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Fresh rumors: Retina iMac with AMD GPU coming soon?
Posted by Andrzej, motionVFX Team
September 30, 2014, at 9:49 AM

Even though the below information is still in the ‘rumors’ department, the ‘rumor’ part  refers mainly to the actual release date, as Retina iMac has been spoken of many times before. A tasty bit of info on the new iMac has been published by Jack March on his website at In a short text Jack points to ‘a source familiar with Apple’s plans’, which gave him the following data:

Apple is indeed planning to launch a Retina iMac at their next press event, however the 27″ Model will be the only model that gets this feature. The source says the new 27″ iMac will use a 5120 x 2880 panel as leaked in the OSX Yosemite code a few months ago.


The source says the new iMac’s top processor configuration will be the Intel i7-4790K which has a base clock speed of 4.0GHz, the source also mentioned that Broadwell CPU’s will “likely be added in an update next year” but Apple is sticking with Haswell for now as powerful Broadwell processors are not available to the market.

Interestingly, the mysterious source claims that Apple is going to include AMD GPUs – a move previously observed in the new Mac Pros. That’s the farthest the details go. Regarding the actual release date, the source states it’s ‘incredibly likely’ to be at the next press event – reports Jack.

We’ll just have to wait and see; we’ll keep you posted on that subject for sure.


Control FCP & Premiere with your iPad! Meet CTRL+Console - The video editor’s new best friend.
Posted by Szymon Masiak
September 16, 2014, at 9:30 AM

As of July, the App Store had over 1.2 million apps, so finding the real gems mixed in the clutter of mediocre apps can be a challenge. When we discovered CTRL+Console at NAB this year, we were really impressed with their app for video editing. It’s a real find and a great new company that we want to make sure you know about.

CTRL+Console turns the iPad into a sleek control surface for video editing. Creating a more "user friendly" way to control FCP and Premiere Pro. The app is designed to make learning and using editing software seamless and intuitive.

It’s a solid blend of style and function. CTRL+Console has a gorgeous interface, with a dark background to keep it easy on the eyes when editing. The app also takes full advantage of touchscreen technology, creating a wireless, adaptable interface that integrates easy-to-learn Gesture Control.

With gestures enabled, users can cut an entire sequence without ever looking at the iPad: Jog and shuttle with frame-by-frame accuracy, mark in's and out's, and insert the clips into timeline. Great for building selects and rough cuts, it also creates a fun, iridescent path wherever your fingers swipe (added bonus).  Plus, it's works over wifi and is as responsive as $1,000 hardware. Not bad. 

Here’s a quick teaser video of the app in action:



  and another vid with the Founder, Jeff Chow, showing off the Gesture Control System:



CTRL+Console offers two kinds of consoles in both FCP and Premiere:

  • Controller consoles cost $5 and include the basic jog / shuttle functionality. They are designed to enhance collaborative work and make footage review with clients and film teams easy. 
  • Editor consoles run $30, handle nearly 30 key editing functions, and include the full Gesture Control System.

The startup raised $41,000 on Kickstarter at the end of 2012 and then demo’d their prototype from the Adobe booth at NAB 2013. They recently established themselves as an Adobe Broadcast Partner and have 4 stars in the App store.

Jeff Chow had this to say the app, “Creating CTRL+Console allowed me to take on projects that I wouldn't otherwise have been able to do by allowing me to learn and edit fast. But it's become more than that, it's about empowering creatives everywhere to edit in an intuitive way with unprecedented speed. Creating tools that reduce the gap between what's in your mind and what you create so that you are more free to express your vision and edit like never before.”

It will be really interesting to see what they do with future upgrades to the app.  Find out more on their website:
  or download CTRL+Console from the App Store .

mObject 1.1 for FCPX and Apple Motion 5
Posted by Szymon Masiak
September 15, 2014, at 9:02 AM

This latest 1.1 version brings a lot of new awesome features to world’s most advanced 3D plugin for Motion 5 and FCPX - mObject. Among many others there are functionalities like Ambient Occlusion (Proximity Shadow), Soft Shadows, per-material Scenery Lighting influence and tons of general performance optimizations and improvements. With this version you will be able to bring even more realism to your scenes and animations. But that’s not all! As always, we focused on providing the best possible experience of working with mObject so we introduced a few changes to the UI and inside Motion 5 interface to make the workflow even faster, smoother and less troublesome. In 1.1 you can now use functionalities like on-screen controls and new settings menus - all for your convenience.

If you want to learn more about the new mObject and how to use the recently introduced options go to our Tutorials and watch the in-detail instructions. Don’t wait, upgrade now for free and gain access to all the new functions of mObject!

And if you are all new to our mind-blowing plugin, you can find out more and buy it here: mObject

Compressed files quality difference between FCPX & Premiere Pro - see which one's better!
Posted by Andrzej, motionVFX Team
September 11, 2014, at 8:36 AM

This topic not meant to start the ‘which NLE is better?’ discussion anew, but rather point at a problem reported by some users who work with both, FCPX and Premiere Pro. After you compress files (H.264) the quality of the final image from Premiere are considerably worse than these outputted by FCPX. The issue has been described and shown on photos by Noam Kroll on his page. As he describes the image from Premiere: It was blocky, over compressed, and even the colors seemed a bit off.

Noam starts off explaining that he was mainly using FCPX for editing, but exported files using Premiere simply because it was faster. Up until render and output speed was enhanced. Having the chance to see files exported from both FCPX and Premiere, Noam noticed there was something wrong:

On a recent project of mine though, I noticed that when using my standard H.264 settings in Adobe Premiere Pro the result of the final product didn’t look quite right. It was blocky, over compressed, and even the colors seemed a bit off. I even went back and re-exported the file to make sure that all my settings were in place – including checking off ‘Use Maximum Render Quality’, but still I had the same poor results. So I went back to FCP X and did an output using the exact same settings and there was absolutely no question that the FCP X output looked far better. I ran this same test again using Compressor and Adobe Media Encoder and had the exact same results.

Using the same settings – H.264 at 10,000 kbps – Noam compares the final images (400% zoom) from the two: FCPX first, Premiere second:

As a matter of fact, Noam did one more test to see the difference:

In fact I even did another output test later on with Premiere Pro set to 20,000 kbps and FCP X only set to 10,000 kbps and still the FCP X image was noticeably higher quality, so clearly something is up. In a lot of ways this is fairly representative of my experience with Premiere Pro as a whole.

Full article with hi-res images available at here.


Match colors with Color Checker cards in DaVinci Resolve - a tutorial
Posted by Andrzej, motionVFX Team
September 11, 2014, at 8:28 AM

Those who work with footages from multiple cameras know it can be difficult to match them – in such cases simply matching the white balance won’t do. You’ll need to match the colors using a color checker card. A great tutorial on that topic has been written by Sareesh Sudhakaran and posted at Sareesh first mentions several other reasons why you’d want to match colors:

  • Match colors for product or branding so it looks like the real thing
  • Get dailies to match each other, though they may have been shot on different days, white balanced incorrectly or under different lighting conditions
  • Get colors to fall into an accurate color space for broadcast delivery

He explains that there are three standard color palettes available to match in Resolve 11, like on these color checker cards:

  • Macbeth or X-Rite ColorChecker (the original, not the Passport)
  • Datacolor SpyderCheckr
  • DSC Labs OneShot (including the Pocket version)

Here's the original X-Rite ColorChecker

Further on Sareesh gives several advice on how to use them, and then explains how to actually match colors in Resolve using the Color Match Palette – it’s a simple, few steps task, for which he also shows a couple of screenshots to make it easier.

Once it’s finished, the next step depends on what you’re trying to achieve. Sareesh writes:

What next? How do we use this? All that’s left to do is ‘match color’, that is -

  • To match cameras, do this for each camera and you have a common reference base from which to start your grade. You can also use the worse camera as reference and ‘tune’ the better camera to match it.
  • To match colors for branding or product, generate a LUT and apply it to the rest of your footage shot under the same lighting conditions. Remember, if the light changes outside, the conditions have changed, but the chart should allow you to pull it back to the same look. Also don’t forget, branding and product usually also conforms to Pantone, and that is another circle of hell altogether.
  • For dailies, generate a LUT as above and apply it to your footage prior to transcoding. This works even if you have white balanced incorrectly. Of course, for different lighting conditions, you cannot use LUTs and must do this step every time.

This is only a short excerpt of the entire article, for full text with lots of photos please have a look at Sareesh’s tutorial at via this link.




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