LumaFusion – an iOS NLE

As Apple’s iOS platform becomes more powerful, applications for it begin to rival the power and complexity of desktop software. LumaFusion is a recently introduced nonlinear video editing product from Luma Touch. Its founders created the Avid/Pinnacle/Corel iOS NLE, but LumaFusion takes a fresh approach. Luma Touch currently offers three iOS products: LumaClip (a single-clip editor), LumaFX (video effects for clips), and LumaFusion (a full-fledged NLE that integrates the features of the other two products). All three apps run under what Luma Touch dubs their Spry Engine, a framework for iOS video applications.

LumaFusion works on both the iPhone and iPad; however, the iPad version comes closest to a professional desktop experience. Ideally you’ll want one of the iPad Pros, but it runs perfectly fine on an iPad Air 2 with the A8X chip, which is what I used. I’ve tried other iOS NLEs, including Adobe Clip, iMovie, and TouchEdit, which have their pros and cons. For instance, iMovie doesn’t deal with fractional video frame rates and TouchEdit tries to mimic a flatbed film editor. This brings me to LumaFusion, which has been designed as a modern, professional-grade NLE for the iOS platform.

The iOS ecosystem

Like other iOS apps, that tie into the ecosystem, media can be imported from iTunes, Photos, and other third-party applications, like FiLMiC Pro. As a “pro” app, it understands various whole and fractional frame rates and sizes up to 3840 x 2160 (UHD 4K), depending on your device. However, for me, the interest is not in cutting things that I’ve shot with my iPad, but rather fitting it into an offline/online editing workflow. This means import and export are critical.

If you own an iPad Pro, then you can get an SD card reader as an accessory. With the card reader, only native DSLR movie clips will be imported into the Photos app, but not other file formats. Typically, you are going to transfer media using cloud syncing tools, like Dropbox, Box, OneDrive, etc. LumaFusion also includes a number of royalty-free music cuts, which can be accessed through its integrated media browser.

To use it as a rough-cut tool, simply create H.264 proxies on your desktop system and sync those to the iPad using Dropbox (or another cloud service). I created a test project of about 60 clips (720p, 6Mbps, 29.97fps) that only consumed 116MB of storage space. Therefore, even a free 2GB Dropbox account would be fine. Within LumaFusion, import the files from Dropbox and start editing.

LumaTouch will soon start beta testing LumaConnect – a macOS companion application designed to facilitate offline/online editing roundtrips. It will feature automatic iOS proxy creation and the ability to relink high-res media – as well as any iOS-captured content – back on your desktop computer. LumaConnect will also allow the rendering of projects as Apple ProRes files.

User interface and editing workflow

Overall, the interface design and editing model more closely approximates Apple Final Cut Pro X than any other NLE. The app’s design is built around a media pool with various editing projects (sequences). This is a similar approach to FCPX 10.0, which had separate Events (bins) and Projects (sequences), but no combined Libraries. It’s almost like FCPX “Lite” for iOS.

There are three main windows: media browser, timeline, and a single, combo viewer. It uses fly-out panels for tools and mode changes to access clip editing and effects modules. These modules are, in fact, LumaClip and LumaFX integrated into LumaFusion. The timeline is “magnetic”, much like FCPX. Clip construction on the timeline also follows the layout of primary and connected clips, rather than discrete target tracks. A total of three integrated audio/video clips can be stacked vertically, along with another three audio-only clips, for a total of six audio “tracks”. Audio can be adjusted through a fly-out track mixer. LumaFusion includes four clip editing tools: speed and reverse, frame fit, color effects, and audio editing. In addition, there’s a multi-layered title tool, along with a number of customizable title templates to choose from. Clip-based volume and video effect adjustments can be keyframed.

Effects are pretty sophisticated and would often be GPU-accelerated on a desktop system. These include color correction, blurs, transforms, transitions, and more. You can stack a number of these onto a single clip without any impact on playback. The effects priority can be rearranged and the interface also provides an indication of how many resources you are tying up on the iPad.

The editing experience

Serious video editing on an iPad isn’t for everyone, but the more I worked with it, the more I enjoyed the experience. If you have an iPad-compatible keyboard, it follows some generic commands, including JKL playback and I and O for mark-in and mark-out. There are also a few FCPX keystrokes, like W for insert/overwrite (depending on which edit mode is selected). Unfortunately J (reverse playback) only works in the clip viewer, but not in the timeline. I’d love to see a more extensive keyboard command set. Naturally, being an iOS app, everything can be accessed via touch, which is best (though not essential) if you have the Apple Pencil for the iPad Pro.

There are a few standard editing functions that I missed. For example, there’s no “rolling-edit” trim function. If you want to move a cut point – equally trimming the left and right sides – you have to do it in the overwrite edit mode and trim the incoming or outgoing side of one of the clips. But, if you trim it back, a gap is left. J-cuts and L-cuts require that you detach the audio from the clip, as there is no way to expand an a/v clip in the timeline.

It is definitely possible to finish and export a polished piece from LumaFusion. You can also export an audio-only mix. This enables you to embellish your audio track outside of LumaFusion and then reimport and marry it to the picture for the final version. Because you can layer vertical tracks, cutting a two-camera interview piece on your iPad is pretty easy. Rough-cutting a first pass or pulling edited selects on an iPad becomes completely viable with LumaFusion.

Sharing your edit

Once you’ve edited your piece, it’s easy to share (export) your final sequence as a single audio/video file, audio-only file, project (currently only compatible with LumaFusion), or trimmed media. Be aware that there’s a disconnect between the frame rate terminology for settings versus exports. For example, with project settings, you can pick 24 or 30, which are actually 23.98 or 29.97; however, on export, you must pick between 24 and 23.98 or 30 and 29.97. Nevertheless, exports up to UHD frame sizes are fine, including downscaled sizes, if needed. So, you can import and cut in UHD and export a 1080 file. A flattened H.264 movie file of your sequence – wrapped in either an .mp4 or QuickTime .mov container – may be exported at up to 50Mbps (1080p) or 100Mbps (UHD).

If your intension is to use LumaFusion for “offline” editing, then for now, your only option is to embed “burn-in” timecode into the media that you send to the iPad. Then manually write down edit points based on the visible timecode at the cuts. The upcoming LumaConnect macOS application will make it possible to send projects to both Final Cut Pro X and Premiere Pro via XML. According to Luma Touch, they will also be adding XML export from LumaFusion as an in-app purchase, most likely before the release of LumaConnect.

Using an iPad or iPad Pro as your only computer isn’t for everyone, but LumaFusion is definitely a tool that brings iOS editing closer to the desktop experience. To get you started, the company has posted over 30 short tutorials on their YouTube channel. Sure, there are compromises, but not as many as you might think for simple projects. Even if an iPad is only a supplemental tool, then like so many other iOS apps, LumaFusion is another way to add efficiency in the modern, mobile world.

Originally written for RedShark News.

©2017 Oliver Peters

Spice with Templates

One way in which Apple’s Final Cut Pro X has altered editing styles is through the use of effects built as Motion templates, using the common engine shared with Apple Motion. There are a number of developers marketing effects templates, but the biggest batch can be found at the Fxfactory website. A regular development partner is idustrial Revolution, the brainchild of editor (and owner of FCP.co) Peter Wiggins. Wiggins offers a number of different effects packages, but the group marketed under the XEffects brand includes various templates that are designed to take the drudgery out of post, more so than just being eye-catching visual effects plug-ins.

XEffects includes several packages designed to be compatible with the look of certain styles of production, such as news, sports, and social media. These packages are only for FCP X and come with modifiable, preset moves, so you don’t have to build complex title and video moves through a lot of keyframe building. The latest is XEffects Viral Video, which is a set of moves, text, and banners that fit in with the style used today for trendy videos. The basic gist of these effects covers sliding or moving banners with titles and templates that have been created to conform to both 16:9 and square video projects. In addition, there are a set of plug-ins to create simple automatic moves on images, which is helpful in animating still photos. Naturally several title templates can be used together to create a stacked graphic design.

Another company addressing this market is Rampant Design Tools with a series of effects templates for both Apple Final Cut X and Adobe Premiere Pro CC. Their Premiere Pro templates include both effects presets and template projects. The effects presets can be imported into Premiere and become part of your arsenal of presets. For example, if you what to have text slide in from the side, blurred, and then resolve itself when it comes to rest – there’s a preset for that. Since these are presets, they are lightweight, as no extra media is involved.

The true templates are actually separate Premiere Pro template projects. Typically these are very complex, layered, and nested timelines that allow you to create very complex effects without the use of traditional plug-ins. These projects are designed to easily guide you where to place your video, so no real compositing knowledge is needed. Rampant has done the hard part for you. As with any Premiere Pro project, you can import the final effects sequence into your active project, so there’s no need to touch the template project itself. However, these template projects do include media and aren’t as lightweight as the presets, so be mindful of your available hard drive space.

For Final Cut Pro X, Rampant has done much the same, creating both a set of installable Motion template effects, like vignette or grain, as well as more complex FCP X Libraries designed for easy and automatic use. As with the Premiere products, some of these Libraries contain media and are larger than others, so be mindful of your space.

Both of these approaches offer new options in the effects market. These developers give you plug-in style effects without actually coding a specific plug-in. This makes for faster development and less concern that a host application version change will break the plug-in. As with any of these new breed of effects, the cost is much lower than in the past and effects can be purchase a la carte, which enables you to tailor your editor’s tool bag to your immediate needs.

©2017 Oliver Peters

Blackmagic Design DaVinci Resolve Panels

I started my editing career in the era of linear editing suites, where dedicated control panels ruled. CMX keyboards, Grass Valley switchers, ADOs – you name it. These enabled operational speed and experienced editors could drive these rooms like a virtuoso pianist. Much of that dexterity has been lost, thanks to the ubiquity of software-based user interfaces for applications running on general purpose computers and controlled by a mouse. But Grant Petty and Blackmagic Design have set out to change that. At the beginning of March, he introduced two new color correction control panels as companion tools to the company’s DaVinci Resolve editing and grading solution. According to Petty more people are using Resolve to edit than to color correct. By introducing these new panels, he hopes to get more of these users involved in the color correction side of Resolve.

Blackmagic Design now offers three DaVinci Resolve panels: Advanced ($29,995), Mini ($2,995) and Micro ($995). Obviously, the Advanced panel is for serious, dedicated color correction facilities with the traffic to support that investment. It’s a large, three-module console with four trackball/ring controls in the center section. The Mini and Micro panels are designed to be more portable than the Advanced panel. The Mini is essentially a three-trackball subset of the center section of the larger panel. The Micro is the trackball section of the Mini, without the Mini’s tilted backplane. If you are an editor who uses Resolve for color correction, but that’s less than 50% of your workload, then the Micro is probably the right panel for you. If you color correct more than 50%, then the Mini is the better bet. However, these panels are designed for more than just editors. If you work as a DIT (digital imaging technician) in the field or on-set, you most likely use Resolve, making these panels the perfect addition to your toolkit.

Taking the Mini for a spin

Blackmagic Design loaned me a Resolve Mini panel for about two weeks for this review. I have to say, it was love at first sight. These panels continue with Blackmagic’s modern industrial design style. This has earned them an international Design Team of the Year award from the Red Dot Awards last year. The Mini panel is a well-constructed metal console with precision trackballs, rings, knobs and buttons. (The panel also uses some high-impact plastic in its construction.) With packaging, it weighs 24 pounds, thus it’s more “transportable” than portable. If you want something to toss into a gig bag, then the Micro would be the panel to buy. The Mini is better for facility use; however, it’s easy enough to move between rooms as needed.

The smaller Micro is bus-powered over USB, but the Mini includes several connection and power options. Communications can be over ethernet or USB/USB-C. Power options include standard AC wall power, 12 volt 4-pin, or ethernet PoE. Like other Blackmagic Design products, you have to supply your own power chord, but the Mini does include a USB-to-USB-C adapter chord. To run the panel, you need to install Resolve Studio (paid) or Resolve (free), version 12.5.5 or later. And yes, these panels only work with Resolve. Connection is drop-dead easy. Just power it up and plug in the USB cable to any available USB port on your computer (or looped off of a connected device, like a monitor). Then select the panel in Resolve’s preferences. This ease of installation is refreshing, without any of the finickiness of other protocols, like EUCON. The one downside for editors is that this panel only controls the color mode of Resolve. There are no dedicated controls for editing, importing or exporting. So you won’t be able to shed the keyboard and mouse completely.

Everything at your fingertips

The main section of the panel includes three trackballs for hue control and rings for luminance control. Generally these correspond to shadow, mids and highlight ranges of the image. Across the top of this flat section are twelve knobs for additional color controls. Push in the knobs to reset their adjusted values. On the right are buttons to move through nodes, clips and stills, along with play/stop buttons. The slanted backplane of the Mini panel features two five-inch, high-resolution LCD menu/control displays, fifteen buttons on either side, eight soft keys across the top, and eight knobs under the displays. The buttons on the left select the portion of the interface that you need to deal with, like primary correction, tracking, sizing, blurs, etc. The buttons on the right are to add nodes, copy and paste, move through stills and keyframes, and toggle the computer display to a full screen viewer.

Resolve’s primary color correction window is pretty deep, requiring paging through different sections of the control window, such as primary bars, primary wheels, log, raw and more. There’s actually a fourth control wheel for offset in addition to lows, mids and highs. Much of this is exposed to the panel. For example, you can use the knobs to adjust the primary bars, while also moving the trackballs, which would normally adjust the primary wheels. Across the bottom of Resolve’s primary window are additional controls for contrast, saturation and more, which spread across two pages of that interface window. These controls are all active on the Mini by using the twelve knobs located above the trackballs. In some cases, you’ll need to change the part of the interface that appears on the two LCDs. This is enabled by the two arrow keys in the upper left corner of the panel. However, switching pages on the panel is required less often than when you only use the mouse with the interface.

The offset function (the fourth primary wheel and fourth trackball on the Advanced panel) can be accessed by selecting the offset key located above the middle trackball. In that mode, the left ring controls temperature, middle ring controls tint and right ring controls level. The right trackball controls color balance.

Resolve is built around controls that may or may not be present in other applications. For example, it is designed as a YRGB system, meaning you can gang level and color controls, but can also correct Y (luminance) lift/gamma/gain levels independent of color (RGB). In addition to standard three-wheel color corrections, you also have contrast/pivot control, as well as some photographic-style enhancements. These include color boost (like a vibrance control), mid detail (softens or sharpens the image), plus blurs. In you are using Resolve Studio, then temporal noise reduction is active. From what I can tell, this is the only control not active when using the panel with the free version of Resolve.

Resolve uses an elaborate curves system, which you would think would be difficult to implement with knobs and buttons. However, Blackmagic has done a wonderful job. The normal curve levels (ganged or independent channels) can be adjusted by six of the knobs under the LCD displays. These work at preset intervals of 0, 20, 40, 60, 80 and 100% along the curve path from dark to light. If you use hue curves, you start with one of six preset colors selected from the panel. Then an “input hue” knob lets you change the selected color left or right within its hue range, based on the last color knob selected. Custom curves also offer a YSFX tool. This is an adjustment to shrink and even invert the curve range. The extreme opposite setting results in a negative image.

There are plenty of other tools. Resolve has a powerful point-cloud tracker, which can also be accessed from the Mini. One handy feature is the ability to automatically add a node with a preset box or circle window. Once applied, then you adjust the window. Although you can step through keyframes, it still requires the mouse to add or delete keyframes. You also have to delete nodes via mouse and not from the panel. Some keys, like FX and User are available for future expansion.

In practice

I spent about a week with the panel, working on and off with some test projects. Needless to say, I enjoyed the process, but there are a few things I wish were different.  The Mini panel is really designed for full-time color grading. If you have a desk layout for editing, then there probably isn’t enough extra space to situate the Mini is an optimal location. For instance, if you wanted to place the panel between your keyboard and display, then the Micro would be a better option. There is no power switch, so the panel is always on. Fortunately, it’s fan-less and quiet, even when on. There are no illumination controls for the displays or the backlit keys. That’s fine in a normally lit room, but might be too bright for some, if you keep the light level very low in the suite.

I’d like to see more versatile transport control. Resolve supports faster-than-real-time playback and scrubbing, but the control panel only gives you 1X play in the forward or reverse directions. It would be nice to have better transport control from the panel. Resolve functions, like adding LUTs, can’t be handled from the panel. The controls to select HSL qualifiers for secondary color correction include eyedroppers, but you still need to use the mouse to graphically pick the right area of the screen. It would be nice if you could do this with the trackball. These are minor points and by no means deal breakers.

A dedicated color correction panel will not only make you a faster colorist – it will also make you a better one. More controls are front and center, which means you are likely to discover and use processes that you would otherwise miss if you simply relied on the mouse or a pen and tablet. You have two hands to control the panel. As with any other tactile task, such as audio mixing with a mixing board, your hands will soon know instinctively what to adjust without having to look at the panel. You can stay more focused on your video display and the scopes. Grading is not only faster, but it’s more intuitive.

Some are going to baulk at the price, no matter how reasonable these portable panels are. To place that into context, at $2,995, the Mini is still less expensive than a decked out Mac Pro or MacBook Pro, which might be your main editing/grading workstation. Plus they work with the free version of Resolve. So if color correction is part of your business model and Resolve is your color correction tool of choice, then either of these two DaVinci Resolve panels is easily justified. The more I’ve been using the Resolve Mini, the more I like it. It’s the Porsche of small grading control panels – solid, stylish and powerful.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

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. When 3D is enabled, the pinned object will scale in size as the tracked object gets larger in the frame. UPDATE: I had posted earlier that the foreground video seemed to only work with static images, like graphic logos, but that was incorrect. The good folks at CrumplePop pointed me to one of their tutorials. The trick is that you first have to make a compound clip of the foreground clip and then it works fine with a moving foreground and background image.

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

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

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!

EDIT: The contest has closed and you can vote for a fan favorite among the Top 25 Finalists here.

©2017 Oliver Peters

Digital Anarchy Samurai Sharpen

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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