create a new short film in support of the launch called Form 17. True to Seth's sense of humor, the film follows a father/daughter team during a 'take your daughter to work' day for a school project. Thing is, the girls father works for the Bomb Squad defusing bombs!
You can also watch the 'making of' Form 17 here. In this film, you see just how Seth takes advantage of PluralEyes to sync multiple tracks of audio and video from multiple sources, incuding an iPhone. So you get to see first hand just how this thing works, and how it fits into your workflow.
So defintely check out this amazing piece of software from Red Giant!
Official Press Release:
FOR IMMEDIATE RELEASE
Red Giant Ships PluralEyes 3.1 with Expanded Support for Professional Workflows
PluralEyes 3.1 Adds Timeline Sync and Native MXF Support for Avid Media Composer for Mac
It's one thing when a company develops a product that has positive implications on the environmement. It's another thing when a Hollywood mogul steps up and not only talks about the environment, but actually does something about it.
I'm talking about Gale Ann Hurd.
The Hollywood Reporter's Etan Vlessing spoke with Gale about the importance of green technology on the set of her work (The Walking Dead, The Hulk). Here are a couple of excerpts:
In 2007, Hurd and her production team made The Incredible Hulk movie shoot in Toronto a green standard-bearer for Hollywood.
Actors were driven round in hybrid vehicles, set builders used sustainably harvested wood, and Hurd gave everyone a stainless steel mug to replace plastic water bottles and disposable coffee containers.
“We had a green department head meeting, and before the meeting we asked people to come with suggestions from their department,” she recalled.
Read the story in its entirety here.
The technology highlighted - doddlePRO. If you have anything to do with production, you should pay attention to these guys. Even if green tech isn't something high on your priority list (perhaps saving time and money, managing resources, people, logistics and keeping your tight, fleeting budget in tact are high on that list), the doddle Platform is an impressive one. Here's a snapshot:
doddle is based on a powerful platform developed by Mobile Imagination to create collaborative, mobile and cloud-based efficiency tools for businesses and creative professionals.
Today, the Company provides four primary offerings for the professional production community:
For more information, visit http://doddleme.com.
Is Facebook finally collapsing under its own weight? It it time to say goodbye?
Lately, I've been feeling it's time. I'm done. Maybe I am getting bored with it - I'm not too sure.
Then there was this announcement: Facebook is now charging big dollars if you want your posts to actually reach your 'friends.'
I tolerated the Farmville onslaughts, survived the 2012 (and 2008) elections, and the friend requests from people from my distant past, who let's just say, are in the distant past for a reason (no offense to nobody!).
But this seems to have done it for me. I thought about it, wrestled with it for a long time - 'it's the biggest social media movement ever! I have to be a part of it! What about all those connections, interactions? Can I just walk away?'
The more I thought about it, how I actually use Facebook - and more importantly - how my 'friends' were using it, the decision become easier. For me, social media is about connecting and engaging with people - mostly people in the industry. I want to share with them what's going on with me, my clients and general happenings in the industry. While I enjoy the sneak peaks into peoples' daily lives, it is really just that - sneak peaks and passing glances. There is no interaction, no dialogue. There was plenty of dialogue about Mitt Romney, Barack Obama - with colorful details and insights into peoples' political expertise and their solutions for what's ailing this country. Sorry. Ain't interested. In fact, I found it disturbing. I had to look away.
And I've been doing that a lot more lately. Looking away.
But what about interacting and sharing useful, interesting information in social media circles?
In a word - Twitter.
I joined Twitter when it launched, not sure what to make of it. In fact, I thought it was kind of goofy. But I gave it a try. I waded into the waters. Not too committal, just....observing, listening and watching.
And over time, I observed something really interesting. I watched as the post production/production industry embraced it. They were talking to eachother! Actual dialogues between people who shared the same passions and visions, and who were willing to help solve problems. Hashtag groups started to emerge. And not just the #OMGicantbelieveiatethewholepizza kind of hashtags. Meaningful, useful ones. Groups that started 'meeting' once a week to talk about any given topic, or to host a special guest. It was great! It IS great! And it continues to get better.
To date, Twitter isn't packaged, marketed and overly contrived - at least not in these circles of filmmakers, cinematographers, editors and VFX artists.
Hanging out with Stu Maschwitz a few weeks ago, he described Twitter as like going to a cocktail party, filled with interesting groups of people talking about interesting things. "I can wander from group to group, topic to topic, and just pop in to a conversation for a bit to see what's going on. I love that about Twitter!"
That conversation really got me thinking.
I'm spending a lot more time on Twitter these days, and less on Facebook. In fact, I've even been experimenting with Google+ as a possible replacement to Facebook - but that's another conversation.
But what do you think? As filmmakers/editors/VFX artists/cinematographers - are you feeling the same way?
Tell me what you think...
Joel and Jesse Edwards of Evolve IMG talk about the power of mocha Pro to help tell a moving, difficult story.
Posted at 09:32 AM in Cinematography, Film, Imagineer Systems, mocha, mocha Pro, Post Production, Video Editing, Production, Television, VFX Software, Workflow | Permalink | Comments (0) | TrackBack (0)
Imagineer Systems' product specialist, Mary Poplin, posted some very interesting perspectives on the Imagineer blog yesterday. She's well traveled, meets a lot of customers and prospective customers, and what she learns on the road is just as valuable as what she's teaching on the road.
Here's an excerpt:
Every time I meet artists in person, I get these ‘epiphany moments’ from our users - some of whom have been using mocha for years - about how our software works. And what I realized is that many people don’t fully understand how mocha’s Planar Tracker actually thinks. Some don’t quite jive with the spline-to-track relationship, and none of these artists realize that all of these issues can be fixed with a simple visit.
I thought to myself, “how do I get this message out to as many people as possible?” So I decided to make an in-depth tutorial on it with lots of visual aids and clear explanations. And so I am in that process. The tutorial is in the works and being polished as we speak, but I couldn’t hold back anymore and wanted to tide you over with a much needed blog update that covers off some of the common questions I run into and attempts to breakdown some of the answers. So here goes!
Read the entire post here.
If you had any question about the power of Denoiser II:
As promised, Red Giant announced yesterday it has released Denoiser II - a new rebuild of the popular noise reduction tool, part of the Magic Bullet Suite. This release is for After Effects only, but new revs that will support more host apps are in development already. And no worries, the Company's Red Pledge guarantees that if you buy it today, when the new versions come out with expanded host support, you'll get the update - free! No hassles.
Here are the details from the press release:
FOR IMMEDIATE RELEASE
Red Giant Releases Magic Bullet Denoiser II
Denoiser II Cleans Up “Noisy” Footage; Free Upgrade for Magic Bullet Suite Customers Delivers Reliable Performance, Sharp Results for After Effects Users
Portland, OR (February 28, 2012) – Red Giant today released Magic Bullet Denoiser II, a completely re-built version of its popular Denoiser 1.0 tool for removing unwanted noise and artifacts from video footage. Available as a free update for Denoiser 1.0 and Magic Bullet Suite customers, Denoiser II features intelligent default settings that provide immediate clean-up results when first applied to footage. Unlike other denoising tools and methods that can blur fine detail, Denoiser II’s smart default settings, along with advanced noise reducing tools, deliver sharp, clean and professional video results out of the gate.
Throughout the development process for Denoiser II, Red Giant worked closely with industry professionals to ensure its defaults deliver the perfect balance between noise reduction and sharpness. Denoiser II’s powerful cleanup features work right away, but for difficult noise situations, users can easily fine tune their footage with advanced controls.
Denoiser II: Powerful Features for Professional Results
Denoiser II combines data over several frames to separate the noise from the image, giving users a professionally smoothed result that preserves fine details. Options like Frame Sample, Motion Estimation, Noise Hint and Shadow Offset create new sample frames, preserve fast-moving action, reduce chroma blotches, or clean up shadow areas, and are ideal for a number of workflow issues, such as:
Motion estimation for high and low motion: High-speed camera movements are different than slow pans, but Denoiser II can preserve detail even in fast-moving action sequences. Its Motion Estimation technology/feature compares successive frames to learn what is natural motion vs noise in the scene.
Chromakeying and other fine tuning: Denosier II offers a number of fine tuning features that allow users to minimize over-smoothing, correct green chroma tinge, focus on shadows or de-emphasize highlights, all without losing image detail.
Footage shot in low light: Denoiser II helps with low light conditions, making video clean and smooth. Noise Reduction and Noise Hint controls set how much noise you do (or don't!) want to see.
Separate Video and Film modes: Two modes let users characterize the noise so Denoiser II can achieve the most accurate results. Video mode adjusts the Luma and Chroma channels for better smoothing in black-and-white or full color. Film mode has adjustments for Red, Green and Blue channels that are ideal for material shot on film.
Joey Morelli is the founder of DigiDojo, a small post production and visual effects shop that handles just about every aspect of post for his clients, from motion graphics design and compositing, to 3D design, animation, color grading and editing. Joey, a long-time Red Giant customer, has been beta testing Denoiser II and had this to say:
“As a ‘multi-tool artist,’ I need access to the best applications available - but they have to be affordable. With DSLR shoots dominating our market, noise is commonly introduced into otherwise gorgeous footage, and there just isn't an efficient, artful, affordable tool to turn to. Denoiser 1.0 worked, but it was finicky and unstable. So while working on the Denoiser II BETA, I picked one of the noisiest clips I could find, dropped Denoiser II on it, and within a few parameter tweaks, my jaw was on the floor! So then I set out to break it. I stacked a bunch of plug-ins like Magic Bullet Looks on it, adjusted the parameters for hours, and it remained rock solid and stable. No crashing! If I could sum up my experience with this tool: QUALITY + STABILITY = Denoiser II. That makes it worth every penny and it’s now my go-to noise reduction tool.”
Pricing and Availability
Magic Bullet Denoiser II for After Effects is available immediately and is priced at $99.00 USD for new customers, and is available as a free update for existing customers. Magic Bullet Suite 11.3 including Denoiser II is also available immediately and is priced at $799.00 USD for new customers.
For more information or to purchase Magic Bullet Denoiser II, please visit https://www.redgiantsoftware.com/products/all/denoiser-II/. For more information or to purchase the Magic Bullet Suite, please visit http://www.redgiantsoftware.com/products/all/magic-bullet-suite/.
The Red Pledge
At Red Giant, we love working with artists, and we love giving you the tools and resources to help you do great work. We're inspired by, and share in, your passion because Red Giant is made up of filmmakers, animators and designers just like you. It's that level of passion which flows through everything we do as a company, and ensures that everything about our relationship with you just works. And that's Red Pledge - our full-on commitment to your complete happiness. The Red Pledge is our guarantee that we will always be reasonable and fair. We believe in no hassles. Just happiness.
About Red Giant
Founded in 2002, Red Giant (www.redgiant.com) creates an ever-expanding universe of effects tools ranging from plug-in suites, applications and mobile apps to Guru Presets, free products and sharing communities. We provide software for motion design, photography and color correction that is used for everything from major motion pictures to worldwide television programming to web production. Red Giant offers the industry-leading Trapcode tools for broadcast design; Magic Bullet Suite for color correction; and over 60 products that run in After Effects, Final Cut Pro, Motion, Premiere Pro, Photoshop, Lightroom, Aperture, Avid, Vegas, Nuke, and Avid Studio. Our effects have enhanced dozens of feature films such as Angels & Demons and The Social Network, and added sparkle to networks like NBC Universal, ESPN, Disney, CNN, Comedy Central, MTV, and TNT. Join us on Facebook (RedGiantSoftware), follow us on Twitter (@RedGiantNews) and get free content at Redgiantpeople.com.