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Adobe updates Creative Cloud apps!
Posted by Andrzej, motionVFX Team
December 19, 2014, at 11:07 AM

A few days back, we posted info about Adobe’s growing number of subscriptions and big plans to grow. Their development goes in pair with increased frequency of updates, which was advertised as one of the benefits of being part of the cloud. Now, another update has been released for the cloud apps, including Adobe’s video software Premiere Pro, After Effects, Media Encoder, and couple of others.

As Eric Philpott writes in his post at about the changes:

The Premiere Pro CC 2014.2 update includes a number of feature enhancements for editors, including support for Arri Open Gate media, the ability to set transitions and still image default durations in either seconds or frames, and improved GoPro CineForm export. In addition, QuickTime and GoPro CineForm codecs can now be used as sequence preview file formats on Windows

The 2014.2 update of After Effects CC provides more control over text through scripts and expressions. Additionally, based on customer feedback, the team made visual tweaks to the UI such as making the keyframe icons a bit brighter to stand out better against the background.

The video below shows how you can upload to Vimeo (among others) with all of the settings available in the ME:

Eric continues:

Along with Destination Publishing to YouTube and Vimeo, the Media Encoder CC update includes updated Vimeo and GoPro CineForm presets, the option to automatically append preset names to output file names, the ability to export audio channels as separate WAV files, and more. Audition CC, Prelude CC, Story CC Plus, and SpeedGrade CC offer a number improvements as well.

Eric’s post also contains links to blogs related to specific apps, where you’ll find more detailed info about the recent changes. Full post can be found here.


Adobe with 3,454 million Creative Cloud subscribers and with big plans to grow!
Posted by Michal, motionVFX Team
December 12, 2014, at 1:44 AM

When Adobe came out with Creative Cloud, some editors and Adobe's software users had doubts if this is the way to go. On one hand you cannot get a standalone license for the latest versions of Premiere Pro, After Effects, Photoshop, etc. and use it for many years before getting a paid update, but on the other you get access to all Adobe's products for a very competitive monthly price and the service works like a charm - updates are being downloaded automatically and your Adobe software is always up to date. Now we are sure that Creative Cloud is a big success - Appy Geek reports that the company has 3,454 million paying Creative Cloud subscribers and 644,000 new users subscribed to the service in the last three months! In the fourth quarter financial report Adobe revealed revenues of $1,073 billion and this is probably why the company wants to grow even more - according to the site, Adobe has plans to acquire Fotolia for $800 million in cash (a stock photo site which hosts 34 million images and videos). 

The site believes that such a step would deepen the ties which exist between Adobe and its users and it is hard to disagree. Let's not forget that Adobe's competitor, Autodesk, also bought a site with stock content (Creative Market), so it seems that with this move Adobe wants to maintain its competitive position in the future and just imagine what amazing possibilities this would give to users if they will get access to millions of stock files with their Creative Cloud subscriptions (remains to be seen if you will need to pay extra for it). We can be sure is that this will easen the design process for Creative Cloud members and this is why it is so huge. Adobe's position on the market is very strong and it is currently a software giant as they offer you all the apps you need to create your multimedia content. Let's hope that Apple has something up its sleeve, because we can see that the competition is getting tougher. Maybe it's time for Apple to make a similar investment?


Vimeo prepares for 4K streaming
Posted by Andrzej, motionVFX Team
December 9, 2014, at 10:05 AM

It’s hard to decide whether it’s still early, late, or the time is just right, but Vimeo is making a step towards 4K streaming. Few other platforms are already past it, and, there’s no news as to when Vimeo will make such a service available. For now, the official staff blog announces that 4K videos can be downloaded from the site:

Starting today, Vimeo PRO members and Vimeo On Demand sellers can allow people to download 4K video files. That’s right, video viewers: super-crisp vids can, in fact, be yours. Creators have been able to upload in 4K for some time, but now these files can be downloaded and played on those fancy, 4K-compatible displays some of us are lucky enough to own.

And a short comment regarding implementing 4K streaming:

And while we don’t yet offer 4K streaming on our site, we’ll be ready by the time broadband providers start widely supporting the high speeds required. It'll be so awesome when we all have IMAX TVs in our homes...

But hey, wasn’t downloading 4K available before? Vimeo user FocusPulling(.com) asks in the comments section:

I don't get it. For as long as I can remember, anyone could go to the Download button on my clips from my Vimeo Plus account, and select the "Original" file for downloading in full UHD-4K. What has changed

And here’s answer from the staff:

While downloads of 4K source files were always available, we're transcoding in 4K now and allowing downloads of those transcodes. In other words, PRO users upload in 4K and we transcode the video into 4K - and the 4K videos you upload now will be ready when we enable 4K playback on-site.

The blog post can be seen here.


Sony FS7, Alpha7S, Canon C300: color science comparison
Posted by Andrzej, motionVFX Team
December 5, 2014, at 3:45 PM

When choosing  a set of camera that will be the subject of (any kind of) comparison you would expect that the choice will be based on a key like similar price range, low light capabilities, camera type or purpose, or any other. Therefore at first, some comparisons, like the one presented below, may seem odd. Christian Balducci from has put a great effort to compare color science of Sony FS7, Sony a7s, and Canon C300. Why these? Both Sony cameras are relatively fresh, and already received a ton of praise, meanwhile the C300, despite being a much older camera, is still very popular and ‘its color science has set new standards in the indie cinema and broadcast business’ as the author states. Christian's analysis is very thorough and has been divided into three parts, and for this reason we’ll only be bringing out the highlights.

Let’s start off with the summary of each of the cameras’ recording settings:

Christian describes the procedure:

For each camera we decided to shoot at normal exposure (as measured by Sekonic L-778 Dual Spot Exposure Meter) then 3 stops over and 3 stops under the spot meter reading.
We decided to design this procedure despite all the findings and white papers about Slog3 and Slog 2 handling, just as if we were some unaware users or orthodox that follow the conservative method (setting the ISO, Fps and shutter in the spot meter then reading the values). Here you can see the same setup with exposure readings set at 2000 ISO (for matching Sony FS7 native sensitivity).

First to come is the original footage from each of the cams:

Further on, in part two, Christian draws our attention to gamma curves elaboration made by Sekonic Data Transfer software, and continues to analyze the footage above.

After grading the footage in Resolve 11, he has got the following results:

In the third, final, part, you’ll find the analysis and conclusions, which are again so detailed it’s hard to even summarize them. But as far as comparisons go, they usually have a winner, which is not hard to predict in this case – it's the FS7:

SONY FS7 seems to be a very solid camera, able to deliver in a wide variety of situations. Its codec is highly efficient and a native 2000 ISO sensor and ND filters can be very helpful in many shooting environments, allowing the videomaker/cinematographer to have more than one option when dealing with shutter/aperture/lens choices.
Canon C300, despite being almost 3 year old now was a worthy competitor and its image is still a real standard setter in the business. Because of its codec and lack of a real log recording, we can state C300 kinda underperformed overall compared to Sony FS7.

Regarding the a7s Christian writes that, though it’s on an entirely different level, is capable of producing great footage if handled properly, and may work as an excellent b-roll camera.

Here are the links to each of the parts:

Part 1

Part 2

Part 3


Larry Jordan explains how to use Broadcast Safe filter in FCPX effectively!
Posted by Andrzej, motionVFX Team
December 4, 2014, at 11:10 PM

To cut the long story short – Larry Jordan’s Final Cut Pro webinars are really top-notch, and each of the excerpts that he publishes for free on YouTube is more than welcome. In a recent excerpt Larry focuses on how to use the Broadcast Safe Filter effectively. As the video description reads:

The Broadcast Safe filter – in the Effects Browser – prevents white levels from exceeding safe parameters when sending programs to broadcast, cable or DVD.

The problem is that when you apply it like any other effect, the protection you expect doesn’t work. In this short video tutorial, excerpted from our "Advanced Color Correction in Final Cut Pro X" webinar, Larry explains what the Broadcast Safe filter does, how to apply it and how to determine if it is working. He also explains when to use the Broadcast Safe filter and when to adjust gray-scale levels using the Color Board.

As usually, Larry takes you through the entire process step by step showing every move and its effect in the video:

Aside from the above excerpt, Larry uploaded two more:

Add Effects to a Multicam Clip (Final Cut Pro X)

Mastering Color Board Color Presets (Final Cut Pro X)

To gain access to full training sessions, please go to Larry’s website here and select the webinar of your interest.



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