CAT | Video Technology
Episode 45: The Post NAB Show http://t.co/j0vkytfp A new episode of The Terence and Philip Show
We went way, way over time so it’s a long show. If there was more time it would be edited down for content, so hit that fast forward button. We cover everything we can remember from NAB 2012.
In no particular order, the three technology advances that make the Solar Odyssey production even feasible are: Large sensors, Syncing double system production by audio waveforms, and the recognition of the importance of metadata. Alternate camera and lighting mounts, along with LED lighting and laptop computers powerful enough for primary production also play an important role. (more…)
Well that’s interesting. We noticed that in Final Cut Pro X’s Import from Camera window that, not only was the built-in camera always visible (it’s a MacBook Pro) even with external devices mounted, so Greg hypothesized that it would ingest from multiple sources at the same time. This, of course, would be highly desirable on The Solar Odyssey, so I decided to test it. (more…)
We’re very pleased to announce Sync-N-Link X, a completely rethought version of our popular and powerful batch synchronizing application for dual system (separate audio and video) workflows.
When we considered what was needed for this workflow we realized we weren’t facing a simple rewrite, but like Final Cut Pro X itself, a complete rethink. Even better we’ve been able to make it much more affordable, reducing the price from $495 down to $199.99. Here’s the press release: (more…)
Impossible Software Is About To Do Impossible Things With Your Video http://t.co/jpkhy2PQ
The technology Impossible Software are using to insert products into existing video is incredibly clever, particularly as a web service, but if it were my production – one I’d carefully composed and cared about – I think I’d be appalled at what was being done to the “finished” product.
There’s not much more to say beyond that: you’ll hate it or it will solve “everything” for marketers. I don’t think I like it, other than for the pure tech.
Highlight Hunter Finds Your Best Clips, Cuts Video Editing By 80% http://t.co/EruxPNpE
That’s the headline from Techcrunch but it’s really misleading. Highlight Hunter doesn’t actually “find” your best clips, you tail slate a good bit by covering the lens (black), and then it finds all the black bits, trims them and trims a certain (user specified) time before that.
As one records adventures, whatever they may be, a user bookmarks highlights by momentarily obscuring the camera lens after the highlight is over. Upon returning home, users open Highlight Hunter on a Mac or PC, load the highlight-rich videos, and, after a few minutes, the app has turned the footage into highlight clips.
The nifty thing about Highlight Hunter is that it is compatible with most outdoor video cameras (list here) or media files, and users have the ability to choose the length of their highlights, though the average is about 30 seconds. The app then spits that highlight real out, and the resulting file is compatible with other video editing apps so it can be uploaded to iMovie or the editing software of your choice for more advanced post-production. And, hey, you can also share it directly from within the app to Facebook or YouTube.
Can’t see it has much use in the sort of production I’m interested in!
OK, it’s a provocative headline, and while I don’t for a minute think Avid are deliberately setting out to sell out editors, it may be an inevitable result of inevitable technological innovation. (more…)
The war on H.264 is over: “We lost,” says Mozilla at Apple Insider
Thank Goodness, sanity finally prevails! In fact Mozilla’s previous approach – holding out for Ogg or WebM codecs – had the unfortunate side effect of driving even more people to the very closed Flash for distribution of H.264 in FireFox. Exactly the opposite of what the Mozilla folk wanted.
I’ve long said that H.264 is “one codec to rule them all” (because it scales so well) and it’s about time Mozilla realized that the world really only wants one codec. Well, really users just don’t want to care about codecs at all!
1@patInhofer @piersg @quintessential I’d agree with that – Cineform and DnxHD are the best cross platform mastering codecs.
If you saw a cryptic headlong for this post – the first line above – I apologize. I have my Twitter account set to post to the blog when I post “new”, that is not a reply to someone. Even then I catch the tweet when it posts, tidy the headline and expand the post with a little commentary. (more…)
Three NLEs, three approaches to 64 bit. http://t.co/v0ye0xEy Episode 38 of the Terence and Philip Show.
In this episode Terence and Philip discuss the different approaches to updating their NLEs to 64bit modern architectures, with a particular emphasis on Media Composer 6, Avid’s just-released 64 bit update to the venerable Media Composer.