BorisFX BCC 10


Boris Continuum Complete (BCC) by BorisFX is the epitome of the term “Swiss Army knife” when it comes to talking about plug-ins. Most editors will pick this package over others, if they can only have one toolkit to cover a diverse range of picture enhancements. In the past year, BorisFX has upgraded this toolkit with new effects, expanded to add more NLE hosts, and integrated mocha’s Academy Award-winning planar tracking technology after the acquisition of Imagineer Systems. This set of plug-ins is now up to version BCC10. BorisFX has not only added new effects to BCC10, but also expanded its licensing options to include multi-host and subscription options.

Since many users now work with several NLEs, multi-host licensing makes a lot of sense. One purchase with a single serial number covers the installation for each of the various applications. There are two multi-host license versions: one for Avid/Adobe/Apple/OFX and the second that doesn’t include Avid. OFX licensing covers the installation for Blackmagic Design DaVinci Resolve, as well as Sony Vegas Pro for PC users.

What’s new in BCC10

df3216_bcc10_10Boris Continuum Complete version 10 includes over 230 effects within 16 different categories, like 3D Objects, Art Looks, Particles, Perspective and more. Each effect comes with numerous presets for a total of over 2,500 presets in all. There are plenty of new tools in BCC10, but the biggest news is that each effect filter integrates mocha planar tracking. BorisFX has always included Pixel Chooser as a way of masking objects. Now each filter also lets you launch the mocha interface right from inside the plug-in’s effect control panel. For example, if you are applying skin smoothing to only your talent’s forehead using the new BCC Beauty Studio, simply launch mocha, create a mask for the forehead and track the talent’s movement within the shot. The mask and track are saved within the plug-in, so you can instantly see the results.

df3216_bcc10_05A second big change is the addition and integration of the FX Browser. Each plug-in effect lets you launch the FX Browser interface to display how each of the various presets for that effect would look when applied to the selected clip. You can preview the whole clip, not just a thumbnail. FX Browser is also a standalone effect that can be applied to the clip. When you use it that way, then all presets for all filters can be previewed. While FX Browser has been implemented in past versions in some of the hosts, this is the first time that it’s become an integrated part of the BCC package across all NLEs.

df3216_bcc10_02BCC10 includes two new “studio” tools, as well as a number of new individual effects. BCC Beauty Studio is a set of tools in a single filter targeted at image retouching, especially the skin texture of talent. Photographers retouch “glamor” shots to reduce or remove blemishes, so Photoshop-style retouching is almost expected these days. This is the digital video equivalent. As with most skin smoothing filters, BCC Beauty Studio uses skin keying algorithms to isolate skin colors. It then blurs skin texture, but also lets the editor adjust contrast, color correction, and even add a subtle glow to image highlights. Of course, as I mentioned above, mocha masking and tracking is integrated for the ultimate control in where and how the effect is applied.

The second new, complex filter is BCC Title Studio. This is an integrated 3D titling tool that can be used based on templates within the effects browser or by launching the separate Title Studio interface. Editors familiar with BorisFX products will recognize this titling interface as essentially Boris RED right inside of their NLE. Not only can you create titles, but also more advanced motion graphics. You can even import objects, EPS and image files for 3D effects, including the addition of materials and shading. As with other BorisFX tilting tools, you can animate text on and off the screen.

df3216_bcc10_03In addition to these two large plug-ins, BCC10 also gained nine new filters and transitions. These include BCC Remover (fills in missing pixels or removes objects using cloning) and BCC Drop-out Fixer (restores damaged footage). For the folks who have to deal with a lot of 4×3 content and vertical cell phone footage, there’s BCC Reframer. Unlike the usual approach where the same image is stretched and blurred behind the vertical shot, this filter includes options to stylize the foreground and background.

df3216_bcc10_11The trend these days is to embrace image “defects” as a creative effect, so two of the new filters are BCC Light Leaks and BCC Video Glitch. Each adds organic, distressed effects, like in-camera light contamination and corrupted digital video artifacts. To go along with this, there are also four new transitions, including a BCC Light Leaks Dissolve, Cross Glitch, Cross Zoom and Cross Melt. Of these, the light leaks, glitch and zoom transitions are about what you’d expect from the name, however, the melt transition seems rather unique. In addition to the underlying dissolve between two images, there are a variety of effects options that can be applied as part of this transition. Many of these are glass, plastic, prism or streak effects, which add an interesting twist to this style of transition.

In use

df3216_bcc10_04The new BCC10 package works within the established hosts much like it always has, so no surprises there. The Boris Continuum Complete package used to come bundled with Avid Media Composer, but unfortunately that’s no longer the case. Avid editors who want the full BCC set have to purchase it. As with most plug-ins, After Effects is generally the best host when adjustment and manipulation of effects are required.

df3216_bcc10_09A new NLE to consider is DaVinci Resolve. Many are testing the waters to see if Resolve could become their NLE of choice. Blackmagic Design introduced Resolve 12.5 with even more focus on its editing toolset, including new, built-in effect filters and transitions. In my testing, BCC10 works reasonably well with Resolve 12.5 once you get used to where the effects are. Resolve uses a modal design with editing and color correction split into separate modes or pages. BCC10 transition effects only show up in the OFX library of the edit page. For filter effects, which are applied to the whole clip, you have to go to the color page. During the color correction process you may add any filter effect, but it has to be applied to a node. If you apply more than one filter, you have to add a new node for each filter. With the initial release of BCC10, mocha did not work within Resolve. If you tried to launch it, a message came up that this functionality would be added at a later time. In May, BorisFX released BCC10.2, which included mocha for both Resolve 12.5 and Vegas Pro. To use the BCC10 effects with Resolve 12.5 you need the paid Studio version and not the free version of Resolve.

df3216_bcc10_07BorisFX BCC10 is definitely a solid update, with new features, mocha integration and better GPU-based performance. It runs best in After Effects CC, Premiere Pro CC and Avid Media Composer. The built-in effects tools are pretty good in After Effects, Final Cut Pro X and Resolve 12.5 – meaning you might get by without needing what BCC10 has to offer. On the other hand, they are unfortunately very mediocre in Premiere Pro or Media Composer. If one of those is your editing axe, then BCC10 becomes an essential purchase, if you want to improve the capabilities of your editing application. Regardless of which tool you use, BCC10 will give you more options to stretch your creativity.

df3216_bcc10_08On a related note, at IBC 2016 in Amsterdam, BorisFX announced the acquisition of GenArts. This means that the Sapphire effects are now housed under the BorisFX umbrella, which could make for some interesting bundling options in the future. As with their integration of mocha tracking into the BCC effects, future versions of BCC and/or Sapphire might also see a sharing of compatible technologies across these two effects families. Stay tuned.

Originally written for Digital Video magazine / Creative Planet Network

©2016 Oliver Peters

The wait is over – FCP X 10.3

df3116_fcpx1003_1_smAmidst the hoopla on Oct. 27th, when Apple introduced the new MacBook Pro with Touch Bar, the ProApps team also released updates to Final Cut Pro X, Motion and Compressor. This was great news for fans, since Final Cut got a prime showcase slot in the event’s main stage presentation. Despite the point numbering, the bump from 10.2 to 10.3 is a full version change, just like in macOS, where 10.11 (El Capitan) to 10.12 (Sierra) is also a new version. This makes FCP X 10.3 the fourth iteration in the FCP X line and the eleventh under the Final Cut Pro brand. I’m a bit surprised that Apple didn’t drop the “X” from the name, though, seeing as it’s done that with macOS itself. And speaking of operating systems, this release requires 10.11.4 (El Capitan) or higher (Sierra).

If you already purchased the application in the past, then this update will be a free upgrade for you. There are numerous enhancements, but three features stand out among the changes: the new interface, the expanded use of roles for mixing, and support for a wider color gamut.

A new look for the user interface

The new user interface is darker and flatter. Although for my taste, it’s a bit too dark without any brightness sliders to customize the appearance. The dimensional style is gone, putting Final Cut Pro X in line with the aesthetics of iMovie and other Apple applications. Final Cut Pro X was already out of step with design trends at the time it was first released. Reskinning the application with this new appearance brings it in line with the rest of the design industry.

The engineers have added workspaces and rearranged where certain controls are, though generally, panels are in the same places as before. Workspaces can be customized, but not nearly to the level of Adobe’s Premiere Pro CC. The most welcomed of these changes is that the inspector pane can be toggled to full height when needed. In reality, the inspector height isn’t changed. It’s the width of the timeline that changes and toggles between covering and revealing the full inspector panel.

There are other minor changes throughout 10.3, which make it a much better application. For example, if you like to work with a source/record, 2-up viewer display, then 10.3 now allows you to play a source clip from inside the event viewer.

Magnetic Timeline 2 and the expansion of roles

df3116_fcpx1003_2Apple did a lot of work to rejigger the way the timeline works and to expand the functionality of roles. It’s even being marketed as Magnetic Timeline 2. Up until now, the use of roles in Final Cut has been optional. With 10.3, it’s become the primary way to mix and organize connected clips within the timeline. Apple has resisted adding a true mixing panel, instead substituting the concept of audio lanes.

Let’s say that you assign the roles of dialogue, music or effects to your timeline audio clips. The timeline index panel lets you organize these clips into groups according to their assigned roles, which Apple calls audio lanes. If you click “show audio lanes”, the various connected clips rearrange vertical position in the timeline window to be grouped into their corresponding lanes, based on roles. Now you have three lanes of grouped clips: dialogue, effects, music. You can change timeline focus to individual roles – such as only dialogue – which will minimize the size of all the other roles (clips) in the window. These groups or lanes can also be soloed, so you just hear dialogue without the rest, for example.

There is no submix bus to globally control or filter groups of clips, like you have in Premiere Pro or most digital audio applications. The solution in FCP X 10.3 is to select all clips of the same role and create a compound clip. (Other NLEs refer to this as “nesting”.) By doing so, all of the dialogue, effects and music clips appear on the timeline as only three compound clips – one for each role. You can then apply audio filters or adjust the overall level of that role by applying them to the compound clip.

Unfortunately, if you have to go back and make adjustments to an individual clip, you’ll have to open up the compound clip in its own timeline. When you do that, you lose the context of the other clips. For example, tweaking a sound effect clip inside its compound clip, means that you would only hear the other surrounding effect clips, without dialogue and music or seeing the video. In addition, you won’t hear the result of filters or volume changes made at the top level of that compound clip. Nevertheless, it’s not as complex as it sounds and this is a viable solution, given the design approach Apple engineers have taken.

df3116_fcpx1003_3It does surprise me that they ended up with this solution, because it’s a very modal way of operating. This would seem to be an anathema to the intent of much of the rest of FCP X’s design. One has to wonder whether or not they’ve become boxed in my their own architecture. Naturally others will counter that this process is simplified due to the lack of track patching and submix matrices.

Wide color

The industry at large is embracing color standards that enable displays to reproduce more of the color spectrum, which the human eye can see. An under-the-hood change with FCP X is the embrace of wide gamut color. I think that calling it “wide color” dumbs down the actual standards, but I guess Apple wants to keep things in plain language. In any case, the interface is pretty clear on the actual specs.

Libraries can be set up for “standard color” (Rec. 601 for SD and Rec. 709 for HD) or “wide color” (Rec. 2020). The Projects (sequences) that you create within a Library can be either, as long as the Library was initially set up for wide gamut. You can also change the setting for a Project after the fact. Newer cameras that record in raw or log color space, like RED or ARRI models, are perfectly compatible with wide color (Rec. 2020) delivery, thanks to post-production color grading techniques. That is where this change comes into play.

For the most part you won’t see much difference in normal work, unless you really crank up the saturation. If you do this in the wide color gamut mode, you can get pretty extreme and the scopes will display an acceptable signal. However, if you then switch the Project setting to standard color, the high chroma areas will change to a somewhat duller appearance in the viewer and the scopes will show signal clipping. Most current television display systems don’t display wide gamut color, yet, so it’s not something most users need to worry about today. This is Apple’s way of future-proofing Final Cut and to pass the cleanest possible signal through the system.

A few more things

df3116_fcpx1003_4Numerous other useful tools were added in this version. For example, Flow – a morphing dissolve – for use in bridging jump cuts. Unlike Avid’s or Adobe’s variations, this transition works in real-time without analysis or rendering. This is because it morphs between two still frames. Each company’s approach has a slightly different appearance, but Flow definitely looks like an effect that will get a lot of use – especially with interview-driven productions. Other timeline enhancements include the ability to easily add and toggle audio fades. There’s simplified top and tail trimming. Now you can remove attributes and you can roll (trim) between adjacent, connected clips. Finally – a biggie for shared storage users – FCP X can now work with NAS systems that use the SMB protocol.

Working with it for over a week at the time I post this, the application has been quite stable, even on a production with over 2,000 4K clips. I wouldn’t recommend upgrading if you are in the middle of a production. The upgraded Libraries I tested did exhibit some flakiness, which weren’t there in freshly created Libraries. There’s also a technique to keep both 10.2 and 10.3 active on the same computer. Definitely trash your preferences before diving in.

So far, the plug-ins and Motion templates still work, but you’ll definitely need to check whether these vendors have issued updates designed for this release. This also goes for the third-party apps, like those from Intelligent Assistance, because 10.3 adds a new version of FCPXML. Both Intelligent Assistance and Blackmagic Design issued updates (for Resolve and Desktop Video) by the next day.

There are a few user interface bugs, but no show-stoppers. For instance, the application doesn’t appear to hold its last state upon close, especially when more than one Library is open. When you open it again the next time, the wrong Library may be selected or the wrong Project loaded in the timeline. It occasionally loses focus on the pane selected. This is an old bug that was there in previous versions. You are working in the timeline and all of a sudden nothing happens, because the application “forgot” which pane it’s supposed to have focus on. Clicking command-1 seems to fix this. Lastly, the audio meters window doesn’t work properly. If you resize it to be slimmer, the next time you launch FCP X, the meters panel is large again. That’s even if you updated the workspace with this smaller width. And then sometimes they don’t display audio until you close and reopen the audio meters window.

In this round of testing, I’ve had to move around Libraries with external media to different storage volumes. This requires media relinking. While it was ultimately successful, the time needed to relink was considerably longer than doing this same task in other NLEs.

My test units are all connected to Blackmagic Design i/o hardware, which seems to retard performance a bit. With a/v output turned off within the FCP X interface, clips play right away without stuttering when I hit the spacebar. With the a/v output on, I randomly get stuttering on clips when they start to play. It’s only a minor nuisance, so I just turn it off until I need to see the image on an external monitor. I’ve been told that AJA hardware performs better with FCP X, but I haven’t had a chance to test this myself. In any case, I don’t see this issue when running the same media through Premiere Pro on the exact same computer, storage and i/o hardware.

Final Cut Pro X 10.3 will definitely please most of its fans. There’s a lot of substance and improvement to be appreciated. It also feels like it’s performing better, but I haven’t had enough time with a real project yet to fully test that. Of course, the users who probe a bit deeper will point to plenty of items that are still missing (and available in products like Premiere Pro), such as better media relinking, more versatile replace edit functions and batch exporting.

For editors who’ve only given it a cursory look in the past or were swayed by the negative social media and press over the past five years, this would be the version to re-evaluate. Every new or improved item is targeted at the professional editor. Maybe it’s changed enough to dive in. On the other hand, if you’re an editor who’s given FCP X a fair and educated assessment and just not found it to your liking or suitable for your needs, then I doubt 10.3 will temp you. Regardless, this gives fans some reassurance about Apple’s commitment to professional users of their software – at least for another five years.

If you have the time, there are plenty of great tips here at the virtual Final Cut User Group.

The new Final Cut Pro X 10.3 user manual can be found here.

Click here for additional links highlighting features in this update.

Originally written for Digital Video magazine / Creative Planet Network

©2016 Oliver Peters

Tools for Dealing with Media


Although most editing application manufacturers like to tout how you can just go from camera to edit with native media, most editors know that’s a pretty frustrating way to work. The norm these days is for the production team to use a whole potpourri of professional and prosumer cameras, so it’s really up to the editor to straighten this out before the edit begins. Granted a DIT could do all of this, but in my experience, the person being called a DIT is generally just someone who copies/backs-up the camera cards onto hard drives to bring back from the shoot. As an editor you are most likely to receive a drive with organized copies of the camera media cards, but still with the media in its native form.

Native media is fine when you are talking about ARRI ALEXA, Canon C300 or even RED files. It is not fine when coming from a Canon 5D, DJI, iPhone, Sony A7S, etc. The reason is that these systems record long-GOP media without valid timecode. Most do not generate unique file names. In some cases, there is no proper timebase within the files, so time itself is “rubbery” – meaning, a frame of time varies slightly in true duration from one frame to the next.

If you remove the A7S .mp4 files from within the clutter of media card folders and take these files straight into an NLE, you will get varying results. There is a signal interpreted as timecode by some tools, but not by others. Final Cut Pro X starts all of these clips at 00:00:00:00, while Premiere Pro and Resolve read something that is interpreted as timecode, which ascends sequentially on successive clips. Finally, these cameras have no way to deal with off-speed recordings. For example, if a higher frame rate is recorded with the intent to play it back in slow motion. You can do that with a high-end camera, but not these prosumer products. So I’ve come to rely on several software products heavily in these types of productions.

Step 1 : Hedge for Mac

df3016_media_2The first step in any editing is to get the media from the field drives onto the edit system drives. Hopefully your company’s SOP is to archive this media from the field in addition to any that comes out of the edit. However, you don’t want to edit directly from these drives. When you do a Finder copy from one drive to the next there is no checksum verification. In other words, the software doesn’t actually check to make sure the copy is exact without errors. This is the biggest plus for an application like Hedge – copy AND verification.

Hedge comes in a free and a paid version. The free version is useful, but copy and verify is slower than the paid version. The premium (paid) version uses a software component that they call Fast Lane to speed up the verification process so that it takes roughly the same amount of time as a Finder copy, which has no verification. To give you an idea, I copied a 62GB folder from a USB2.0 thumb drive to an external media drive connected to my Mac via eSATA (through an internal card). The process took under 30 minutes for a copy through Hedge (paid version) – about the same as it took for a Finder copy. Using the free version takes about twice as long, so there’s a real advantage to buying the premium version of the application. In addition, the premium version works with NAS and RAID systems.

The interface is super simple. Sources and targets are drag-and-drop. You can specify folders within the drives, so it’s not just a root-level, drive-to-drive copy. Multiple targets and even multiple sources can be specified within the same batch. This is great for creating a master as well as several back-up copies. Finally, Hedge generates a transfer log for written evidence of the copies and verification performed.

Step 2 : EditReady

df3016_media_3Now that you have your media copies, it’s time to process the prosumer camera media into something more edit-friendly. Since the camera-original files are being archived, I don’t generally save both the original and converted files on my edit system. For all intents and purposes, the new, processed files become my camera media. I’ve used tools like MPEG Streamclip in the past. That still works well, but EditReady from Divergent Media is better. It reads many media formats that other players don’t and it does a great job writing ProRes media. It will do other formats, too, but ProRes is usually the best format for projects that I work with.

One nice benefit of EditReady is that it offers additional processing functions. For example, if you want to bake in a LUT to the transcoded files, there’s a function for that. If you shot at 29.97, but want the files to play at 23.976 inside you NLE, EditReady enables you to retime the files accordingly. Since Divergent Media also makes ScopeBox, you can get a bundle with both EditReady and ScopeBox. Through a software conduit called ScopeLink, clips from the EditReady player show up in the ScopeBox viewer and its scopes, so you can make technical evaluations right within the EditReady environment.

EditReady uses a drag-and-drop interface that allows you to set up a batch for processing. If you have more that one target location or process chain, simply open up additional windows for each batch that you’d like to set up. Once these are fired off, all process will run simultaneously. The best part is that these conversions are fast, resulting in reliable transcoded media in an edit-friendly format.

Step 3: Better Rename

df3016_media_4The last step for me is usually to rename the file names. I won’t do this with formats like ALEXA ProRes or RED, but it’s essential for 5D, DJI and other similar cameras. That’s because these camera normally don’t generate unique file names. After all, you don’t want a bunch of clips that are named C0001 with a starting timecode of 00:00:00:00 – do you?

While there are a number of batch renaming applications and even Automator scripts that you can create, my preferred application is Better Rename, which is available in the Mac App Store. It has a host of functions to change names, add numbered sequences and append a text prefix or suffix to a name. The latter option is usually the best choice. Typically I’ll drag my camera files from each group into the interface and append a prefix that adds a camera card identifier and a date to the clip name. So C0001 becomes A01_102916_C0001. A clip from the second card would change from C0001 to A02_102916_C0001. It’s doubtful that the A camera would shoot more than 99 cards in a day, but if so, you can adjust your naming scheme accordingly.

There you go. Three simple steps to bulletproof how you work with media.

©2016 Oliver Peters

Red Giant Trapcode Suite 13


After Effects artists who are called upon to design a lot of shots that involve sci-fi effects, particles, user interface overlays, as well as shots with sparks, light rays, and sparkles have come to rely on Trapcode as their go-to plug-in set. The newest version, available from Red Giant, is Trapcode Suite 13. This package includes 11 different effects, which encompass a range of particle and volumetric lighting effects.

If you install the suite, all 11 Trapcode effects will show up in After Effects CC. These include Particular, Form, Tao, Mir, Shine, Lux, 3D Stroke, Echospace, Starglow, Sound Keys and Horizon. Of these, 3D Stroke, Shine and Starglow will also be available within Premiere Pro CC. Together these effects form a comprehensive toolkit for After Effects designers who really do have to create magic from scratch.

df2816_trapcode_01Trapcode Particular is typically the effect that most folks associate with Trapcode effects. In this new version, you can use its built-in Effects Builder to select from certain presets and design custom effects. Although other Trapcode models include presets for certain styles, only Particular includes this separate Effects Builder to browse, preview and apply effects. Particular now includes certain organic 3D effects, like smoke, fire, water and more.

df2816_trapcode_05Trapcode Form lets you design particle grids, spheres and objects that evolve over time. Trapcode Tao lets you build 3D geometries with fractal math for shapes, facets, etc. Tao is a simplified 3D object design tool, that enables metallic textures and the ability to incorporate the image maps from lower After Effects layers as surface textures. You can create animated objects, shapes and ribbons and all are GPU-accelerated. Trapcode Mir is designed to create 3D surfaces, terrains and wireframes. These can be used for tunnel effects and land topographies. Both Tao and Mir can display these designs as wireframes, shaded polygons or rendered surfaces.

df2816_trapcode_02Trapcode Sound Keys links to an imported audio file. It analyzes the file and creates animation keyframes, which can drive a colorized volume bar display to that sound. These keyframes can also be used to drive other effects, such as scaling to the beat. Trapcode 3D Stroke enables 3D lines, paths and overlays. Trapcode Lux turns After Effects lights into visible sources with volumetric properties. Trapcode Horizon is there to create infinite backgrounds in After Effects. Trapcode Echospace enables repeated effects like trails and 3D offsets.

Last but not least, there’s Trapcode Shine and Trapcode Starglow. Both are lighting effects. Shine generates 3D light rays that you can use with text or to mimic real-world lighting, like shafts of light through the forest. Shine can be linked to After Effects 3D lights for volumetric-aware effects. Starglow is more stylized with glints and glimmers, similar to adding a star filter to your lens.

Working with the suite

The suite as a whole is intended for serious After Effects artists who have to create shots, not merely enhance them. As such, it’s not like suites from other plug-in developers that offer a whole toolkit of image manipulation effects, color correction, titling and more. If that’s what you want, then the Trapcode Suite isn’t for you. However, each of these plug-ins is available separately, so if you only want Trapcode Particular or Shine, for example, then it’s best to buy just the one effect that you really need.

df2816_trapcode_06Each of these effects is quite deep. I have never seen any other plug-in with as many modifier controls as those from Trapcode. Unfortunately, these tools are very sparse on presets compared to competing plug-ins. Nevertheless, Particular has over 180 presets, while Shine, 3D Stroke and Starglow have 30, 40 and 49 presets respectively. Some, like Shine, Starglow and Sound Keys are pretty easy to figure out. Others, like Mir or Tao, really do require that you spend some time with tutorials. The investment in time is certainly worth it, if these are the type of effects that you need to do on a regular basis.

Although I use After Effects, I’m a novice at building such particle effects and find myself more comfortable with tools like Shine. Building a flying title with rays that emanate from the text was a piece of cake with Shine. Trapcode has worked hard to take advantage of GPU and CPU power. Mir and Tao are GPU-accelerated and others, like Particular, were optimized for better CPU performance in this release. Adding and adjusting these effects was pretty quick on a 2009 Mac Pro 8-core tower with a Sapphire 7950 card. No slouch, but certainly pretty average by today’s standards. I’m sure these effects would really scream on a top-of-the-line HP with a smokin’ NVIDIA card.

df2816_trapcode_03Trapcode Particular was also fun, because of the Effects Builder. Essentially it’s a presets browser, with different effects options. When you select an option, it becomes part of your effects chain in the Builder window. This lets you design a custom effect, starting with the emitter type and then adding modifiers within the chain, such as turbulence, gravity and so on. Each of the segments of this chain have parameters that can be tweaked. Once done, you apply the effect that you’ve built to the clip on the timeline and close the Builder window. Then make timing and other adjustments in the standard After Effects control panel.

df2816_trapcode_04There are many similar effects to Trapcode Shine offered by other plug-in developers. One unique attribute of Shine is the feature of adding fractal noise. So, in addition to light rays you can add the appearance of haze or smoke to the effect. Depending on how you set the controls, it can also look like a water reflection shimmering onto the objective in the image or other similar styles. All of this can be internally masked from within the plug-in. Applying the mask means that if you want the light rays to just emanate from a window in the corner of the set, you can adjust the mask accordingly. Light rays would only appear to come from the window and not other bright objects within the rest of the shot. Another unique aspect to Shine is that its light rays are 3D camera-aware, based on After Effects light and camera positions.

Overall, the Trapcode  Suite tools are a wonderful addition to any visual effects artist’s collection of plug-ins. The quality is outstanding, the visual appearance quite organic, and performance with a moderately powerful GPU is fast. Editors will likely want to limit themselves to Shine and Starglow to make the best investment for how they use plug-ins. But if you are a power After Effects user who also cuts in Premiere Pro CC, then the suite has you covered either way.

Originally written for Digital Video magazine / Creative Planet Network.

©2016 Oliver Peters

Blackmagic Design Teranex Processors


In recent years, Blackmagic Design has thrived on a business model of acquiring the assets of older industry icons, modernizing their products, and then re-introducing these cornerstone brands to an entirely new customer base. Top-of-the-line products that were formerly out of reach to most users are now attainable, thanks to significant price reductions as part of the Blackmagic Design product family.

Teranex is just such a case. It’s a company with whom I am well acquainted, since we are both Orlando-based. I remember their first NAB off-site, whisper suite. I’ve used their conversion and restoration products on a number of projects. At one point they were moving into the consumer TV space under the then ownership of Silicon Optix and later IDT. In that period, I produced the popular HQV Benchmark DVD and Blu-ray for them as an image test vehicle for consumers. As with many companies in the pro video space, they’ve had a past filled with ups and downs, so it’s great to see Blackmagic breathe new life into the technology.

Teranex Processors

Blackmagic Design offers three rack-mounted Teranex products. These are separate from the Teranex Mini line, which does not offer the full range of Teranex processing, but is comprised of more targeted units for specific conversion applications. The rack-mounted standards converters include the Teranex Express, Teranex 2D Processor and Teranex 3D Processor. All three offer more or less the same processing options, with the exception that the Express can work with 4K Ultra HD (3840×2160). The 2D and 3D Processors only go as high as 2K (2048×1080). Outside of that difference, they all handle up/down/cross-conversions between SD (NTSC and PAL), HD (720 and 1080), 2K and UHD (Express only). This includes frame sizes, as well the whole range of progressive and interlaced frame rates. There’s also aspect ratio correction (anamorphic, 16:9, 14:9, zoom, letterpox/pillarbox) and colorspace conversion. Add to this de-interlacing and 3:2 pulldown cadence correction. The key point, and why these units are must-haves for large post operations, is that they do it all and the processing is in real-time.

The Teranex 2D and 3D Processors can also function as i/o devices when connected via Thunderbolt. By purchasing one of these two models, you can skip the need for an additional Blackmagic Design capture device, assuming you have a Thunderbolt-equipped Mac Pro, iMac or MacBook Pro. With the purchase, you also get Blackmagic Design Ultrascope waveform monitor software that runs on your computer. When you run one of these units with Apple Final Cut Pro X, Adobe Premiere Pro CC or their own Media Express application, the response is the same as with a standalone i/o device. This is an optional use, however, as these two units can operate perfectly well in a standalone installation, such as part of a machine room environment. They do tend to have loud fans, so either way, you might want to keep them in a rack.

The biggest difference between the 2D and 3D Processor is that the 3D unit can also deal with stereoscopic video. In addition to the normal processing functions, the 3D model has adjustments for stereo images. There are also physical differences, so even if you don’t work with stereo images, you might still opt for the Teranex 3D Processor. For instance, while both units can handle analog or SDI video connections, the 3D Processor only allows for two channels of analog audio i/o to be plugged into the device. The 2D Processor uses a separate DB-25 break-out cable for all analog audio connectors. Like all Blackmagic rack products, no power plug is included. You need to provide your own three-prong electric cord. The 3D Processor features dual-redundant power supplies, which also means it requires two separate power cords. Not a big deal given the extra safety factor in mission-critical situations, but an extra consideration nonetheless. (Note: the 3D processor still works with only a single power cord plugged in.)

The Teranex Express, is more streamlined, with only digital SDI connectors. It is designed for straightforward, real-time processing and cannot also be employed as an i/o device. If you don’t need analog connectors, stereoscopic capabilities, nor Thunderbolt i/o, then the Express model is the right one for you. Plus, it’s currently the only one of the three that works with 4K Ultra HD content. The Teranex units also pass captioning, Dolby data and timecode.

In actual use

I tested both the Teranex Express and the 3D Processor for this review. I happen to have some challenging video to test. I’m working on a documentary made up of a lot of standard definition interviews shot with a Panasonic DVX-100, plus a lot of WWII archival clips. My goal is to get these up to HD for the eventual final product. As a standards converter and image processor both units work the same (excluding stereoscopic video). SDI in and SDI out with a conversion in-between.

The front panel is very straightforward, with buttons for the input standard and the desired output standard. The left side features settings for format size, frame rate, scan and aspect. The middle includes a multi-use LCD display, which is used to show menus, test patterns and video. To the right of the display are buttons for video levels and sharpening, since these models also include a built-in proc amp. Finally on the far right, you can see audio channel status, system status and presets. Last, but not least, there’s a “lock panel” button if you don’t want anyone to inadvertently change a setting in the middle of a job, as these controls are always active. When you pass any SDI signal through one of these units, the input is auto-detecting and the button layout easily guides the operator through the logical steps to set a desired target format for conversion.

As with all Blackmagic Design products, installation of the software needed for i/o was quick and easy. When I connected the Teranex 3D Processor to my MacBook Pro via Thunderbolt, all of the apps saw the device and for all intents and purposes it worked just the same as if I’d had a Blackmagic Design UltraStudio device connected. However, here the conversion side of the Teranex device is at odds with how it works as an i/o device. For example, the output settings typically followed the sequence settings of the NLE that was driving it. If I had an NTSC D1 timeline in Final Cut Pro X, the Teranex 3D Processor could not be set to up-convert this signal on output. It only output a matching SD signal. Up-conversion only happened if I placed the SD content into a 1080 timeline, which unfortunately means the software is doing the conversion and not the Teranex processor. As best as I could tell, you could not set the processor to override the signal on either input or output when connected via Thunderbolt.

Processing power

One of the hallmarks of Teranex processing is cadence correction. 24fps content that is recorded as a 30fps signal is said to have “3:2 pulldown”. It was originally developed to facilitate transferring film material to videotape. Pulldown is a method of repeating whole film frames across a pattern of interlaced video frames so that four film frames can fit into five video frames (ten fields). This pattern is called 24PN (“normal” pulldown) and the cadence of film frames to video fields is 2:3:2:3. Digital camera manufacturers adopted this technique to mimic the look of film when recording in a 24fps mode. To complicate matters, Panasonic introduced a different cadence called 24PA, or “advanced” pulldown. The cadence is 2:3:3:2 and was targeted at Final Cut Pro users. FCP featured a built-in routine for the software to drop the extra frame in the middle and restore the clips to a true 24fps during a FireWire capture. Another form of cadence is 2:2:2:4, which is common in DVD players when playing back a true 24fps DVD.

In the case of Teranex processing, it is designed to detect and correct the more common 24PN, i.e. 3:2 pulldown (2:3:2:3), but not the other two cadences (2:3:3:2, 2:2:2:4). Teranex is supposed to be able to fix “broken” 3:2 pulldown cadences in mixed timelines, meaning the pattern changes at every cut. However, when I checked this on my test project, I didn’t get perfect results. That’s most likely due to the fact that I was dealing with DV (not proper D1) content, which had gone through a lot of hands before it came to me. The best results would be if I treated every source clip individually. When I test that, the results were more what I expected to see.

Teranex technology was developed for real-time processing at a time when linear, videotape post ruled. Today, there are plenty of high-quality, non-real-time, software processing options, which yield results that are very close to what Teranex can deliver. In the case of my test project, I actually found that dealing with interlace was best handled by Blackmagic’s own DaVinci Resolve. I don’t necessarily need to get back to 24fps, but only to get the cleanest possible 30fps image. So my first target was to convert the 29.97i clips into a good 29.97p sequence. This was possible through Resolve’s built-in de-interlacing. Progressive frames always up-convert with fewer artifacts than interlaced clips. Once I had a good 29.97p file, then I could test the Teranex conversion capabilities.

I tested conversions with several NLEs, Resolve, After Effects and the Teranex hardware. While each of the options gave me useable HD copies, the best overall was using the Teranex unit – passing through it in real-time via SDI in and out. Teranex not only gave me cleaner results, as evidenced by fine edges (less “jaggies”), but I could also dial in noise reduction and sharpening to taste.

All processing is GIGO (garbage in, garbage out). You can never make awful DV look stunning in HD, much less 4K. It’s simply not possible. However, Blackmagic Design’s Teranex products give you powerful tools to make it look the best that it can. Software processing can get you close, but if fast turnaround is important, then there’s no replacement for real-time processing power. That’s where these Teranex processors continue to shine.

Originally written for Digital Video magazine / Creative Planet Network.

©2016 Oliver Peters

Adobe’s Summer 2016 Refresh


Adobe is on track for the yearly refresh of its Creative Cloud applications. They have been on a roll with their professional video solutions – especially Premiere Pro CC – and this update is no exception. Since this is not a new, across-the-board Creative Cloud version update, the applications keep the CC 2015 moniker, except with a point increase. For example, Premiere Pro CC becomes version 2015.3, not CC 2016. Let me dive into what’s new in Premiere Pro, Audition, Adobe Media Encoder and After Effects.

Premiere Pro CC 2015.3

Adobe has captured the attention of the professional editing community with Premiere Pro and has held it with each new update. CC 2015.3 adds numerous new features in direct response to the needs of editors, including secondary color correction, a proxy workflow, a 360VR viewer and more.

New Lumetri features

df2516_lumetriThe Lumetri color panel brought over the dominant color correction tools from SpeedGrade CC configured into a Lightroom-style panel. For editors, Lumetri provides nearly everything they need for standard color correction, so there’s rarely any need to step outside of Premiere Pro. Three key features were added to Lumetri in this update.

First is a new white balance eyedropper. Lumetri has had temperature and tint sliders, but the eyedropper makes white balance correction a one-click affair. However, the new marquee feature is the addition of SpeedGrade’s HSL Secondary color correction. Use an eyedropper to select the starting color that you want to affect. Then use the “add” or “remove color” eyedroppers to adjust the selection. To further refine the isolated color, which is essentially a key, use the HSL, denoise and blur sliders. The selected color range can be viewed against black, white or gray to check the accuracy of the adjustment. You can then change the color using either the single or three-wheel color control. Finally, the secondary control also includes its own sliders for temperature, tint, contrast, sharpening and saturation.

In the rest of the Lumetri panel, Adobe changed the LUT (color look-up table) options. You can pick a LUT from either the input and/or creative tab. The new arrangement is more straightforward than when first introduced. Now only camera gamma correction LUTs (like ARRI Log-C to Rec 709) appear in the input tab and color style LUTs show up in the creative tab. Adobe LUTs plus SpeedLooks LUTs from LookLabs are included as creative choices. Previously you had to use a SpeedLooks camera LUT in tandem with one of the SpeedLooks creative LUTs to get the right correction . With this update, the SpeedLooks creative LUTs are all designed to be added to Rec 709 gamma, which makes these choices far more functional than before. You can now properly use one of these LUTs by itself without first needing to add a camera LUT.

New Proxy workflow

df2516_proxyApple Final Cut Pro X users have enjoyed a proxy workflow since its launch, whereas Adobe always touted Premiere Pro’s native media prowess. Nevertheless, as media files get larger and more taxing on computing systems, proxy files enable a more fluid editing experience. A new ingest tool has been added to the Media Browser. So now from within Premiere Pro, you can copy media, transcode to high-res file formats and create low-res proxies. You can also select clips in a bin and right-clip to create proxies, attach proxies and/or relink full-resolution files. There is a new toggle button that you can add to the toolbar, which lets you seamlessly flip between proxy and full-resolution media files. According to Adobe, even if you have proxy selected, any export always draws from the full-resolution media for the best quality.

Be careful with the proxy settings. For example, one of the default sizes is 1024×540, which would be the quarter-frame match for 2K media. But, if you use that for HD clips in a 1920×1080 timeline, then your proxies will be incorrectly pillar-boxed. If you create 720p proxies for 1080p clips, you’ll need to use “scale to frame size” in order to get the right size on the timeline. It’s a powerful new workflow, but take a bit of time to figure out the best option for your needs.

Adobe Media Encoder also gains the Media Browser tool, as well as a new ingest function, which has been brought over from Adobe Prelude. Now you can use Media Encoder to copy camera files and/or transcode them to primary and secondary locations. If you need to copy camera cards, transcode a full-res master file and also transcode a low-res proxy file, then this complete workflow can be handled through Media Encoder.

New 360VR viewer

df2516_360Premiere Pro CC now sports a new VR-capable viewer mode. Start with monoscopic or stereoscopic, stitched 360-degree video clips and edit them as you normally would. The viewer allows you to pan around inside the clip or view the timeline from a point of view. You can see what someone viewing with goggles sees when looking in a given direction. Note that this is not a pan-and-scan plug-in. You cannot drop one of these 360-degree clips into an otherwise 2D 16×9 (“flat”) timeline and use Premiere Pro’s VR function to keyframe a digital move within that clip.

There are other new Premiere Pro CC features that I haven’t yet tested thoroughly. These include new support for Apple Metal (an API that combines the functionality of OpenGL and OpenCL) and for grading control surfaces. Open Caption support has been improved – adding more languages and their native alphabets, including Arabic and Hebrew.

Adobe Audition CC 2015.2

df2516_auditionWant better audio mixing control than what’s available inside of Premiere Pro CC? Then Audition CC is the best tool for the job. Premiere Pro timelines translate perfectly and in the last update a powerful retime feature was added. Audition “automagically” edits the duration of a music cue for you in order to fit a prescribed length.

The Essential Sound panel is new in this update. The layout of this panel is the audio equivalent to the Lumetri color panel and also owes its design origins to Lightroom. Select a clip and choose from the Dialogue, Music, SFX or Ambience group. Each group presents you with a different, task-appropriate set of effects presets. For example, when you pick Dialogue, the panel will display tabbed controls for loudness, repair sound, improve clarity and a creative tab. Click on a section of the vertical stack within this panel to reveal the contents and controls for that section.

In the past, the workflow would have been a roundtrip from Premiere Pro to Audition and back. Now you can go directly to Adobe Media Encoder from Audition, which changes the workflow into these steps: cut in Premiere Pro CC, mix in Audition CC, and master/export directly through Adobe Media Encoder. Thus roundtrips are eliminated, because picture is carried through the Audition phase. This export path supports multichannel mix files, especially for mastering containers like MXF. Audition plus Media Encoder now enable you to export a multichannel file that includes a stereo mix plus stereo submix “stems” for dialogue, SFX and music.

After Effects CC 2015.3 and more

df2516_aeAfter Effects CC has been undergoing an overhaul through successive versions, including this one. Some users complained that the most recent version was a bit of a step backwards, but this is all in an effort to improve performance, as well as to modernize and streamline the product. From my vantage as an editor who uses After Effects as much as a utility as for occasional motion graphics and visual effects, I really like what Adobe has been doing. Changes in this update include enhanced performance, GPU-accelerated Gaussian blur and Lumetri color correction, better playback of cached frames, and a new a/v preview engine. In the test projects that I ran through it, including the demo projects sent by Adobe, performance was fast and rather impressive. That’s on a 2009 Mac Pro tower.

If you are an animator, then Maxon Cinema 4D is likely a tool that you use in conjunction with After Effects. Animated text and shape layers can now be saved directly into the Cinema 4D file format from After Effects. When you customize your text and shapes in Cinema 4D, the changes are automatically updated in After Effects for a roundtrip 3D motion graphics workflow.

Thanks to the live The Simpsons event, in which Homer was animated live using Character Animator, this tool is gaining visibility. Character Animator moves to version 4, even though the application is still technically in prerelease. Some of the enhancements include improved puppet tagging. You can record multiple takes of a character’s movement and then enable your puppet to respond to motion and trigger animation accordingly.

To wrap up, remember that Adobe is promoting Creative Cloud as more than simply a collection of applications. The subscription includes access to over 50 million royalty-free photos, illustrations, vector graphics and video (including 4K clips). According to Adobe, licensed Adobe Stock assets in your library are now badged for easy identification. Videos in your library are displayed with duration and format information and have links to video previews. You can access your Libraries whenever you need them, both when you are connected to the internet and working offline. I personally have yet to use Adobe Stock, but it’s definitely a resource that you should remember is there if you need it.

Click here for Dave Helmly’s excellent overview of the new features in Premiere Pro CC.

Originally written for Digital Video magazine and Creative Planet Network.

©2016 Oliver Peters

Apple iPad Pro


Mark me down as a happy Apple iPad user. It’s my go-to computer away from home, unless I need to bring my laptop for on-site editing. I’ve even written some of my magazine stories, like NAB reports, on it. First the original iPad and now a new Air 2. While I don’t consider myself a post-PC computer user, I could imagine that if I didn’t need to run tools like Resolve, FCPX, and Premiere Pro, an iPad Pro could function as my only computer.

For this review, Apple loaned me the 12.9″ 128GB WiFi+Cellular iPad Pro, complete with all the bells-and-whistles, including the Apple Pencil, Lightning-to-SD Card Camera Reader, Case, Smart Cover, and Smart Keyboard. The Pro’s A9X processor is beefy for a tablet. Other reviewers have noted its performance rivals Apple’s smallest MacBook with the Intel Core M CPU. Since the iPad Air 2 processor is only one step down, you won’t see that much difference between it and the iPad Pro on most iOS applications. However, the A9X delivers twice the CPU and graphics performance of the Air 2’s A8X, so there is a difference in driving the larger 12.9” Pro screen, as well as with multitasking and animation-heavy applications.


Many specs are the same between these two models, with the exception that the iPad Pro includes a total of four speakers and adds a Smart Connector to be used with the Smart Keyboard. In addition, the Pro’s touch screen has been re-engineered to scan at 240 times/second (twice as fast as scanning for your finger) in support of the Apple Pencil. On March 21st Apple launched a second iPad Pro model using the same 9.7” form factor as the iPad Air 2. Other than screen size, the two Pro models sport nearly identical specs, including A9X processor, four speakers, and Smart Connector. Now there’s also a Smart Keyboard specifically designed for each model. Since I tested the larger version, the rest of this review is in the context of using the 12.9” model.

The big hallmark in iOS9 is multitasking, which lets you leave two applications open and on-screen, side-by-side at one time. You can go between them and slide the divider bar to change app size or move them completely on or off of the screen. This feature is superb on the iPad Pro, aided by the bigger screen real estate. It’s not quite as functional on the other iPads. However, many applications and web pages don’t feel quite optimized for the larger screen of the iPad Pro. It often feels like pages are slightly blown up or that there’s a lot of wasted space.


df1216_ipadpro_pencilThe iPad Pro starts to stand out once you accessorize it. You can get an Apple case, Smart Cover and/or Smart keyboard. The covers magnetically attach to the iPad, so be careful. If you hold or lift the heavier iPad Pro by the cover, it can detach, resulting in the Pro potentially dropping to the floor. Both the Smart Cover and the Smart Keyboard can fold into a stand to prop up the iPad Pro on a desk. When you fold the Smart Keyboard back into a cover, it’s a very slim lid that fits over the screen. The feel of the keyboard is OK, but I prefer the action of the small, standalone Apple Bluetooth keyboard, which I use with my own iPad. Other reviewers have also expressed a preference for the Logitech keyboard available for the Pro. These new keyboards are enabled by the Smart Connector with its two-way power and data transfer, so no battery is required for the keyboard.

The new Apple Pencil is getting the most press. Unlike other pointing devices, the Pencil requires charging and can only be paired with the iPad Pro. The Pencil is clearly a blast to use with Pixelmator or FiftyThree’s Paper. It’s nicely weighted and feels as close to drawing with a real pen or pencil as you can get with an electronic stylus. It responds with pressure-sensitivity and you can even shade with the side of the tip. For drawing in apps like this, or Photoshop Express, Autodesk Graphic, Art Studio, etc., the Pencil is clearly superior to low-cost third-party styli or your finger. FiftyThree also offers its own drawing styli that are optimized for use with the Paper application.

df1216_ipadpro_53paperAs a pointing device, the Apple Pencil isn’t quite as good, since it was designed for fine detail. According to Apple, their design criteria was pixel-level precision. The Pencil does require charging, which you can do by plugging it into the iPad’s lightning port, or directly charging it by using the regular lightning cable and charger via a small adapter ring. When the Pencil gets low on juice a warning pops up on the iPad Pro’s screen. Plug it into the lightning port for a quick boost. Apple claims that fifteen seconds will give you thirty minutes of use and my experience bore this out.

The final accessory to mention is the Lightning-to-SD Card Camera Reader. The lightning port supports USB 3.0 speeds on the iPad Pro to make transfers fast. Plug the reader into the lightning port and pop your SD card into the reader. The Photos application will open to the contents of the card and you can import a selection of clips. Unfortunately, there is no generic way to transfer files into the iPad using SD cards. I’ve been able to cheat it a little by putting some renamed H.264 files into the DCIM folder structure from a Canon 5D camera. This made everything look like valid camera media. Then I could move files into Photos, which is Apple’s management tool for both camera stills and videos on the iPad. However, it doesn’t work for all files, such as graphics or audio tracks that you might use for a voice-over.

Using the iPad Pro as a professional video tool

Is the iPad Pro better for the video professional when compared with other tablets and iPads? Obviously the bigger screen is nice if you are editing in iMovie, but can one go beyond that?

df1216_ipadpro_filmicproI worked with a number of applications, such as FiLMiC Pro. This application adds real camera controls to the built-in camera. These include ISO, white balance, focus, frame rates, and stabilization controls. It was used in the production of the Sundance hit, Tangerine, and is a must-have tool if you intend to do serious captures with any iOS device. The footage looks good and H.264 compression (starting at 32Mbps) artifacts are not very visible. Unfortunately, there’s not shutter angle control to induce motion blur, which would smooth out the footage.

To make real production viable, you would need camera rigging and accessories. The weight of the 12.9″ iPad Pro makes it tough to shoot steady hand-held footage. Outside in bright daylight, the screen is too dim even at its brightest setting. Having some sort of display hood is a must. In fact, the same criticism is true if you are using it to draw outside. Nevertheless, if you mounted an iPad or iPad Pro in some sort of fixed manner, it would be very useful for recording interviews and similar, controllable productions. iOgrapher produces some of these items, but the larger iPad Pro model isn’t supported yet.

df1216_ipadpro_imovieFor editors, the built in option is iMovie. It is possible to edit external material, if you brought it in via the card reader, DropBox, iCloud Drive, or by syncing with your regular computer. (Apple’s suggested transfer path is via AirDrop.) Once you’ve edited your piece, you can move the project file from iOS iMovie to iMovie on your computer using iCloud Drive and then import that project into Final Cut Pro X. In my tests, the media was embedded into the project and none of the original timecode or file names were maintained. Frame rates were also changed from 29.97fps to 30.0fps. Clearly if you intend to use this path, it’s best for video originated on the iPad itself.

df1216_ipadpro_touchedit_1If you want a professional nonlinear editing tool for the iPad, nothing even comes close to TouchEdit, an app developed by feature film editor Dan Lebental (Ant-Man, Iron Man, Cowboys & Aliens) and his team. This app includes many of the tools an editor would expect, such as trimming, titles and audio mixing, plus it tracks all of the important clip metadata. There is a viable workflow to get clips into – and an edit list and/or movie out of – the iPad. Lebental started with a skeuomorphic interface design that borrows from the look of a flatbed editor. The newest version of the software includes the option for a flattened interface skin, plus a portrait and landscape layout, each of which enables somewhat different capabilities. TouchEdit is attractive as an offline editing tool that definitely benefits from the larger size and improved performance of the iPad Pro.

Final thoughts


I used the 12.9” iPad Pro for three months. It’s a wonderful tool, but also a mixed bag. The more ample screen real estate makes it easier to use than the 9.7” iPad models. However, the smaller device is tweaked so that many pages are displayed a bit differently. Thus the size advantage of the larger Pro model is less pronounced. Like all iPads, the Pro uses the same iOS operating system. This holds back the potential of the Pro, which begs for some sort of hybrid “iOS Pro” operating system that would make the iPad Pro work more like a laptop. Naturally, Apple’s position is that iPads are “touch-first” devices and iOS a “touch-first” operating system. The weakest spot is the lack of true file i/o and a visible file structure. You have to go through Dropbox, iCloud, Photos, AirDrop, e-mail, or be connected to iTunes on your home machine.

The cost of the iPad Pro would seem to force a decision between buying the 12” MacBook and the 12.9″ iPad Pro. Both are of similar size, weight, and performance. In John Gruber’s Daring Fireball review he opined that in the case of the iPad Pro, “professional” should really be thought of in the context of “deluxe”. According to him, the iPad Pro relates to the regular iPad line in the same way a MacBook Pro relates to the other MacBooks. In other words, if an iPad serves your needs and you can afford the top-end version, then the Pro is for you. Its target market is thus self-defining. The iPad Pro is a terrific step up in all the things that make tablets the computing choice for many. Depending on your needs, it’s a great portable computer. For the few that are moving into the post-PC world, it could even be their only computer.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2016 Oliver Peters