CrumplePop and FxFactory

If you edit with Final Cut Pro – either the classic and/or new version – then you are familiar with two of its long-running plug-in developers. Namely, FxFactory (Noise Industries) and CrumplePop. Last year the two companies joined forced to bring the first audio plug-ins to the FxFactory plug-in platform. CrumplePop has since expanded its offerings through FxFactory to include a total of six audio and video products. These are AudioDenoise, EchoRemover, VideoDenoise, AutoWhiteBalance, EasyTracker, and BetterStabilizer.

Like much of the eclectic mix of products curated through FxFactory, the CrumplePop effects work on a mix of Apple and Adobe products (macOS only). You’ll have to check the info for each specific plug-in to make sure it works with your application needs. These are listed on the FxFactory site, however, this list isn’t always complete. For example, an effect that is listed for Premiere Pro may also work in After Effects or Audition (in the case of audio). While most are cross-application compatible, the EasyTracker effect only works in Final Cut Pro X. On the other hand, the audio filters work in the editing applications, but also Audition, Logic Pro X, and even GarageBand. As with all of the FxFactory effects, you can download a trial through the FxFactory application and see for yourself, whether or not to buy.

I’ve tested several of these effects and they are simple to apply and adjust. The controls are minimal, but simplicity doesn’t mean lack of power. Naturally, whenever you compare any given effect or filter from company A versus company B, you can never definitively say which is the best one. Some of these functions, like stabilization, are also available within the host application itself. Ultimately the best results are often dependent on the individual clip. In other words, results will be better with one tool or the other, depending on the challenges presented in any given clip. Regardless, the tools are easy to use and usually provide good results.

In my testing, a couple of the CrumplePop filters proved very useful to me. EchoRemover is a solid, go-to, “fix it” filter for location and studio interviews, voice overs, and other types of dialogue. Often those recordings have a touch of “boominess” to the sound, because of the room ambience. EchoRemover did the trick on my trouble clip. The default setting was a bit heavy-handed, but after a few tweaks, I had the clean track I was looking for.

EasyStabilizer is designed to tame shaky and handheld camera footage. There are several starting parameters to choose from, such as “handheld walking”, which determine the analysis to be done on the clip. One test shot had the camera operator with a DSLR moving around a group of people at a construction site in a semi-circle, which is a tough shot to stabilize. Comparing the results to the built-in tools didn’t leave any clear winner in my mind. Both results were good, but not without some, subtle motion artifacts.

I also tested EasyTracker, which is designed for only Final Cut Pro X. I presume that’s because Premiere Pro and After Effects already both offer good tracking. Or maybe there’s something in the apps that makes this effect harder to develop. In any case, EasyTracker gives you two methods: point and planar. Point tracking is ideal for when you want to pin an object to something that moves in the frame. Planar is designed for tracking flat objects, like inserting a screen into phone or monitor. Unfortunately, it appears that the foreground source clip (the one you pin to the moving object in the background shot) can only be a static image, like a graphic. When I tried a motion clip, I only got a static first frame for that clip. This limits the usefulness to logos, text, and other static objects. Nevertheless, the tracking was good, fast, and includes a 3D feature. When 3D is enabled, the pinned object will scale in size as the tracked object gets larger in the frame.

Like other FxFactory effects, you only buy the filter you want, without a huge investment in a large plug-in package, where many of the options might go unused. It’s nice to see FxFactory add audio filters, which expands its versatility and usefulness within the greater Final Cut Pro X (and Premiere Pro) ecosystem.

©2017 Oliver Peters

Faster, Together at NAB

With the NAB trade show just around the corner, it’s time to shore up your last minute plans for things to do and see. In addition to the tons of exhibits in the Las Vegas Convention Center halls, there are numerous outside meetings, conferences, training sessions, and places for production and post professionals to meet and greet.

A new addition this year is LumaForge’s Faster, Together Stage presentations. These are being held Monday through Wednesday across the street at the Courtyard by Marriott Las Vegas Convention Center. I’ll be part of the “State of the NLE” panel discussion Wednesday at 3PM. It should be fun and although some have referred to this as the “NLE cage match”, we are all friends and looking forward to an enlightening discussion. The presentations are free, but you must register in advance. See you there!

©2017 Oliver Peters

Five Came Back

We know them today as the iconic Hollywood directors who brought us such classic films as Mr. Smith Goes To Washington, It’s a Wonderful Life, The African Queen, and The Man Who Shot Liberty Valance – just to name a few. John Ford, William Wyler, John Huston, Frank Capra and George Stevens also served their country on the ground in World War II, bringing its horrors and truth to the American people through film. In Netflix’s new three-part documentary series, based on Mark Harris’ best-selling book, Five Came Back: A Story of Hollywood and the Second World War, contemporary filmmakers explore the extraordinary story of how Hollywood changed World War II – and how World War II changed Hollywood, through the interwoven experiences of these five legendary filmmakers.

This documentary series features interviews with Steven Spielberg, Francis Ford Coppola, Guillermo Del Toro, Paul Greengrass and Lawrence Kasdan, who add their own perspectives on these efforts. “Film was an intoxicant from the early days of the silent movies,” says Spielberg in the opening moments of Five Came Back. “And early on, Hollywood realized that it had a tremendous tool or weapon for change, through cinema.” Adds Coppola, “Cinema in its purest form could be put in the service of propaganda. Hitler and his minister of propaganda Joseph Goebbels understood the power of the cinema to move large populations toward your way of thinking.”

Five Came Back is directed by Laurent Bouzereau, written by Mark Harris and narrated by Meryl Streep. Bouzereau and his team gathered over 100 hours of archival and newsreel footage; watched over 40 documentaries and training films directed and produced by the five directors during the war; and studied 50 studio films and over 30 hours of outtakes and raw footage from their war films to bring this story to Netflix audiences. Says director Laurent Bouzereau, “These filmmakers, at that time, had a responsibility in that what they were putting into the world would be taken as truth. You can see a lot of echoes in what is happening today. It became clear as we were doing this series that the past was re-emerging in some ways, including the line we see that separates cinema that exists for entertainment and cinema that carries a message. And politics is more than ever a part of entertainment. I find it courageous of filmmakers then, as with artists today, to speak up for those who don’t have a platform.”

An editor’s medium

As every filmmaker knows, documentaries are truly an editor’s medium. Key to telling this story was Will Znidaric, the series editor. Znidaric spent the first sixteen years of his career as a commercial editor in New York City before heading to Los Angeles, in a move to become more involved in narrative projects and hone his craft. This move led to a chance to cut the documentary Winter on Fire: Ukraine’s Fight for Freedom. Production and post for that film was handled by LA’s Rock Paper Scissors Entertainment, a division of the Rock Paper Scissors post facility. RPS is co-owned by Oscar-winning editor, Angus Wall (The Social Network, The Girl with the Dragon Tattoo). Wall, along with Jason Sterman and Linda Carlson, was an executive producer on Winter of Fire for RPS. The connection was a positive experience, so when RPS got involved with Five Came Back, Wall tapped Znidaric as its editor. Much of the same post team worked on both of these documentaries.

I recently interviewed Will Znidaric about his experience editing Five Came Back. “I enjoyed working with Angus,” he explains. “We edited and finished at Rock Paper Scissors over a fifteen month period. They are structured to encourage creativity, which was great for me as a documentary editor. Narratively, this story has five main characters who are on five individual journeys. The canvas is civilization’s greatest conflict. You have to be clear about the war in order to explain their context. You have to be able to find the connections to weave a tapestry between all of these elements. This came together thanks to the flow and trust that was there with Laurent [Bouzereau, director]. The unsung hero is Adele Sparks, our archival producer, who had to find the footage and clear the rights. We were able to generally get rights to acquire the great majority of the footage on our wish list.”

Editing is paleontology

Znidaric continues, “In a documentary like this, editing is a lot like paleontology – you have to find the old bones and reconstruct something that’s alive. There was a lot of searching through newsreels of the day, which was interesting thematically. We all look at the past through the lens of history, but how was the average American processing the events of that world during that time? Of course, those events were unfolding in real time for them. It really makes you think about today’s films and how world events have an impact on them. We had about 100 hours of archival footage, plus studio films and interviews. For eight to nine months we had our storyboard wall with note cards for each of the films. As more footage came in, you could chart the growth through the cards.”

Five Came Back was constructed using three organizing principles: 1) the directors’ films before the war, 2) their documentaries during the war, and 3) their films after the war. According to Znidaric, “We wanted to see how the war affected their work after the war. The book was our guide for causality and order, so I was able to build the structure of the documentary before the contemporary directors were interviewed. I was able to do so with the initial interview with the author, Mark Harris. This way we were able to script an outline to follow. Interview footage of our actual subjects from a few decades ago were also key elements used to tell the story. In recording the modern directors, we wanted to give them space – they are masters – we just needed to make sure we got certain story beats. Their point of view is unique in the sense that they are providing their perspective on their heroes. At the beginning, we have one modern director talking about one of our subject directors. Then that opens up over the three hours, as each talks a little bit about all of these filmmakers.”

From Moviola to Premiere Pro

This was the first film that Znidaric had edited using Adobe Premiere Pro. He says, “During film school, I got to cut 16mm on the Moviola, but throughout my time in New York, I worked on [Avid] Media Composer and then later [Apple] Final Cut Pro 7. When Final Cut Pro X came out, I just couldn’t wrap my head around it, so it was time to shift over to Premiere Pro. I’m completely sold on it. It was a dream to work with on this project. At Rock Paper Scissors, my associate editor James Long and I were set up in two suites. We had duplicate drives of media – not a SAN, which was just given to how the suites were wired. It worked out well for us, but forced us to be extremely diligent with how our media was organized and maintaining that throughout.” The suites were configured with 6-core 2013 Mac Pros, AJA IoXT boxes and Mackie Big Knob mixers for playback.

“All of the media was first transcoded to ProRes, which I believe is one of the reasons that the systems were rock solid during that whole time. There’s an exemplary engineering department at RPS, and they have a direct line to Adobe, so if there were any issues, they became the go-betweens. That way I could stay focused on the creative and not get bogged down with technical issues. Plus, James [Long] would generally handle issues of a technical nature. All told, it was very minimal. The project ran quite smoothly.” To stay on the safe side, the team did not update their versions of Premiere Pro during this time frame, opting to stick with Premiere Pro CC2015 for the duration. Because of the percentage of archival footage, Five Came Back was finished as HD and not in 4K, as are a number of other Netflix shows.

To handle Premiere Pro projects over the course of fifteen months, Znidaric and Long would transfer copies of the project files on a daily basis between the rooms. Znidaric continues, “There were sequences for individual ‘mini-stories’ inside the film. I would build these and then combine the stories. As the post progressed, we would delete some of the older sequences from the project files in order to keep them lean. Essentially we had a separate Premiere Pro project file for each day, therefore, at any time we could go back to an earlier project file to access an older sequence, if needed. We didn’t do much with the other Creative Cloud tools, since we had Elastic handling the graphics work. I would slug in raw stills or placeholder cards for maps and title cards. That way, again, I could stay focused on weaving the complex narrative tapestry.”

Elastic developed the main title and a stylistic look for the series while a52 handled color correction and finishing. Elastic and a52 are part of the Rock Paper Scissors group. Znidaric explains, “We had a lot of discussions about how to handle photos, stills, flyers, maps, dates and documents. The reality of filming under the stress of wartime and combat creates artifacts like scratches, film burn-outs and so on. These became part of our visual language. The objective was to create new graphics that would be true to the look and style of the archival footage.” The audio mix when out-of-house to Monkeyland, a Los Angeles audio post and mixing shop.

Five Came Back appealed to the film student side of the editor. Znidaric wrapped up our conversation with these thoughts. “The thrill is that you are learning as you go through the details. It’s mind-blowing and the series could easily have been ten hours long. We are trying to replicate a sense of discovery without the hindsight of today’s perspective. This was fun because it was like a graduate level film school. Most folks have seen some of the better known films, but many of these films aren’t as recognized these days. Going through them is a form of ‘cinematic forensics’. You find connections tied to the wartime experience that might not otherwise be as obvious. This is great for a film geek like me. Hopefully many viewers will rediscover some of these films by seeing this documentary series.”

The first episode of Five Came Back aired on Netflix on March 31. In conjunction with the launch of Five Came Back, Netflix will also present thirteen documentaries discussed in the series, including Ford’s The Battle of Midway, Wyler’s The Memphis Belle: A Story of a Flying Fortress, Huston’s Report from the Aleutians, Capra’s The Battle of Russia, Stevens’ Nazi Concentration Camps, and Stuart Heisler’s The Negro Soldier.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

Red Giant Magic Bullet Suite 13

The hallmark of Red Giant’s Magic Bullet software products are that they are designed to enhance or stylize images. As their banner states, they focus on “color correction, finishing and film looks for filmmakers.” You can purchase individual software products or a comprehensive suite of tools. I reviewed Magic Bullet Suite 12 a couple a years ago. A few months ago Red Giant released its Magic Bullet Suite 13 update. As in the past, you can purchase it outright or as an upgrade from a previous version. With each iteration of the suite, Red Giant shuffles the mix of products in the toolkit and this version is no different.

Magic Bullet Suite 13 is comprised of seven plug-in products, which include Looks 4.0, Colorista IV, Denoiser III, Cosmo II, Mojo II, Film, and the newly added Renoiser. The tools are cross-platform compatible (macOS or Windows), but depending on the editing or compositing software you use, not all of these plug-ins work in every possible host. All of the tools will work in Adobe Premiere Pro or After Effects, as well as Apple Final Cut Pro X. Magic Bullet Looks 4.0 provides the broadest host support, including some less common choices. Looks supports After Effects, Premiere Pro, Final Cut Pro X, Motion, Magix Vegas Pro, Avid Media Composer, DaVinci Resolve, EDIUS, and HitFilm Pro. Colorista only supports the Adobe and Apple hosts, while the other tools support the bulk of possible choices, with the exception Media Composer. Therefore, what you cut or composite with will determine what your best purchase will be – full suite or individual plug-ins.

New bells and whistles

The big selling point of this release is GPU acceleration across the board using OpenGL/OpenCL. This provides real-time color correction. There are plenty of refinements throughout, but if you are an Adobe user, you’ll note that Colorista IV has embraced Adobe’s panel technology. If you are comfortable with Premiere Pro’s Lumetri Color panel, you can now instead work with Colorista, in this exact same manner. I’ve dabbled a bit with all of these tools in various Avid, Apple, and Adobe hosts. While performance is good and certainly improved, you’ll have the best experience in Adobe After Effects and Premiere Pro. Another advantage you’ll have is Adobe’s built-in masking and tracking tools. Want to isolate someone’s face and track a Colorista correction to it during a moving shot? No problem, since the Adobe’s features augment any installed plug-in. As an editor, I like to do most of my work within the NLE, but honestly, if you want the best total experience, use these tools in After Effects. That’s where everything shines.

Looks

I won’t dive into each specific feature, since you can download a free trail version and see for yourself. Plus, you can reread my Magic Bullet Suite 12 review, as many of the main features are similar. But let me note a few items, starting with Looks. This is the grandaddy plug-in of the group, which actually runs as a mini sidebar application. Apply the plug-in, click the “edit” button, and your reference frame opens in the standalone Looks interface. It includes a wealth of tools that can be applied, reordered, and adjusted in near-infinite variations to get just the specific look you desire. There are three helpful features – grading head starts, the ability to save custom presets, and a looks browser. The browser offers a ton of custom presets with a small thumbnail for each. These are updated with the reference frame and as you hover over each, the main viewer window is updated to display that look, thanks to GPU acceleration. If you want to start from scratch, but not sure what the best tools are to use, that’s where the head starts come in. This section includes six starting points that include a series of correction tools in a preset order, but without any tweaks yet applied.

Colorista IV

Colorista IV is another tools that’s received a lot of attention in this build. I’ve already mentioned the panel, but something really unique is the built-in Guided Color Correction routine. This is designed to guide novice and even experienced editors and compositors through series of color correction steps in the right order. Colorista also gained temperature and tint controls, RGB point curves, log support, and LUTs. The addition of integrated LUTs fills a gap, because Red Giant’s separate LUT Buddy tool has been dropped from Suite 13.

Renoiser

The other tools have also gained added features, but let’s not forget the new Magic Bullet Renoiser 1.0. This is designed to give cinematic texture and grain to pristine video and CGI footage. It includes 16 stock presets ranging from 8mm to 35mm. These are labeled based on certain fanciful styles, like “Kung Fu Fighting” or “Classic 35mm”. Renoiser’s settings are completely customizable.

There’s a lot to like in this upgrade, but first and foremost for me was the overall zippier operation, thanks to GPU acceleration. If you use these tools a lot in your daily editing and compositing, then Magic Bullet Suite 13 will definitely be worth the update.

©2017 Oliver Peters

The Art of Motion Graphics Design

While many of us may be good directors, photographers, or editors, it’s not a given that we are also good graphic designers. Most editors certainly understand the mechanics and techniques of developing designs and visual effects composites, but that doesn’t by default include a tasteful sense of design. Combining just the right typeface with the proper balance within a frame can often be elusive, whereas it’s second nature to a professional graphic designer.

German motion designer and visual effects artist Timo Fecher aims to correct that, or at least expose a wider audience to the rules and tools that embody good design. Fecher has developed the Crossfeyer website promoting a free e-mail newsletter for online training. A key component of this is his free eBook Motion Graphics Design Academy – The Basics, which he is giving away to subscribers (free) for the balance of this year. His intent is then to publish the book next year for purchase.

I’ve had a chance to read through an advanced copy of the eBook. I find it to be an excellent primer for people who want to understand basic design principles.  The chapters cover animation, shapes, composition, typography, and more.

Feyer spells out his goals for the book this way, “The Motion Graphics Design Academy is for people who want to learn more about the basics of design, animation, and project design. It’s for newcomers, graphic designers who want to add a new dimension to their art, everyone dealing with digital image processing, and especially all kinds of filmmakers who want to improve their movies, trailers, title sequences, video clips, and commercials. The goal of the eBook is to give its readers a profound background knowledge about design and animation principles and to improve their artistic skills. Software and plug-ins are changing constantly. But all that theory about storytelling, animation, color, typefaces, composition and compositing will stay the same.”

Like any learning tool, it won’t automatically make you a great artist, but it will give you the guidelines to create appealing design that will enhance your next production.

©2017 Oliver Peters

A quarter-century for Premiere Pro

I don’t normally plug a manufacturer’s promotional marketing events, but this one seems especially noteworthy. At the end of last year, Adobe Premiere Pro hit its 25th anniversary. It launched in November 1991 as simply Premiere and has gone through numerous iterations – from Premiere to Premiere Pro, CS and now CC. Premiere Pro in all of its versions has always been a popular piece of software by the number of units in the field. However, it’s only been in recent years that this NLE has attracted the attention and respect of top tier editors. And along with that, a legion of editors who now consider it their “go to” editing application. So, this event seems too good not to pass along.

To commemorate this quarter-century milestone, Adobe is kicking off Premiere Pro’s 25th Anniversary today. Adobe is celebrating through a special contest with the help of Imagine Dragons. The Grammy-winning band has teamed up with Adobe to give fans and aspiring producers the chance to co-create a music video. In an industry first, Imagine Dragons is offering total access to the raw footage shot from their music video of Believer, which was posted on YouTube March 7. At this writing, it’s already garnered over seven million views.

Integrating these video clips, fans can cut their own version using Premiere Pro (and Creative Cloud) to enter Adobe’s Make the Cut contest. Entries will be judged by a panel of industry pros, including Angus Wall (Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl with the Dragon Tattoo), Kirk Baxter (The Curious Case of Benjamin ButtonThe Social Network, The Girl with the Dragon Tattoo, Gone Girl), Bill Fox (Straight Outta Compton, Hustle & FlowBand of Brothers), Matt Eastin (director for Believer), Vinnie Hobbs, an award-winning music video editor who has worked with Kendrick Lamar and Britney Spears, Imagine Dragons and Ann Lewnes (Adobe CMO).

The winner of the contest will claim a Grand Prize of $25,000. Adobe will also award bonus prizes of $1,000 each and a year-long Creative Cloud subscription in four special categories:

Fan Favorite: The most liked video by fans on the Adobe Creative Cloud Channel on YouTube.

Most Unexpected: No specific criteria, but knock their socks off.

Best Young Creator: The best up and coming editor under 25 years old.

Best Short Form: The most impressive video that’s 30-60 seconds long.

Finally, one special bonus prize of $2,500, a year-long subscription to Creative Cloud, and 25 Adobe Stock credits, will go to the cut with the best use of supplied Adobe Stock clips.

If you’re up for the challenge, head over to Adobe’s Make the Cut contest website for more details and to enter.

From the site: “Download exclusive, uncut music video footage and work with Adobe Premiere Pro CC to create your own edit of the video for their new hit song Believer. You’ll have 25 days to make your cut and show the world your editing chops—deadline is April 8th.” Good luck!

©2017 Oliver Peters

Digital Anarchy Samurai Sharpen

df0717_sam_1_sm

Editors often face the dilemma of dealing with less-than-perfect footage. Focus is the bane of this challenge, where you have the ideal shot, but the operator missed the optimal focus, leaving a useable, albeit soft, image. Editing and compositing apps offer a number of built-in and third-party sharpen and unsharp mask filters that can be employed as a fix. While you can’t really fix the focus issue, you can sharpen the image so that it is perceived by the viewer as being better in focus. All of these filters work on the concept of localized contrast. This means that any dark-to-light edge transition within the image is enhanced and contrast in that area is increased. The dark area is darkened and the brighter part enhanced. This creates a halo effect, which can become quite visible as you increase the amount of sharpening, but also quite obnoxious when you push the amount to its full range. A little bit improves the image – a lot creates an electric, stylized effect.

One of the better sharpening filters on the market is Digital Anarchy’s Samurai Sharpen, which is available for Apple Final Cut Pro X, Adobe Premiere Pro CC and After Effects CC. (According to their website, Avid and OpenFX plug-ins are in development and coming soon.) What makes Samurai Sharpen different is that it includes sophisticated masking in order to restrict the part of the image to be sharpened. For example, on a facial close-up, you can enhance the sharpness of eyes without also pushing the skin texture by an unflattering amount. Yet, you still have plenty of control to push the image into a “look”. For example, the photographic trend these days seems to be photos with an obvious over-sharpened look for dramatic appeal. If you want subtle or if you want to stylize the image, both are achievable with Samurai Sharpen.df0717_sam_2_sm

Click any of the example images to see an enlarged view. In these comparisons, pay attention to not only the eyes, but also lips and strands of hair, as these are also affected by sharpening. (Image courtesy of Blackmagic Design.)

df0717_sam_4_smThe effect controls are divided into three groups – Sharpen, Mask and Blend. The top three sharpen controls are similar to most other filters. Amount is self-explanatory, radius adjusts the size of the localized contrast halo, and edge mask strength controls the mask that determines what is or isn’t sharpened. The edge mask strength range markings might seem counter-intuitive, though. All the way to the left (0) means that you haven’t increased the mask strength, therefore, more of the image is being sharpened. In our facial close-up example, more texture (like the skin) and noise (background) would be sharpened. If you crank the slider all the way to the right (50), you have increased the mask strength, thus less of the image is being sharpened. For the face, this means the eyes and eyelashes are sharpened, but the skin stays smooth. The handy “show sharpening” toggle renders a quick hi-con image (mask) of the area being sharpened.

df0717_sam_3_smThe real power of Samurai Sharpen is in the Mask Group. You have two controls each for shadow and highlights, as well as an on/off toggle to enable shadow and/or highlight masking. These four sliders function like a curves control, enabling you to broaden or restrict the range of dark or light portions of the image that will be affected by the sharpening. Enabling and adjusting the shadow mask controls lets you eliminate darker background portions of the image from being sharpened. You don’t want these areas sharpened, because it would result in a noisier appearance. The mask can also be blurred in order to feather the fall-off between sharpened and unprocessed portions of the image. Finally, there’s a layer mask control in this group, which shows up a bit differently between the Adobe apps and FCPX. Essentially it allows you to use another source to define your sharpening mask.

df0717_sam_5_smThe last section is the Blend Group. This offers slider adjustments for the opacity of the shadow and highlight masks created in the Mask Group section. GPU acceleration results in an effect that is quick to apply and adjust, along with good playback performance.

While there are many free sharpening tools on the market, Digital Anarchy’s Samurai Sharpen is worth the extra for the quality and control it offers. Along with Beauty Box and Flicker Free, they offer a nice repertoire of image enhancement tools.

©2017 Oliver Peters