Avid Media Composer | First

They’ve teased us for two years, but now it’s finally out. Avid Technology has released its free nonlinear editing application, Media Composer | First. This is not dumbed-down, teaser software, but rather a partially-restricted version of the full-fledged Media Composer software and built upon the same code. With that comes an inherent level of complexity, which Avid has sought to minimize for new users; however, you really do want to go through the tutorials before diving in.

It’s important to understand who the target user is. Avid didn’t set out to simply add another free, professional editing tool to an increasingly crowded market. Media Composer | First is intended as a functional starter tool for users who want to get their feet wet in the Avid ecosystem, but then eventually convert to the full-fledged, paid software. That’s been successful for Avid with Pro Tools | First. To sweeten the pot, you’ll also get 350 sound effects from Pro Sound Effects and 50 royalty-free music tracks from Sound Ideas (both sets are also free).

Diving in

To get Media Composer | First, you must set up an Avid master account, which is free. Existing customers can also get First, but the software cannot be co-installed on a computer with the full version. For example, I installed Media Composer | First on my laptop, because I have the full Media Composer application on my desktop. You must sign into the account and stay signed in for Media Composer | First to lunch and run. I did get it to work if I signed in, but then disconnected the internet. There was a disconnection prompt, but nevertheless, the application worked, saved, and exported properly. It doesn’t seem mandatory to be constantly connected to Avid over the internet. All project data is stored locally, so this is not a cloud application.

The managing of the account and future updates are handled through Application Manager, an Avid desktop utility. It’s not my favorite, as at times it’s unreliable, but it does work most of the time. Opening the installer .dmg file will take a long time to verify. This seems to be a general Avid quirk, so be patient. When you first open the application, you may get a disk drive write permissions error message. On macOS you normally set drive permissions for “system”, “wheel”, and “everyone”. Typically I have the last two set to “read only”, which works for every other application, except Avid’s. Therefore, if you want to store Avid media on your internal system hard drive, then “everyone” must be changed to “read & write”.

The guided tour

The Avid designers have tried to make the Media Composer | First interface easy to navigate for new users – especially those coming from other NLEs, where media and projects are managed differently than in Media Composer. Right at the launch screen you have the option to learn through online tutorials. These will be helpful even for experienced users who might try to “out-think” the software. The interface includes a number of text overlays to help you get started. For example, there is no place to set project settings. The first clip added to the first sequence sets the project settings from there on. So, don’t drop a 25fps clip onto the timeline as your first clip, if you intend to work in a 23.98fps project. These prompts are right in front of you, so if you follow their guidance, you’ll be OK.

The same holds true for importing media through the Source Browser. With Media Composer you either transcode a file, which turns it into Avid-managed media placed into the Avid MediaFiles folder, or simply link to the file. If you select link, then the file stays in place and it’s up to the user not to move or delete that file on the hard drive. Although the original Avid paradigm was to only manage media in its MediaFiles hard drive folders, the current versions handle linking just fine and act largely the same as other NLEs.

Options, restrictions, and limitations

Since this is a free application, a number of features have been restricted. There are three biggies. Tracks are limited to four video tracks and eight audio tracks. This is actually quite workable, however, I think a higher audio track count would have been advisable, because of how Avid handles stereo, mono, and multichannel files. On a side note, if you use the “collapse” function to nest video clips, it’s possible to vertically stack more than just four clips on the timeline.

The application is locked to a maximum project size of 1920×1080 (Rec. 709 color space only) and up to 59.94fps. Source files can be larger (such as 4K) and you can still use them on the timeline, but you’ll have to pan-and-scan, crop, or scale them. I hope future versions will permit at least UltraHD (4K) project sizes.

Finally, Media Composer | First projects cannot be interchanged with full fledged Media Composer projects. This means that you cannot start in Media Composer | First and then migrate your project to the paid version. Hopefully this gets fixed in a future update. If not, it will negatively impact students and indie producers using the application for any real work.

As expected, there are no 3D stereoscopic tools, ScriptSync (automatic speech-to-text/sync-to-script), PhraseFind (phonetic search engine), or Symphony (advanced color correction) options. One that surprised me, though, was the removable of the superior Spectramatte keyer. You are left with the truly terrible RGB keyer for blue/green-screen work.

Nevertheless, there’s plenty of horsepower left. For example, FrameFlex to handle resizing and Timewarps for retiming clips, which is how 4K and off-speed frame rates are handled. Color correction (including scopes), multicam, IllusionFX, source setting color LUTs, Audiosuite, and Pro Tools-style audio track effects are also there. Transcoding allows for the use of a wide range of codecs, including ProRes on a Mac. 4K camera clips will be transcoded to 1080. However, exports are limited to Avid DNxHD and H.264 QuickTime files at up to 1920×1080. The only DNxHD export flavor is the 100Mbps variant (at 29.97, 80Mbps for 23.98), which is comparable to ProResLT. It’s good quality, but not at the highest mastering levels.

Conclusion

This is a really good first effect, no pun intended. As you might expect, it’s a little buggy for a first version. For example, I experienced a number of crashes while testing source LUTs. However, it was well-behaved during standard editing tasks. If Media Composer | First files can become compatible with the paid systems and the 1080 limit can be increased to UHD/4K, then Avid has a winner on its hands. Think of the film student who starts on First at home, but then finishes on the full version in the college’s computer lab. Or the indie producer/director who starts his or her own rough cut on First, but then takes it to an editor or facility to complete the process. These are ideal scenarios for First. I’ve cut tons of short and long form projects, including a few feature films, using a variety of NLEs. Nearly all of those could have been done using Media Composer | First. Yes, it’s free, but there’s enough power to get the job done and done well.

©2017 Oliver Peters

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Suburbicon

George Clooney’s latest film, Suburbicon, originated over a decade ago as a screenplay by Joel and Ethan Coen. Clooney picked it up when the Coens decided not to produce the film themselves. Clooney and writing partner Grant Heslov (The Monuments Men, The Ides of March, Good Night, and Good Luck), rewrote it as taking place in the 1950s and added another story element. In the summer of 1957, the Myers, an African-American couple, moved into a largely white suburb in Levittown, Pennsylvania, setting off months of violent protests. The rewritten script interweaves the tale of the black family with that of their next-door neighbors, Gardner (Matt Damon) and Margaret (Julianne Moore). In fact, a documentary was produced about the historical events and shots from that documentary were used in Suburbicon.

Calibrating the tone

During the production and editing of the film, the overall tone was adjusted as a result of the actual, contemporary events occurring in the country. I spoke with the film’s editor, Stephen Mirrione (The Revenant, Birdman or (The Unexpected Virtue of Ignorance), The Monuments Men) about this. Mirrione explains, “The movie is presented as over-the-top to exaggerate events as satire. In feeling that out, George started to tone down the silliness, based on surrounding events. The production was being filmed during the time of the US election last year, so the mood on the set changed. The real world was more over-the-top than imagined, so the film didn’t feel quite right. George started gravitating towards a more realistic style and we locked into that tone by the time the film moved into post.”

The production took place on the Warner Brothers lot in September 2016 with Mirrione and first assistant editor Patrick Smith cutting in parallel with the production. Mirrione continues, “I was cutting during this production period. George would come in on Saturdays to work with me and ‘recalibrate’ the cut. Naturally some scenes were lost in this process. They were funny scenes, but just didn’t fit the direction any longer. In January we moved to England for the rest of the post. Amal [Clooney, George’s wife] was pregnant at the time, so George and Amal wanted to be close to her family near London. We had done post there before and had a good relationship with vendors for sound post. The final sound mix was in the April/May time frame. We had an editing room set up close to George outside of London, but also others in Twickenham and at Pinewood Studios. This way I could move around to work with George on the cut, wherever he needed to be.”

Traveling light

Mirrione is used to working with a light footprint, so the need for mobility was no burden. He explains, “I’m accustomed to being very mobile. All the media was in the Avid DNxHD36 format on mobile drives. We had an Avid ISIS shared storage system in Twickenham, which was the hub for all of the media. Patrick would make sure all the drives were updated during production, so I was able to work completely with standalone drives. The Avid is a bit faster that way, although there’s a slight trade-off waiting for updated bins to be sent. I was using a ‘trash can’ [2013] Mac Pro plus AJA hardware, but I also used a laptop – mainly for reference – when we were in LA during the final steps of the process.” The intercontinental workflow also extended to color correction. According to Mirrione, “Stefan Sonnenfeld was our digital intermediate colorist and Company 3 [Co3] stored a back-up of all the original media. Through an arrangement with Deluxe, he was able to stream material to England for review, as well as from England to LA to show the DP [Robert Elswit].”

Music was critical to Suburbicon and scoring fell to Alexandre Desplat (The Secret Life of Pets, Florence Foster Jenkins, The Danish Girl). Mirrione explains their scoring process. “It was very important, as we built the temp score in the edit, to understand the tone and suspense of the film. George wanted a classic 1950s-style score. We tapped some Elmer Bernstein, Grifters, The Good Son, and other music for our initial style and direction. Peter Clarke was brought on as music editor to help round out the emotional beats. Once we finished the cut, Alexandre and George worked together to create a beautiful score. I love watching the scenes with that score, because his music makes the editing seem much more exciting and elegant.”

Suiting the edit tool to your needs

Stephen Mirrione typically uses Avid Media Composer to cut his films and Suburbicon is no exception. Unlike many film editors who rely on unique Avid features, like ScriptSync, Mirrione takes a more straightforward approach. He says, “We were using Media Composer 8. The way George shoots, there’s not a lot of improv or tons of takes. I prefer to just rely on PDFs of the script notes and placing descriptions into the bins. The infrastructure required for ScriptSync, like extra assistants, is not something I need. My usual method of organization is a bin for each day of dailies, organized in shooting order. If the director remembers something, it’s easy to find in a day bin. During the edit, I alternate my bin set-ups between the script view and the frame view.”

With a number of noted editors dabbling with other software, I wondered whether Mirrione has been tempted. He responds, “I view my approach as system-agnostic and have cut on Lightworks and the old Laser Pacific unit, among others. I don’t want to be dependent on one piece of software to define how I do my craft. But I keep coming back to Avid. For me it’s the trim mode. It takes me back to the way I cut film. I looked at Resolve, because it would be great to skip the roundtrip between applications. I had tested it, but felt it would be too steep a learning curve, and that would have impacted George’s experience as the director.”

In wrapping our conversation, Mirrione concluded with this take away from his Suburbicon experience. He explains, “In our first preview screening, it was inspiring to see how seriously the audience took to the film and the attachment they had to the characters. The audiences were surprised at how biting and relevant it is to today. The theme of the film is really talking about what can happen when people don’t speak out against racism and bullying. I’m so proud and lucky to have the opportunity to work with someone like George, who wants to do something meaningful.”

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

6 Below

From IMAX to stereo3D, theaters have invested in various technologies to entice viewers and increase ticket sales. With a tip of the hat to the past, Barco has developed a new ultrawide, 3-screen digital projection system, which is a similar concept to Cinerama film theaters from the 1950s. But modern 6K-capable digital cinema cameras make the new approach possible with stunning clarity. There are currently 40 Barco Escape theaters worldwide, with the company looking for opportunities to run films designed for this format.

Enter Scott Waugh, director (Act of Valor, Need for Speed) and co-founder of LA production company, Bandito Brothers. Waugh, who is always on the lookout for new technologies, was interested in developing the first full-length, feature film to take advantage of this 3-screen, 7:1 aspect ratio for the entire length of the film. But Waugh didn’t want to change how he intended to shoot the film strictly for these theaters, since the film would also be distributed to conventional theaters. This effectively meant that two films needed to come out of the post-production process – one formatted for the Barco Escape format and one for standard 4K theaters.

6 Below (written by Madison Turner) became the right vehicle. This is a true life survival story of Eric LaMarque (played by Josh Harnett), an ex-pro hockey player turned snowboarder with an addiction problem, who finds himself lost in the ice and snow of the California Sierra mountains for a week. To best tell this story, Waugh and company trekked an hour or more into the mountains above Sundance, Utah for the production.

To handle the post workflow and co-edit the film with Waugh, editor Vashi Nedomansky (That Which I Love Destroys Me, Sharknado 2, An American Carol) joined the team. Nedomansky, another veteran of Bandito Brothers who uses Adobe Premiere Pro as his axe of choice, has also helped set up Adobe-based editorial workflows for Deadpool and Gone Girl. Ironically, in earlier years Nedomansky had been a pro hockey player himself, before shifting to a career in film and video. In fact, he played against the real Eric LeMarque on the circuit.

Pushing the boundaries

The Barco Escape format projects three 2K DCPs to cover the total 6K width. To accommodate this, RED 6K cameras were used and post was done with native media at 6K in Adobe Premiere Pro CC. My first question to Nedomansky was this. Why stay native? Nedomansky says, “We had always been pushing the boundaries at Bandito Brothers. What can we get away with? It’s always a question of time, storage, money, and working with a small team. We had a small 4-person post team for 6 Below, located near Sundance. So there was interest in not losing time to transcoding.

After some testing, we settled on decked out Dell workstations, because these could tackle the 6K RED raw files natively.” Two Dell Precision 7910 towers (20-core, 128GB RAM) with Nvidia Quadro M6000 GPUs were set up for editing, along with a third, less beefy HP quad-core computer for the assistant editor and visual effects. All three were connected to shared storage using a 10GigE network. Mike McCarthy, post production supervisor for 6 Below, set up the system. To keep things stable, they were running Windows 7 and stayed on the same Adobe Creative Cloud version throughout the life of the production. Nedomansky continues, “We kept waiting for the 6K to not play, but it never stopped in the six weeks of time that we were up there. My first assembly was almost three hours long – all in a single timeline – and I was able to play it straight through without any skips or stuttering.”

There were other challenges along the way. Nedomansky explains, “Almost all of the film was done as single-camera and Josh has to carry it with his performance as the sole person on screen for much of the film. He has to go through a range of emotions and you can’t just turn that on and off between takes. So there were lots of long 10-minute takes to convey his deterioration within the hostile environmental conditions. The story is about a man lost in the wild, without much dialogue. The challenge is how to cut down these long takes without taking away from his performance. One solution was to go against the grain – using jump cuts to shorten long takes. But I wanted to look for the emotional changes or a physical act to motivate a jump cut in a way that would make it more organic. In one case, I took a 10-minute take down to 45 seconds.”

When you have a film where weather is a character, you hope that the weather will cooperate. Nedomansky adds, “One of our biggest concerns going in, was the weather. Production started in March – a time when there isn’t a lot of snow in Utah. Fortunately for us, a day before we were supposed to start shooting, they had the biggest ‘blizzard’ of the winter for four days. This saved us a lot of VFX time, because we didn’t have to create atmospherics, like snow in front of the lens. It was there naturally.”

Using the Creative Cloud tools to their fullest

6 Below features an extensive percentage of visual effects shots. Nedomansky says, “The film has 1500 shots with 205 of them as VFX shots. John Carr was the assistant editor and visual effects artist on the film and he did all of the work in After Effects and at 6K resolution, which is unusual for films. Some of the shots included ‘day for night’ where John had to add star plates for the sky. This meant rotoscoping behind Josh and the trees to add the plates. He also had to paint out crew footprints in the snow, along with the occasional dolly track or crew member in a shot. There were also some split screens done at 6K right in Premiere Pro.”

The post schedule involved six weeks on-set and then fourteen more weeks back in LA, for a 20-week total. After that, sound post and grading (done at Technicolor). The process to correctly format the film for both Barco and regular theaters almost constituted posting two films. The RED camera image is 6144 x 2592 pixels, Barco Escape 6144 x 864, and a 4K extraction 4096 x 2160. Nedomansky explains, “The Barco frame is thin and wide. It could use the full width, but not height, of the full 6K RED image. So, I had to do a lot of ‘animation’ to reposition the frame within the Barco format. For the 4K version, the framing would be adjusted accordingly. The film has about 1500 shots, but we didn’t use different takes for the two versions. I was able to do this all through reframing.”

In wrapping up our conversation, Nedomansky adds, “I played hockey against Eric and this added an extra layer of responsibility. He’s very much still alive today. Like any film of this type, it’s ‘based on’ the true story, but liberties are taken. I wanted to make sure that Eric would respect the result. Scott and I’ve done films that were heavy on action, but this film shows another directorial style – more personal and emotional with beautiful visuals. That’s also a departure for me and it’s very important for editors to have that option.”

6 Below was released on October 13 in cinemas.

Read Vashi’s own write-up of his post production workflow.

Images are courtesy of Vashi Visuals.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

SpeedScriber

Script-based video editing started with Ediflex. But, it really came into its own when Avid created script integration as a way to cut dialogue-driven stories, like feature films, in Media Composer. The key ingredient is a written script or a transcription of the spoken audio. This is easy with a feature that’s been acted according to defined script lines, but much harder with something freeform, like a documentary or news interview. In those projects, you first need a person or service to transcribe the audio into a written document – or simply cut without it and hunt around when you look for that one specific sentence.

Modern technology has come to the rescue in the form of artificial intelligence, which has enabled a number of transcription services to offer very fast turnaround times from audio upload to a transcribed, speech-to-text document. Several video developers have tapped into these resources to create new transcription services/applications, which can be tied into several of the popular NLE applications.

Transcription for the three “A” companies

One of these new products is SpeedScriber, a transcription application for macOS and its companion service developed by Digital Heaven, which was founded by veteran UK editor and plug-in developer Martin Baker. To start using SpeedScriber, install the free SpeedScriber application, which is available from the Apple Mac App Store. The next steps depend on whether you just want to create transcribed documents, captioning files, or script integration for Avid Media Composer, Adobe Premiere Pro CC, or Apple Final Cut Pro X.

If you just want a document, or plan to use Media Composer or FCPX, then no other tools are required. For Premiere Pro CC workflows, you’ll want to download an panel installer for macOS or Windows from the SpeedScriber website. This integrates as a standard Premiere Pro panel and permits you to import transcription files directly into Premiere Pro. The SpeedScriber application enables roundtripping to/from Final Cut using FCPXML.

First, let’s talk about the transcription itself. It should generally be clip-based and not from edited timelines, unless you just want to document a completed project or for captioning. When you launch SpeedScriber for the first time, you’ll need to create an account. This will include 15 minutes of free transcription time. The file length determines the time used. Billing for the service is based on time and is tiered, ranging from $.50/minute (30/60/120 minutes) down to $.37/minute (6,000 minutes). Minutes are pre-purchased and don’t expire.

Once your account is ready, drag-and-drop or point the application to the file to import. Disable any unwanted audio channels, so that the transcription is based on the best audio channel within the file. Even if all channels are equal, disable all but one of them. Set up the number of speakers and language format, such as British, Australian, or American English. According to Baker, support for five European languages will be added in version 1.1. The service will automatically determine when speakers change, such as between an interviewer and the subject. It’s hard for the system to determine this with great accuracy, so don’t expect these speaker changes to be perfect.

The transcription experience

Accuracy of the transcription can be extremely good, but it depends on the audio quality that you’ve supplied. A clean interview track – well mic’ed and in a quiet room – can be dead-on with only a few corrections needed. Slower speakers who enunciate well result in greater accuracy. On the other hand, having several speakers in a noisy environment, or a very fast speaker with a heavy accent, will require a lot of correction – enough so that manual transcription might be better in those cases.

Once SpeedScriber has completed its automatic transcription, you can play the file to proof it and make any corrections to the text that are required. It’s easy to type corrections to the transcription within the SpeedScriber text editing window. When done, you can export the text in a number of different formats. I ran a test clip of a clear-spoken woman with well-recorded audio. She had a slight southern drawl, but the result from SpeedScriber was excellent. It also did a good job of ignoring speech idiosyncrasies, such a frequent “ums”. This eight minute test clip only required about a dozen text corrections throughout.

If the objective is script integration into an NLE, then the process varies depending on brand. Typically such integration is clip-based, although multi-cam clips are supported. However, it’s tougher when you try to connect the transcription to a timeline. For example, I like to do cutdowns of interviews first, before transcribing, and that’s not really how ScreedScriber works best. In version 1.1, FCPX compound clips will be supported, so segments can be cut before transcription.

A clear set of tutorial videos are available in the support section of  the SpeedScriber website.

Integration with NLEs

Media Composer is easy, because it already has a Script Integration feature. Import the text file that was exported from SpeedScriber as a new script into Media Composer and link the video clip to it. If you purchased Avid’s ScriptSync, then you can automatically line up the clip to sentences within the script. This happens automatically thanks to ScriptSync’s speech analysis function. But if you didn’t purchase this add-on, simply add sync points manually.

With Premiere Pro, select the clip, open the SpeedScriber panel and from it, import the corresponding transcription. The text appears in the Speech Analysis section of that clip’s metadata display. It will actually be embedded into the media file so that the clip can be moved between projects complete with that clip’s transcription. You can view and use this text display to mark in/out by words for accurate script-based selections. When you import the script and link it to a multi-cam clip, synced clip, or sequence, text will show up as markers and can be viewed in the markers panel. Premiere Pro is the only integration that can easily update existing speech metadata or markers. So you can start editing with the raw transcript and then update it later when corrections have been made. However, when I tested transcriptions on an edited sequence instead of a clip, it locked up Premiere Pro, requiring a Force Quit. Fortunately, when I re-opened the recovered project, the markers were there as expected.

The most straight forward approach seems to be its use with Final Cut Pro X. According to Baker, “This is the first Digital Heaven product with broad appeal by supporting Avid and Premiere Pro. But FCPX has ended up having the deepest integration due to the ability to drag-and-drop the Library, which was introduced in 10.3. So with roundtripping, SpeedScriber rebuilds the clip’s timeline without any need to export. Another advantage of the roundtripping is that SpeedScriber can read the audio channel status from the dropped XML, which is important for getting the best accuracy.”

There’s a roundtrip procedure with FCPX, but even without it, simply export an FCPXML from SpeedScriber. Import that into your Final Cut Pro X Library. The clip will then show a number of keyword entries corresponding to line breaks. For each keyword entry, the browser notes field will display the associated text, making it easy to find any dialogue. Plus, these entries are already marked as selections. When clips are edited into the sequence (an FCPX Project), the timeline index enables these notes to be displayed under the Tags section.

SpeedScriber shows tremendous potential to accelerate the efficiency of many spoken-word projects, like documentaries. Half the battle is trying to figure out the story that you want to tell, so having the text right in front of you makes this job easier. Applying modern technology to this challenge is refreshing and the constantly improving accuracy of these systems makes it an easy consideration. SpeedScriber is one of those tools that not only gets you home earlier, but will give you the assurance that you can easily find that clip you are looking for in the proverbial haystack of clips.

©2017 Oliver Peters

A Light Footprint

When I started video editing, the norm was an edit suite with three large quadraplex (2”) videotape recorders, video switcher, audio mixer, B&W graphics camera(s) for titles, and a computer-assisted, timecode-based edit controller. This was generally considered  an “online edit suite”, but in many markets, this was both “offline” (creative cutting) and “online” (finishing). Not too long thereafter, digital effects (ADO, NEC, Quantel) and character generators (Chyron, Aston, 3M) joined the repertoire. 2” quad eventually gave way to 1” VTRs and those, in turn, were replaced by digital – D1, D2, and finally Digital Betacam. A few facilities with money and clientele migrated to HD versions of these million dollar rooms.

Towards the midpoint in the lifespan for this way of working, nonlinear editing took hold. After a few different contenders had their day in the sun, the world largely settled in with Avid and/or Media 100 rooms. While a lower cost commitment than the large online bays of the day, these nonlinear edit bays (NLE) still required custom-configured Macs, a fair amount of external storage, along with proprietary hardware and monitoring to see a high-quality video image. Though crude at first, NLEs eventually proved capable of handling all the video needs, including HD-quality projects and even higher resolutions today.

The trend towards smaller

As technology advanced, computers because faster and more powerful, storage capacities increased, and software that required custom hardware evolved to work in a software-only mode. Today, it’s possible to operate with a fraction of the cost, equipment, and hassle of just a few years ago, let along a room from the mid-70s. As a result, when designing or installing a new room, it’s important to question the assumptions about what makes a good edit bay configuration.

For example, today I frequently work in rooms running newer iMacs, 2013 Mac Pros, and even MacBook Pro laptops. These are all perfectly capable of running Apple Final Cut Pro X, Adobe Premiere Pro, Avid Media Composer, and other applications, without the need for additional hardware. In my interview with Thomas Grove Carter, he mentioned often working off of his laptop with a connected external drive for media. And that’s at Trim, a high-end London commercial editing boutique.

In my own home edit room, I recently set aside my older Mac Pro tower in favor of working entirely with my 2015 MacBook Pro. No more need to keep two machines synced up and the MBP is zippier in all respects. With the exception of some heavy-duty rendering (infrequent), I don’t miss using the tower. I run the laptop with an external Dell display and have configured my editing application workspaces around a single screen. The laptop is closed and parked in a BookArc stand tucked behind the Dell. But I also bought a Rain stand for those times when I need the MBP open and functioning as a second display.

Reduce your editing footprint

I find more and more editors working in similar configurations. For example, one of my clients is a production company with seven networked (NAS storage) workstations. Most of these are iMacs with few other connected peripherals. The main room has a 2013 “trash can” Mac Pro and a bit more gear, since this is the “hero” room for clients. If you are looking to downsize your editing environment, here are some pointers.

While you can work strictly from a laptop, I prefer to build it up for a better experience. Essential for me is a Thunderbolt dock. Check out OWC or CalDigit for two of the best options. This lets you connect the computer to the dock and then everything else connects to that dock. One Thunderbolt cable to the laptop, plus power for the computer, leaving you with a clean installation with an easy-to-move computer. From the dock, I’m running a Presonus Audiobox USB audio interface (to a Mackie mixer and speakers), a TimeMachine drive, a G-Tech media drive, and the Dell display. If I were to buy something different today, I would use the Mackie Onyx Blackjack interface instead of the Presonus/Mackie mixer combo. The Blackjack is an all-in-one solution.

Expand your peripherals as needed

At the production company’s hero room, we have the extra need to drive some video monitors for color correction and client viewing. That room is similarly configured as above, except with a Mac Pro and connection to a QNAP shared storage solution. The latter connects over 10Gb/s Ethernet via a Sonnet Thunderbolt/Ethernet adapter.

When we initially installed the room, video to the displays was handled by a Blackmagic Design UltraStudio device. However, we had a lot of playback performance issues with the UltraStudio, especially when using FCPX. After some experimenting, we realized that both Premiere Pro and FCPX can send a fullscreen, [generally] color-accurate signal to the wall-mounted flat panel using only HDMI and no other video i/o hardware. We ended up connecting the HDMI from the dock to the display and that’s the standard working routine when we are cutting in either Premiere Pro or Final Cut.

The rub for us is DaVinci Resolve. You must use some type of Blackmagic Design hardware product in order to get fullscreen video to a display when in Resolve. Therefore, the Ultrastudio’s HDMI port connects to the second HDMI input of the large client display and SDI feeds a separate TV Logic broadcast monitor. This is for more accurate color rendition while grading. With Media Composer, there were no performance issues, but the audio and video signal wants to go through the same device. So, if we edit Avid, then the signal chain goes through the UltraStudio, as well.

All of this means that in today’s world, you can work as lightly as you like. Laptop-only – no problem. iMac with some peripherals – no problem. A fancy, client-oriented room – still less hassle and cost than just a few short years ago. Load it up with extra control surfaces or stay light with a keyboard, mouse, or tablet. It all works today – pretty much as advertised. Gone are the days when you absolutely need to drop a small fortune to edit high-quality video. You just have to know what you are doing and understand the trade-offs as they arise.

©2017 Oliver Peters

Adobe’s Late-2017 Creative Cloud Updates

According to Cisco, 82% of internet traffic will be video by 2021. Adobe believes over 50% of that will be produced video and not just simple user content. This means producers will be expected to produce more – working faster and smarter. In the newest Creative Cloud update, Adobe has focused on just such workflow improvements. These were previewed at IBC and will be released later this year.

Adobe Premiere Pro CC

With this release, Adobe has finally enabled the ability to have more than one project file open at the same time. You can move clips and sequences between open projects. In addition, projects can be locked by the user, making Premiere Pro the first NLE to enable multiple open projects and locking within a single application. In addition, Adobe has expanded project types to include both Team Projects (your project is in the cloud) and shared projects (your project is local). The latter is ideal for SAN/NAS environments and adds Avid-style collaboration.

Editors will enjoy specific timeline enhancements, like “close all gaps” and up to 16 label colors. The Essential Graphics panel gets some love with font filtering and a visual font preview window. Graphics templates will now include a minimum duration, so that these clips can be extended on the timeline, while leaving the fade-in and fade-out constant.

Adobe is doubling down on VR using its acquired Skybox technology. New are 19 immersive effects and transitions specific to VR projects. These are needed to properly seam wraparound edges when effects are added to VR clips. They are all GPU-only effects; however, as some VR clips can be 5K wide and larger, performance can be challenging. Nevertheless, Adobe reports decent performance with 6K VR clips at half-resolution on laptops like the HP z820 or the 2017 15” MacBook Pro. There is also an immersive playback viewer designed for HMDs (head mount displays). It will display the image along with the Premiere Pro timeline window.

Premiere Pro’s non-VR editing updates, including shared projects, are explained well by the reTooled blog (video here).

Adobe Audition

Audition is the place to finalize your Premiere Pro mix, so a new auto-ducking mix tool has been added. This is based on Sensei, Adobe’s umbrella name for its artificial intelligence technologies. To use auto-ducking, the editor simply has to adjust sensitivity, amount of reduction, and fades, and then let Audition do the rest. Under AI, it will detect pauses in the dialogue and adjust music volume accordingly.

Other Audition enhancements include a timeline timecode overlay for the video viewer, the ability to simultaneously adjust dual-sided fades on clips, and new record and punch-in preferences for ADR work (“looping”).

After Effects

Here’s another example of this focus on time-savings. After Effects gains a new start-up window to set-up the first composition. It also gains a keyboard command editor, and in this release, will add the same font previewing tools as Premiere Pro. The biggest new feature is an expansion of the expression controls. These will be tied to data files for the quick updating of template graphics. If you create a graphic – such as a map of the US with certain information displayed by colors for each state – and it’s based on a template tied to data, then changing the supporting data information will automatically update the graphic. Other enhancements include GPU acceleration for third-party plug-ins that use the Mercury Playback Engine.

Character Animator

This live-capture, cartoon animation tool finally comes out of beta. A new feature will be the adjustment of the responsiveness of the animation tracking. This will permit live animation to look more hand-drawn. Actions can now be triggered by MIDI control panels. Triggers are editable in the timeline with a waveform for better matching of lip-sync.

There’s plenty of good user news, too, including the the release of 6 Below, an ultra-wide film designed for the Barco three-screen format. It was edited by Vashi Nedomansky using Premiere Pro. Other Premiere Pro news includes the dramatic feature film, Only The Brave, edited by Bill Fox, and Coup 53, a documentary in post being cut by Walter Murch. Both of these noted editors have been using Premiere Pro.

For more in-depth info, check out these links for a solid overview of Adobe’s soon-to-come Creative Cloud application updates:

ProVideo Coalition – Scott Simmons

Premiere Bro blog

Adobe’s own Digital Video & Audio blog

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

Customize Premiere Pro with Workspaces

Most days I find myself in front of Adobe Premiere Pro CC, both by choice and by the jobs I’m booked on. Yes, I know, for some it’s got bugs and flaws, but for me it’s generally well-behaved. Given the choices out there, Premiere Pro feels the most natural to me for an efficient editing workflow.

Part of what makes Premiere Pro work for me is the ability to customize and fine-tune the user interface layout for the way I like to work or the tasks at hand. This is made possible by Adobe’s use of panels for the various tools and windows within the interface. These panels can float or be docked, stacked, or tabbed in a wonderfully large range of configuration possibilities. The Adobe CC applications come with a set of preset workspaces, but these can be customized and augmented as needed. I won’t belabor this post with an in-depth explanation of workspaces, because there are three very good explanations over at PremiereBro. (Click these links for Post 1, Post 2, and Post 3). My discussion with Simon Ubsdell made me think the topic would make a good blog post here, too.

It all starts with displays

I started my NLE journey with Avid and in the early days, two screens (preferably of a matching size) were essential. Bins on the left with viewers and timeline on the right. However, in the intervening years, screen resolution has greatly increased and developers have made their UIs work on dual and single-screen configurations. Often today, two screens can actually be too much. For example, if you have two side-by-side 27” (or larger) displays, the distance from the far left to the far right is pretty large. This makes your view of the record window quite a bit off-center. To counter-balance this issue, in a number of set-ups, I’ve taken to working with two different sized displays: a centered 27”, plus a smaller 20” display to the left. Sometimes I’ll have a broadcast display to the right. The left and right displays are at an angle, which means that my main working palette – the viewers and timeline – are dead-center on the display in front of me.

I also work with a laptop from time to time, as well as do some jobs in Final Cut Pro X. Generally a laptop is going to be the only available display and FCPX is well-optimized for single-screen operation. As a result, I’ve started to play around with working entirely on a single display – only occasionally using the landscape of the secondary display on my left when really needed. The more I work this way, the more I find that I can work almost entirely on one screen, if that screen offers a decent resolution.

So in order to optimize my workflow, I’ve created a number of custom Premiere Pro workspaces to serve my needs. (Click any of these images to see the enlarged view.)

Edit layout 1

This is the classic two-screen layout. Bins on the left and dual-viewer/timeline on the right. I use this when I have a lot of footage and need to tab a number of bins or expand a bin to see plenty of list details or thumbnails.

Edit layout 2

This layout collapses the classic layout onto a single screen, with the project panel, viewers and timeline.

Edit layout 3

This layout is the one I use most often, because most of what I need is neatly grouped as a tab or a stack on the left and right sides of a single viewer window. Note that there are actually source and record viewers, but they are stacked behind each other. So if I load a clip or match frame from the timeline, the source viewer becomes foremost for me to work with. Do an edit or go back to the timeline and the viewer switches back to the record side.

By tabbing panels on the left side, I can select the panel needed at the time. There is a logical order to what is on the left or right side. For instance, scopes are left and Lumetri Color controls on the right – thus, both can be open. Or I can drag an effect from the right pane’s Effects palette onto the Effects Control panel on the left.

Edit layout 4

This is the most minimalist of my workspaces. Just the viewers and timeline. Anything else can be opened as a floating window for temporary access. The point of this workspace is 100% focus on the timeline, with everything else hidden.

Edit layout 5

This workspace is designed for the “pancake timeline” style of editing. For example, build a “selects” timeline and then pull from that down to your main editing timeline.

Edit layout 6

This is another dual-display layout optimized for color correction. Lumetri Color and Effects Control panel flanking the viewer, with the Lumetri Scopes fullscreen on the lefthand monitor.

There are certainly plenty of other ways you can configure a workspace to suit your style. Some Premiere Pro editors like to use the secondary screen to display the timeline panel fullscreen. Or maybe use it to spread out their audio track mixer. Hence the beauty of Adobe’s design – you can make it as minimal or complex as you like. There is no right or wrong approach – simply whatever works to improve your editing efficiency.

Note: Footage shown within these UI screen grabs is courtesy of Imagine Dragons and Adobe from the Make the Cut Contest.

©2017 Oliver Peters