toMotion
One of the most useful features in the Final Cut Pro X/Motion 5 workflow environment is the ability to create, edit, publish, and share media content created in Motion 5. Creations like Effects, Titles, Generators, etc. can easily make their way into FCPX for widespread use. What is astonishing is these robust media tools can be created without writing a single line of code. Efficient distribution of these tools sparked my interest and lured me back into Xcode.
Before I preview my new application, let me explain the current (and kludgy) method of incorporating distributed Motion content into the necessary location(s) on the user’s system.
When you install Motion 5 a folder structure is created in the user’s ~/Movies folder. The top level folder (below “Movies”) is called Motion Templates. Below Motion Templates, 5 sub folders are created: Compositions, Effects, Generators, Titles, and Transitions. It’s important to note that each one of these folders pick up a .localized file extension. This was a very important issue that I needed to be aware of when developing the new application. More on this later …
Anyway, if a user is running both Motion 5 and FCPX, it is very easy to move Motion content to and from FCPX. This content is ultimately located and accessible in the FCPX Effects Browser. For example an Effects package can be “Published” from within Motion to FCPX and sent to a user appended “Category” located in the Effects Browser. This creates a very well organized list that makes it very easy to manage and access Motion tools while working on FCPX projects.
Here is where things get a bit confusing: As previously noted, Motion content authors can also share their creations. With this in mind I realized the user on the receiving end was forced to dig into the existing Motion Templates folder structure and manually place their acquired tools in the proper location. The minute I saw content authors including a snapshot similar to what I have inserted below, and using it to display where to place distributed content … I knew there had to be a better way.
Enter toMotion.
I won’t get into too much detail here. In fact I built a webpage, also accessible from within the application that explains the concept in full. It’s available HERE. Basically toMotion is a sophisticated folder routing tool that interacts directly with the Motion Templates sub folders and their underlying contents. You simply drag in acquired Motion content folders, set a destination with or without appending a custom Category, and fire away. The source folder is automatically moved to your targeted location. Keep in mind this is *not* a copy operation. The source input folder is in fact moved to the targeted location.
It also came to my attention that user’s who have not yet purchased and/or installed Motion 5 may still utilize distributed Motion content. The caveat here is they will not have the required folder structure in their ~/Movies folder. Without this folder structure it will be impossible for the content to be incorporated into the FCPX Effects Browser. To alleviate this I built in support for the creation of this necessary folder structure. The user can access this option from within the Application Preferences. Upon completion of this action the Motion Templates folder and it’s 5 subfolders will be in place and ready for content.
Finally I decided to add a Backup Solution. The user can select an existing folder located on their system, or create a new folder, and designate it as the backup repository. The backup action copies the the Motion Templates folder and it’s contents, appends a date, and sends it to the designated location.
I think the application turned out pretty well. I learned allot, which of course is my ultimate goal when writing these Cocoa Applications. By the way – I previously mentioned this .localized folder extension issue. I must admit this was an oversight on my part. I knew my code was working regarding folder creation and movement of folders to specific locations. I just could not send folders to the Motion Templates folder or any of it’s subfolders. I finally initiated a Get Info (⌘ + i) action on one of the folders and realized they all shared this .localized extension. I edited my code and I was good to go ..
-paul.
Software Updates …
New Software Updates:
checkDefinitions 1.5 … with a customized Authentication Panel, a date string that displays the last attempted forced update, and UI tweaks.
aspectRatio 1.12 … with improved key mapping for custom conversions and UI tweaks.
-paul.
Check Security Definitions via Terminal …
The one feature missing from the current version of checkDefinitions is the ability to manually trigger a sort of “update now” operation for your Security Definitions. What most people are recommending is that users open System Preferences and navigate to the Security pane. You then need to click the lock that will display the Admin Password Authentication dialog. After authentication the user must toggle the Automatically update safe downloads list preference flag. This will force your system to ping Apple and check the status of your current Definitions.
The second way to do this is by running a unix sudo executable from the Command line. This operation will also require Password Authentication.
Anyway … there are a few developers out there offering applications similar in concept to my checkDefinitions app. From what I can see (in most cases) they are implementing AppleScripts to access the Security preference to force the check update operation.
One thing I’ve been doing lately is experimenting with the Terminal. I thought it would be cool to write a shell script, make it an executable, and figure out some way to integrate it with checkDefinitions.
After design and testing I decided not to bundle the shell script file with the application source. I need to figure out why the addition of the script file to the source bundle results in successful Builds and unsuccessful Runs. In other words – the code compiles and the main UI window fails to run.
At this point the shell script executable needs to be placed in a specific folder on the users system. After doing so pressing the Eject button on the main window quits the app., the Terminal launches, and the script does it’s thing. After the user authenticates the system’s Definitions will be updated (if necessary) and status is reported. The next time you run checkDefinitions the current status of your Definitions will be displayed.
It sounds a bit hack-ish, but to be honest it works pretty well. In fact the shell script executable is a handy little utility that can be used on it’s own for customized use. By the way I forgot to mention I’m using Apple’s PackageMaker application for distribution of this version. The advantage of this is I am able to add both applications (checkDefinitions and the shell script) to the distribution bundle and specify where they need to be placed on the user’s system. The important thing here is I am able to send the shell script file to where it needs to be and checkDefinitions will know where to look for it …
-paul.
Update:
Version 1.3 of checkDefinitions including the Force Update via Terminal feature is now available for Download and in the Sparkle feed.
A few notes:
Please read the update notes and Disclaimer displayed in the auto-update (Sparkle) window or in the ReadMe file included in the direct download disc image. I was able to figure out how to include the shell script(s) in the application bundle. It is for this reason package installers are no longer necessary.
checkDefinitions
I’m just finishing up on another new application: checkDefinitions.
This application provides an easy way to check on the Version/Date status of your Security Definitions. Running the application points to the .plist file buried somewhere on the user’s system that contains the status data. It then parses the file and displays the necessary strings on the main UI.
You can view the contents of the .plist file and also edit the behavior of checkDefinitions in the event apple changes the default file name, it’s path, or the Date value key. There is also an action located in the Preferences to reset the application to it’s default state.
You will need to make sure that the Automatically update safe downloads list option is turned ON in: System Preferences/Security/General.
-paul.
colorFloat
Last eve I was sifting through the Apple App Store looking for a simple utility to quickly convert RGB color values to corresponding float values (RGB integer / 255 = float). I decided to build my own Cocoa application with a few added enhancements.
High-res Image: colorFloat
Run the standard OSX Color Picker and press the second toolBar option (Color Sliders). Select the RGB Sliders option in the popup menu. Notice each RGB value changes as you move through the color spectrum. We can divide each one of the displayed values by 255 to return float values that can be used in source code authoring. In colorFloat the user adds an input RGB value (x3), converts, and appends each conversion result to the desired color channel. The final action displays the corresponding color for confirmation.
I also built in support for what I refer to as Dynamic Floats. Notice the Dynamic Floats HUD located in the high-res image. The Float value strings change dynamically as you move around the color wheel or change the values of the RGB sliders. This feature allows the user to easily sift through the color spectrum to view corresponding floats in real time.
Lastly, I added a simple Palette that consists of five Color Wells. The user can store colors for future access.
The app. turned out pretty well. I found it interesting to take a break from QTKit and explore a few unfamiliar Cocoa Classes.
Notes:
When I find the time I’ll be writing about a bunch of new stuff, mainly Adobe Audition for the Mac, Final Cut Pro X, and a new media playback application that I am finishing up with interesting support for images captured with one of my favorite iPhone apps. – Panascout. Lastly, FiRe 2 … an awesome iPhone audio recorder that supports waveform editing and audio processing.
-paul.
Broadcast upTimer …
This is the updated version of a neat utility that I built about 5 years ago. Radio Stations sometime use what are referred to as upTimers to track live programs and air time. Hardware versions are available from main stream broadcast gear suppliers and can be quite expensive. In fact many of these devices can be remotely controlled using a console link. I thought a software version would be cool, so there you have it.
New options include the capability to set the timer Ceiling (60 or 90 minutes), HUD window interface, and date display. I decided to use a HUD window instead of a basic textured window. Clicking away from the running timer window does not affect clear visibility. The physical size of the window is now 840 x 365 pixels. This makes it easy to see from a distance.
I need to add the Sparkle Framework for automatic updating support before I release it …
-paul.
Update:
I replaced the current date with a Running Time display. Sparkle has been added as well …
You can download upTimer 2.0 here.
Return to Vinyl …
Introducing my “new” stereo …
… Well, not really. It’s a long story.
Back in the late 1960′s though the 1980′s nothing (besides family, school, and work) was more important to me than music. Growing up my Dad blessed us with one of those retro console stereo cabinets that included a recessed turntable and AM/FM Tuner. I forget the brand. However I remember every aspect of it: the Tone Arm, the Tuner, and the mesh panels that covered the front firing stereo speakers. The piece no longer exists. The memories of using it will be with me forever.
In 1977 I purchased my first personal stereo system that consisted of a Pioneer Integrated Amp, a belt drive (fully manual) Sansui turntable with a Shure cartridge, and a pair of Ego speakers. It was through this system that I enjoyed early music by classic Rock Bands of that era that for the most part became legends. Queen, Led Zeppelin, Journey, Bad Company, Boston … there was just something about placing that Shure stylus on a spinning LP.
Fast forward to sometime around 1983. I was 23 and working as a Clerk on the floor of the New York Stock Exchange. An afternoon stroll up Broadway to J&R Music World would turn out to be a life changing event. On that day I was exposed to Compact Discs for the very first time. The immediate access to tracks, the connivence, and the allure of digital audio playback swayed me, and marked the beginning of the end of my passion for vinyl LP’s.
Throughout the 1990′s I managed to accumulate quite a collection of compact discs. Indeed I repurchased every album that was important to me in the CD format that I originally owned on vinyl. But something happened. For reasons that I have yet to figure out, at this stage of my life I have totally lost interest in listening to music. Occasionally, and I mean that sincerely – I’ll listen to Frank Sinatra/Nelson Riddle collaborations recorded in the 1960′s … on CD. That’s it. A week ago I decided to do something crazy. As a result, I think I may have figured out why I lost interest in listening to music.
I’m not sure why … but I decided to fire up a few of my old LP’s on my “old” Sony linear tracking turntable that my brother Mike had stored in a Brooklyn storage facility. In order to play LP’s through my modern gear I needed to purchase a phono preamp to bring the turntable up to line-level. I bought a $50 ART preamp from B&H, wired everything up to my Mackie console, and decided to spin the first Boston album originally released in 1976. I must admit I really wanted to play my favorite album of all time: Queen II (1974). My thinking was if I was disappointed, Queen II would not be responsible for my dismay.
My goodness. I’m still coming to terms with what I experienced when I fired up that Boston album. I *cannot believe* how much better vinyl sounds compared to CD! I’m amazed how I simply forgot about the vinyl experience. The warmth, the nuances, and yes – the clicks and pops … there’s just something about it. It sounds nothing like CD. I’m totally immersed in this. I proceeded to dig out all my favorites on vinyl and I’ve been listening non-stop. My listening experience of choice is through headphones. It’s been really cool.
As I noted I am using my old Sony linear tracking turntable. It’s fully automatic, with a tracking arm and cartridge that moves in a straight line horizontally from the right side of the turntable platter to the center spindle. After cleaning it up and fixing a few mechanical problems, it functions well – with one exception: no manual control of the tonearm. A few day’s of research and a bit of eBay browsing solved this problem.
This week I’m expecting two pieces of gear that I remember well: the Marantz 2216 Stereo Receiver and the Technics SL-Q2 Direct Drive turntable. Both pieces are circa 1977, and are in mint condition. I purchased them for almost nothing compared to their original cost. Some 33 years later – I will be able to enjoy two pieces that I could have never afforded back in the day. Best of all, I get to relive what has left me for so many years. That would be sitting back and enjoying my favorites on vinyl through vintage gear. This whole experience made me think of a line sung by Freddie Mercury many years ago (1973?) on a very obscure and rare track: “… I think I’m going back … to the things I loved so well … in my youth.”
-paul.
Final Cut Pro Offline Edit with ProRes Proxy…
It has been documented that the newly released feature film “Eat Pray Love” staring Julia Roberts was edited entirely on a Final Cut Pro workstation.
I found this most interesting:
“The editors found an efficient solution in ProRes 422 (Proxy), a new version of the Apple ProRes codec introduced with Final Cut Pro 7. As soon as dailies arrived from EFILM, Assistant Editor Doc Crotzer would transcode the files from ProRes 422 (HQ) to ProRes 422 (Proxy), organize the footage into bins, and prepare the material for editing.”
Review this chart, and notice the variations in data rates of the ProRes family of codecs:
Obviously lower data rates = smaller file sizes. The bottom line is working with ProRes Proxy files (Offline copies of original ProRes 422/HQ files) creates a much more efficient workflow that is less taxing on any system.
I’ve adopted a slick method using my iMac for rough cutting ingested AVCHD footage that has been transcoded to ProRes Proxy via Final Cut Pro’s Log and Transfer. Depending on the complexity of the finished project sequence, I can finish and output on the iMac, or – move the project and it’s assets over to my MacPro for finishing. The key is prior to outputting, the edited Proxy clips can be re-captured and replaced with higher quality ProRes versions.
The Workflow:
Reconnect Media
If you edit on an iMac, a Mac Portable with an external FW800 hard drive, or if you are looking for a more efficient large-scale project workflow – try this method. It works well for me …
-ptfigg.
Final Cut Pro: Open in Editor …
One of the many aspects of Final Cut Pro that I would like to see improved is how project clip attributes are displayed. Currently right clicking on a media file located in the Browser or Timeline and selecting Item Properties/Format displays a sort of bloated window with a table. In most cases I am only concerned with the datarate, framerate, codec, and aspect ratio. I decided to build a simple HUD style file inspector, and I found an easy way to integrate it with Final Cut Pro.
I’m calling this tool movieData. It is in fact a stand alone application that needs to be installed as normal in the Applications folder. In order to use this tool to display clip attributes, the user must access the FCP System Settings/External Editors preference and set movieData as the default Video File Editor. Now if you right click on a clip in the Browser or Timeline and select Open in Editor, the HUD runs and displays the supported clip attributes. I built in an On/Off HUD Transparency preference. It’s pretty cool.
I’m sure there is a more seamless method of integrating this inspector with FCP. At this point the Open in Editor option suits me just fine …
If you would like to check it out, get in touch.
-paul.
Technorati Tags:
Final Cut Studio 3, Video Post Production
aspectRatio: New design
I’ve consolidated the design and functionality of the aspectRatio version 1 series UI.
The main (and only) program window now consists of two individual views: Fixed and Custom Calculations. The user can select a view with the Segmented Control, located at the bottom right of the application window. Additional fixed calculation actions that were previously accessible on various “sheets” are now located in a new lower drawer.
I rewired all the application objects and edited a good amount of code. I need to test the application before I release it. I think it turned out pretty well …
Update: aspectRatio ver.1.10 has been released.
-paul.
Technorati Tags:
Aspect Ratio Converter, aspectRatio, Post Production, Video Post Production
Final Cut Pro:Timecode Generator
Let’s assume you are finishing up a rough edit for client review consisting of multiple clips and sound. The client requests visible timecode in the review movie. Final Cut Pro includes a Timecode Generator Filter located in Effects/Video Filters/Video. Since this is in fact a filter, it must be applied to each individual clip. The problem with this implementation? The TC Generator will reset on a clip to clip basis as the playhead moves through the sequence.
Our objective is to have the TC Generator display a continuous representation of the entire sequence timecode. I have two suggestions …
Nesting
The image below represents a Nested sequence:
The original sequence consisted of multiple independent clips. Nesting a selection of timeline assets creates a new self contained sequence without any reference to previous edit points.
To create a Nested Sequence, select the timeline assets. Head up to the FCP Sequence Menu and select Nest Item(s). You can also use the keyboard shortcut ⌥ C. Apply the FCP Timecode Generator Filter to the Nest. The filter will display the RT playback timecode in the Canvas. The Timecode will be visible in the output movie.
Andy’s Timecode Generator
There is another way to do this using a (free) third party generator. Andy’s TC Generator allows you to add a TC Generator directly to your existing sequence as an overlay on a upper video track. The developer notes that you can adjust the offset to match your sequence, or use it as it’s own free running reference. Very cool.
One final note about one of Final Cut Pro’s newest features: The Timecode Viewer HUD.
The resizable Timecode Viewer (Tools/Timecode Viewer or press Control-T) makes reading current timecode very easy. The Timecode Viewer displays the timecode for either the Timeline/Canvas or the Viewer as well as the corresponding sequence name or clip name. You can customize what is displayed by right-clicking either the upper or lower display areas of the HUD.
Tip: for easy access, add a Timecode Viewer Shortcut Button to a Button Bar in the FCP window of choice – (Tools/Button List/Timecode Viewer).
-paul.
Technorati Tags:
Final Cut Studio 3, Video Post Production, Final Cut Pro Timecode Generator, Andy’s Timecode Generator
aspectRatio ver. 1.9 Released …
New in this Release:
• If custom calculated output dimensions are not evenly divisible by 16, the aspectRatio Custom Conversion utility will now suggest evenly divisible high/low values.
Select MPEG formats are based on 16×16 macro-blocks. Output dimensions evenly divisible by 16 will maximize encoder efficiency and yield optimum results.
• New Preferences Panel with a new option to set the font color of the calculated numerical output displays.
• The code for the Main Window formats display has been rewritten.
• New multi-view Help panel.
• A Main Application Window selection option has been added to the Window menu. If the main application window is inadvertently closed while the application is still running, this option will re-display the main window.
• Updated the Sparkle Framework to ver.1.5 b6. This includes DSA Signatures for enhanced security.
Technorati Tags:
Aspect Ratio Converter
Core Data: Credenza
Here is a glimpse of a new internal use application that I am finishing up. I’m calling it Credenza.
The inspiration for the name is based on my personal interest in Mid-Century Modern design, furniture, and architecture. A Credenza is essentially a furniture cabinet popular in the 1950′s and 1960′s that may have included space to store folders, media, barware, or anything else for that matter. Credenza the application is a custom designed storage repository or database intended to support my subjective methods of logging data relative to my work.
The pictured chart below displays the flow of data based on how I manage personal business records on a monthly basis: The sourceView contains a list of active clients who submit groups (Batches) of monthly assignments (Jobs). For example September Post Production … Program 1, Program 2, Program 3 … and so on. I’ve added a Task Manager that is linked to each individual Job, detailed contact/account information, a text editor, billing/payment records, and past due information. The only thing Credenza lacks is support for generating invoices.
Core Data
For the past year I have been studying the process of building Cocoa databases using Core Data and Bindings in Xcode.
Two specific resources sparked my interest in Core Data: The Core Data exercise in this Cocoa Programing book by Aaron Hillegas, and this Core Data tutorial movie supplied by Apple.
Credenza takes advantage of the basic Core Data principals with the addition of custom code that enhances the functionality of the application.
There were two significant challenges:
• A user option defining the state of the application at runtime
• Migration and Versioning
Credenza is a Document based application. By default a “new” blank document is displayed when launching the application. This can be a handy option, allowing the user to create multiple unique databases within the application. But what if the user uses a single dedicated database? In this case the default blank document would need to be closed, and the user must manually navigate to and open a previously saved database from the File Menu. With a bit of research I figured out how to make this behavior (blank or previously saved) a user defined option. It is now available within the application Preferences.
By default Core Data applications will not display data that was input and saved using a previously created data model. Data Models consist of Entities, Attributes, and Relationships. Using the concept of Credenza as an example: Clients would be a cumulative Entity, and a specific client’s email address would be an Attribute. Relationships create interaction between Entities.
This excellent documentation was a tremendous help. The implementation worked perfectly. The bottom line is that as application development continues to progress, I am no longer at risk of data incompatibility issues. Incidentally the database format is SQLITE, and all saved documents maintain Credenza as the default application by way of a custom file extension (.credenza).
This project is an example of designing and building a useful customized application, all made possible by taking advantage of Core Data’s robust capabilities and simplicity.
-ptfigg.
Technorati Tags:
Cocoa, Core Data, Migration and Versioning
ProRes Proxy …
It’s been two weeks since I installed Final Cut Studio (3).
I spend most of my time working in Soundtrack Pro 3, and I’m happy with the new features. Most notably, RMS Normalization, Voice Level Matching, the “Enhanced” File Editor”, and a few additional editing features within Multitrack Projects (trim in point to playhead/trim out point to playhead, for example).
Final Cut Pro: I’m happy that apple finally added a customizable Timecode HUD, improved clip Speed Controls, and enhanced the process of Exporting work. Upon release of the suite the professional user base was up in arms with regard to the absence of dedicated support for Blu-ray authoring in DVD Studio Pro. However there is now a nifty (but limited) Blu-ray export option available from within Final Cut. Authoring templates are fairly basic, and of course a supported Blu-ray drive is necessary. So far this new feature has been well received. Incidentally, I heard from a reliable source that apple’s FC Studio Product Manager stated that “DVD Studio Pro is designed to author standard definition DVD’s.” Does this mean we will never see embedded Blu-ray support in DVDSP? Time will tell.
And let’s not forget about the new additions to the ProRes Family of codecs. In fact the Proxy and LT versions of ProRes will help with my AVCHD projects and workflows in a big way. It is now possible to ingest and edit transcoded camera footage using the reduced data rate ProRes Proxy codec.
I’ve been importing the contents of entire disc images that include the native AVCHD footage from my camera’s SDHC card and storing locally on a high capacity internal hard drive. This allows me to easily Log and Transfer multiple ProRes formats for editing, and for high quality ProRes (422 or HQ) reconnects in preparation for final output. I’ve been duplicating project edit sequences and adjusting settings accordingly prior to reconnecting to higher quality clips. This method works very well.
As far a disappointments: I was sure that apple would implement a major Final Cut UI overhaul for version 7. This was obviously not the case. Apple’s Product Manager also noted, and again according to sources – that the FC Pro UI “just works”, and there is “no reason to change it at this particular time …”
Anyway, as I move forward I will be spending more time working in and experimenting with Motion. I feel my Final Cut and Soundtrack Pro skills are where they need to be. Not the case with Motion.
Notes:
I’m now running the latest version of Final Cut Server (ver.1.5) and I have ordered a copy of Logic Express 9. I’ll be in touch…
-ptfigg.
Technorati Tags:
Final Cut Pro, Post Production, Video Post Production, Final Cut Studio 3, Soundtrack Pro 3
Panasonic AG-HMC150 AVCCAM
I moved forward and purchased the solid state Panasonic AG-HMC150 (AVCHD) Hi Definition AVCCAM. The camera is in short supply due to it’s enormous popularity. It debuted at NAB 2008 and hit the street in October. After a few months in circulation shooters embraced it and the rest is history.
The camera records to inexpensive SDHC memory cards. Footage is easily ingested into Final Cut Pro using the Log and Transfer mode. Due to the high efficiency of the AVCHD format you can record approximately 100 minutes of the highest quality (1080/24p) video on a 16 gig card that sells for about 70 bucks. AVCHD is essentially high definition H.264 (MPEG-4) video. The tapeless workflow is a major plus.
Additional features worth noting:
• 28 mm Wide Angle lens
• Full manual control. Large manual focusing ring with focus assist
• Recording Formats: PH (high quality) mode: 1080/60i, 1080/30p (over 60i), 1080/24p (native), 720/60p, 720/30p (over 60p) and 720/24p (native). Lower quality settings are limited to 1080/60i.
• Waveform monitor for accurate exposure control
• Dual XLR audio inputs (mic or line) with 48v phantom power
• Extensive support for operational presets. Panasonic refers to presets as “Scene Files.” The default scene files can be edited/backed up and saved on to the camera’s SDHC card and transfered to a computer for future use (the files are standard .txt files).
• A host of professional picture control and operational settings
Let me also mention that iMovie ’09 supports AVCHD video with one caveat relative to this camera: no support for 24p footage. You’re limited to 30p (29.97 fps). The full 1920×1080 resolution is supported.
A few minor issues:
For serious extended shooting the stock battery is insufficient. The optional 3 hr. battery runs about $150.00. The on-board stereo mic is of low quality. Not a surprise. A logical choice is the Audio Technica AT875R ($199.00).
So far the camera is impressive. I’ll be posting additional information about the camera in the coming weeks …
-paul.
Technorati Tags:
24p, Panasonic AVCCAM, Panasonic AG HMC-150
Prosumer Camera Manual Focus …
I recently purchased and returned a Canon HF-S100 AVCHD camcorder. I misread the camera’s specs and incorrectly assumed the camera shot native 24p. Besides this I was not happy with the camera’s manual focusing features. Specifically, there is no focus ring on the lens. There is a small roll mechanism located just behind the lens on the left side of the camera. In my opinion this is a poor implementation.
Pictured to the right we have two new camcorders by Panasonic and Canon. The Panasonic HDC TM350 (AVCHD) was announced in Japan last week. So far no news with regard to US availability. The Canon HV40 (HDV) is the latest edition to the very successful line of Canon HV camcorders.
Notice the placement of a traditional lens mounted focus ring on the Panasonic. Very nice, indeed. What puzzles me is Canon continues to design their prosumer camcorders with this roll focus mechanism (located between the silver buttons at the front of the HV40, pictured right). This design strategy has been widely criticized by the public at large.
I found a very cool piece that may solve this problem for disgruntled HV line camcorders. Irv Design Inc. offers a manual focus ring attachment designed to enhance manual focusing for these Canon camcorders. The ring is made of anodized black aluminum and it is designed so that it will not “block or hinder camera functions.” From what I can see rotation of the ring interacts with the camera’s rolling mechanism and it controls focus adjustments. You simply slip the ring over the outer edge of the camera lens and it locks into place.
It appears the piece is currently out of stock. The next batch is expected in mid to late June. Irv Design states plans are in the works for new models of the focus ring for Canon and Sony camcorders.
-paul.
Technorati Tags:
New Media, Cameras and Camcorders
Pulldown
Confused by the term Pulldown, or Telecine?
Here are the facts:
24p = 23.98 fps (Progressive)
29.97 fps = 59.94 interlaced fields per second, aka 60i
• Interlaced video displays 60 half frames per second
• Progressive video takes entire video frames on the go
• Progressive video requires 2x the bandwidth of interlaced video
Pulldown (Telecine)
This is the conversion process: 24p (film or video) — 29.97 (video).
• 2:3, or 3:2 (aka 2:3:2:3): 60 fields / 24 = 2.5. So each frame of 24p material needs to last for 2.5 frames of video
• 2:3:3:2 is referred to as Advanced Pulldown
Excerpt form Videomaker Magazine:
Here’s how it works: we are transferring 24p to 60i, which means we are converting 24 frames per second into 60 fields per second. The first frame of film is transferred to the first two fields of video and the next frame of film is transferred to the next three fields – 2:3. This results in some frames of film spanning two different frames of video or, to put it another way, some frames of video that are composed of fields from two different frames of film.
-paul.
Technorati Tags:
Pulldown, Telecine, 24p
proKeys for Mac …
Final Cut Pro, Logic, and Aperture all include searchable keyboard shortcut databases. Soundtrack Pro does not. Oddly enough I was never a keyboard shortcut power user. I find it confusing trying to remember specific shortcut banks that vary from application to application. I’m now realizing things flow much more efficiently when using various shortcuts to execute repetitive application functions.
Enter proKeys:
proKeys is a customizable shortcut repository. The left source list includes various (user defined) applications. Specific shortcuts are listed in a basic NSTableView with three columns: Function, Shortcut, and Category. This concept matches the PDF user manual implementation provided by apple. You can store what I refer to as “Quick Tags”, or tokenField strings that support drag and drop. Their purpose? Add and store keyboard shortcut symbols (⌘,⌥,⌦) for repetitive use. Keyword tagging is supported, and I’ve also included a Category Log that simplifies searching for and displaying an entire “bank” of shortcuts that are part of a specific group.
I built the application using a Core Data Model with Bindings. I also implemented a custom file extension that supports SQLITE file/data format backups. The demo dbase includes the entire group of Soundtrack Pro shortcuts.
Now I need to consider distribution. I think it’s a well designed, simple tool that many will find useful.
More news to follow …
-paul
Technorati Tags:
Final Cut Studio 2, Soundtrack Pro 2, Video Post Production
aspectRatio: Divisible by 16 …
Here is a glimpse of what I have planned for the next release of aspectRatio:
At this point I’ve implemented a suggested dimensions method that displays values evenly divisible by 16. The results are triggered by the Target Width and returned Output Height calculation.
Select MPEG formats are based on 16×16 macro-blocks. Evenly divisible (by 16) output dimensions will maximize the efficiency of the encoder and yield optimum results. For example: a purist would prefer a small 16:9 distribution video to be 480×272 instead of the common 480×270
Also included in this release: a user defined output font color preference setting [orange/red], and a Menu option that re-opens the main UI window if the user inadvertently closes it while the application is still running.
A release date has yet to be determined …
-paul.
Technorati Tags:
Aspect Ratio Converter, aspectRatio, Final Cut Pro, Media Distribution, Video Post Production
aspectRatio ver.1.8 Released …
aspectRatio ver.1.8 is now available.
New in this release:
• The Main Interface (front panel) now displays the selected NTSC preset
• Film Standards and PAL Conversions panel
• NTSC D1 Conversions panel (square and non-square pixels)
• Updated Controls HUD (available in the Help Menu)
I updated the application website as well.
-paul.
Technorati Tags:
Aspect Ratio Converter, aspectRatio, Media Distribution, Post Production, Video Post Production
RGB Float Values with iPalette Pro …
Below is a snippet of Objective-C code using the NSColor Class to set the background color of a textField.
Notice the color (a shade of blue) is set with float values for Red (0.1336), Green (0.5266), and Blue (1.0000). I opened Photoshop and I didn’t have much success finding a way to return RGB float values for displayed colors. I’m sure the feature is available. I’ll dig deeper when I have some time.
A while back I purchased a copy of iPalette Pro and tucked it away. This is a nifty design tool that supports custom color management and storage. It’s very well designed and fun to use. It’s another example of a $10 Mac Shareware gem.
Take a close look at the data located at the bottom of the RGB Test window. Exactly what I’m looking for: RGB float values.
I’m glad I bought iPalette Pro. It’s worth taking a look at …
-paul.
Technorati Tags:
NSColor, Cocoa, iPalette Pro
What’s New? …
AJA IO/LA
Today was a productive day. Besides finishing up on a few programs for IT Conversation’s distribution and client work, I phoned AJA Video and reported a sudden device failure. My IO/LA is a multi-funtional analog video breakout box that allows me to output my Final Cut timeline to an external NTSC Production Monitor via component video output. This is an intricate element in my studio.
I purchased this device some five years ago from an authorized dealer. Much to my surprise it is still under warranty. This was good news, however things get better. AJA Headquarters is located somewhere in southern California, I’m in NYC. Can you believe I will be receiving a brand new boxed device tomorrow before 12 noon eastern? What an incredible service gesture. The technician that I spoke to actually apologized for the inconvenience, and shipped my new device less than two hours after the completion of our phone conversation. Fantastic Service …
Flux
I’ve added a new set of tools to my production arsenal. In the past I’ve mentioned the Flux family of professional audio plugins. I decided to consider issuing a formal endorsement.
It didn’t take long to realize this company produces and distributes some of the finest audio production tools that I have experienced to date. I’m finding the Pure Compressor and the Pure Limiter to be most useful. These plugins are well designed, and most of all – offer stunning sonic processing results.
I continue to use various plugins offered by Wave Arts, most notedly MR Noise, and my number one favorite tool is still iZotope Ozone. I believe there is no better deal out there when it comes to a multi-funtional mastering tool.
Aperture and Nikon D300
I finally sold my trusty Nikon D1x Digital SLR to a good friend (a pro fashion and architecture photographer) located somewhere in southern Florida. I replaced the D1x with a Nikon D300. I’m real happy with it, although I would have preferred the D3. At this point I could not justify the $5K price tag.
I went ahead and purchased the MB-D10 Extended Battery Pack for the D300. This adds an increase in effective shooting FPS as well as vertical orientation control dials for ease of handling. This camera is critically acclaimed. Needless to say I have no complaints
The purchase of the new Nikon triggered a subsequent purchase of the latest version of Apple Aperture. In the past I’ve hesitated purchasing Aperture due to an overwhelming amount of complaints expressed within the pro community. This all changed with Version 2.0 (since bumped up to ver.2.1).
Apple recently opened up their development platform for the creation of third party Aperture plugins. I’m excited to see what turns up in the near future. Last but not least, Apple dropped the price. Needless to say it was time to dive in …
Final Cut Server
Final Cut Server is up and running here.
This was probably not my most cost effective purchase based on the package pricing. FC Server is available at the base level for $999. This includes the server application and 10 client licenses. ($2K for unlimited client licenses).
Currently I am running two client instances with access to the server, installed on my MacPro. I’ve studied the administration and implementation notes, and at this point I’m pretty well on my way. My initial impressions are very positive. More on this in the future.
My plan is to prepare for certification. I believe this status will be a future asset.
aspectRatio 2.0
My simple aspectRatio conversion tool has landed in the hands of a few appreciative producers. If you are finding it useful, I’m glad. Above is my vision of version 2.0. You will notice I’ve added a custom designed Attribute Inspector. This displays important file data, including frame rate, bit rate, duration, track formats, creation date, and location.
Besides the obvious integration of my functioning conversion tool, I am working on implementing a customized Quicktime Component Exporter. This will add support for transcoding and outputting multiple file formats.
Keep in mind I would not have been able to get this far without the help of a good friend as well as the abundance of material that is available on the Apple Developer Connection Website. My skills are still limited. I’m coming along. At this point I consider myself more of a software architect as opposed to a developer. Is this warranted? Not sure. I developed the concept, designed the UI, and did what I could to bring it to life.
Currently I have no definite distribution plans. It all depends on how things pan out with those who have graciously offered assistance with this project.
Stay tuned …
-ptfigg, ny.
Technorati Tags:
AJA Video, Apple Aperture, Aspect Ratio Converter, Final Cut Server, Flux: Sound and Picture Developement, Media Distribution, Nikon D300, Video Metadata and Annotation
Ford Model Agency Embraces New Media …
How did Ford Models become one of the hottest things on YouTube? The sub heading on the cover of the latest edition of Inc. Magazine states: “A viral video makeover helped it [Ford Agency] boost revenue 140% and land a big private equity deal.”
Interesting …
It’s important to note this agency has been in existence for six decades. In 2002, Katie Ford decided it was time to enter the new media space. A headhunter pointed Katie to John Caplan, formally the president [till 2001] of About.com. His challenge? Could Ford Models profitably enter the new media world, and if so – how?
Currently the agency has produced and distributed 1000+ short format videos that feature an informal style. The segments include Ford models and associates engaged in the informal chatter and interaction that typically takes place backstage during fashion shows, photo shoots, and shopping excursions. The videos have attracted ad agencies and apparel manufacturers, expressing interest as potential sponsors. Ford also received a “significant investment” from Stone Tower Capital, a New York based investment firm that manages $14 billion in assets.
The Ford article documents a specific example of how the agency and their production staff strive not to produce what the subscriber base may classify as a commercial. For example – an apparel manufacturer teamed up with Ford to produce a campaign consisting of four videos. In one segment a few Ford models chatted and one mentioned picking up a pair of jeans available from the apparel creator. It wasn’t an ad, just a reference. A rep. from the apparel company points out “People don’t pay much attention to a brand when it’s the brand doing the talking. What people listen to are neutral influencers, and models are perfect for that.” This campaign, along with a few additional incentives was responsible for $500,000 in register sales in one month.
The article also mentions the videos are viewed by thousands, and the best part of all – they cost as little as $200 to produce.
Welcome to the new media space …
** I highly recommend Inc. Magazine. This month’s edition also features A Complete Guide to Marketing in the Digital Age.
[this is not a paid endorsement]
-paul.
Technorati Tags:
Inc. Magazine, Ford Models, New Media
Audioarts Air 1 Console …
Audioarts Engineering, a division of Wheatstone Broadcasting recently debuted their attractive small footprint Air 1 professional audio broadcast/production console. The company states the Air 1 was “specifically designed to meet the needs of on-air, production, news applications, remotes, and the emerging podcasting market.” Features include Dual program Buses, Cueing support, Long Throw Faders, Switchable PGM meters, 2 Monitor Outs, 2 Mic Preamps, Headphone Amp, Solid State Illumination on all switches along with a useful On-Air Indicator light.
Additional features include balanced 1/4″ I/O, external power supply for cool – hum free operation, and bottom mounted Dipswitches designed for easy programing. Lastly, the mic inputs can be programmed to automatically MUTE the Monitor Output when activated. The Air 1 is 2.5″ high, 15.25″ wide, 11.5″ front to back.
No doubt this is a slick device. My guess is professional fans of the Audioarts product line will find this console very attractive. It’s perfect for small scale operations and remote productions. However due to its $1800 price tag, I don’t anticipate wide adaptation within the new media/podcasting space. Standard, sub $1K audio mixers seem to be satisfying the needs of *most* new media producers.
-paul.
Technorati Tags:
Audioarts Air 1, Broadcasting, Broadcasting Gear, Radio Post Production, Broadcast Consoles
Java Popup SDK …
While we are on the subject of software development …
I’ve just completed building a new Software Development Kit that explains how to implement standard Java based site popup windows. I’m referring to the basic method that I am using on this site to display Screencasts via the siteMediaConsole link, located in the upper right sidebar.
The SDK includes two HTML documents that can be customized and edited to suit your needs. I’ve also included a short sample Quicktime movie that can be used as embedded media based on the preexisting code in the files. Simply upload the movie to your server and prepare the files.
The HTML documents require a few simple edits prior to uploading [URL references that will point your browser to these files]. After all is said and done you will be able to test the popup implementation prior to customization.
Lastly I included detailed documentation, as well as a Quick-Start Guide to bring you up to speed in no time.
Disclaimer: This implementation requires basic HTML authoring skills. Apply at your own risk.
-paul.
Technorati Tags:
Java Popup, Media Distribution
Logic Express 8: Recommended …
Some time ago I decided to step away from Digital Performer due to ridiculous universal binary upgrade pricing. Soundtrack Pro’s new support for multichannel I/O served as a proficient replacement – until Apple announced Logic Express 8. It just so happens an old stored version of emagic’s Logic 6 provided me with eligibility for a $99 Logic Express 8 upgrade. Inserting the original Logic 6 USB key permitted installation of the new version.
I think it’s important to note that I am not a composer or musician. Considering many of the supported technologies and concepts included in the Logic product line are intended for this type of producer, many features are useless to me. And, Logic Express 8 lacks an important feature : support for Surround Sound production. Soundtrack Pro 2 provides me with all necessary options in terms of recording and tracking. And it does offer intuitive Surround Sound support. Let’s not forget how well it coexists with Final Cut Pro, providing a viable video and motion picture sound production tool.
So why do I need Logic?
The answer is I don’t. On the other hand I think it will serve me well as an option for new media production workflows and projects. I’m particularly fond of the new consolidated window UI. Apple has done a fabulous job improving the aesthetic attributes in Logic 8. In fact as a side note – it’s hard not to notice just how dated the ever so popular ProTools looks compared to Logic in it’s current state. No doubt ProTools is a solid performer, and I respect it’s stature. I just think it’s time for Digidesign to clean up the interface and improve it’s archaic look and feel.
Logic supports the creation and access of templates, and the entire GUI can be sized accordingly based on the requirements of a project. Additionally, multiple instances of independent projects can run in unison. It’s a great way to manage a complex workflow. The bundled plugins are excellent, much the same as the set included in Soundtrack Pro 2. Channel routing is intuitive, and best of all – track parameter automation is simply cutting edge. It’s the best I’ve seen in terms of simplicity and efficiency.
Last week I recorded a few two channel telco interviews with independent Telos One Digital Hybrids sending interview participant channels to discrete tracks. Dynamics processor plugins were incorporated on inserts, and the application performed flawlessly. The workflow was saved as a template for future use.
One final note: In my opinion Logic Express 8 fills a gap. For those who are interested in moving away from Garageband to something that is professionally oriented, Logic Express 8 is my recommendation. It’s affordable, and a vast array of options and support solidify my assertion.
-ptfigg.
Technorati Tags:
Final Cut Studio 2, Logic Express 8, Post Production, Pro Tools, Radio Post Production, Soundtrack Pro 2, Video Post Production
iMovie ’08: A Stunning Achievement …
While preparing for this post I was thinking to myself – indeed I must be impressed. I’m referring to iMovie ’08, and the fact I have come to terms with making a formal reference to what is generally considered a consumer application.
After spending the past day experimenting with Apple’s new offering, I must say that I totally disagree with the nay-sayers. In fact I’m kind of tired of hearing what appears to be the new battle cry …”where’s the timeline?” As far as I’m concerned there is a timeline. It’s just not what most die-hard iMovie geeks expected. Sequential placement of clips with support for transitions, beds, and common edits is present – as plain as day.
What’s with all the fuss?
What I find most interesting is that many, if not all of the opinions expressed by experienced Final Cut editors, developers, and new media producers are overwhelmingly positive. It seems that most of the displeasure is emanating form the iMovie HD timeline yearning aficionado sector. Honestly? I think they are missing the point …
Here is my take: it is 100% true there are many questionable omissions form this piece of software. However I believe this redesigned application concept opens up a world of productive simplicity and presents opportunities for novices, intermediates, and professionals. My guess is Apple is listening. In fact, I’m willing to bet that within 6 months, iMovie ’08 as we know it will sport all missing application attributes, and in the end silence the critics.
As a footnote, let’s consider what is available to us: iMovie HD, iMovie ’08, Final Cut Express, and Final Cut Pro. How can one possibly complain or feel slighted with this offering? My advise to the nay-sayers is if you are unhappy with iMovie ’08, continue to use what you are most comfortable with. Or, if you have no interest in experiencing the imminent evolution of iMovie ’08, consider upgrading to Final Cut Express.
So what do I like about it?
… to be continued.
-ptfigg.
zeitAnker: Annotation Transcriber …
I present one of the most useful and affordable applications that I have come across to date – Annotation Transcriber by zeitAnker.
The first thing you will notice about this application is the slick GUI that sports an impressive industrial aesthetic. To the right of the media viewer and transport area is a full fledged text editor. The lower area of this section can be resized to reveal an audio waveform view of incorporated media clips. During playback, scrubbing, or pause, the user can insert specific text notes or snippets, as well as generate timecode references into the text editor. The numerical timecode references are transformed into hyperlinks that queue the media to the exact interval when clicked. This is an extremely useful feature. Poster frames are created by simply dragging the displayed reference frame into the text area.
The developer incorporated features and support for distance viewing and control. Simply launch the user defined enlarged timecode display, sit back, and control the application via Apple Remote.
The real strength of this application lies in it’s abundance of output options, including: standard text, rich text, Final Cut Pro Marker, DVD Studio Pro Marker, HTML, and standard XML. I’m especially fond of the Final Cut Pro export option that actually generates a new project and inserts markers in the timeline based on your timecode references.
Annotation Transcriber is the perfect tool for managing clips and distributing documents among peers that contain annotations and metadata slated for distribution. It’s updated regularly and the developer is extremely helpful. I suggest you take it for a spin. You’ll be impressed.
Annotation Transcriber sells for $49 US. zeitAnker provides a trial download as well.
-ptfigg.
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About
My intention is to provide a useful resource for anyone interested in producing reference standard media for the Web. I'll share my thoughts and insights on Podcasting, Webcasting, Screencasting, and Broadcasting. I'll explore the entire group of Apple Pro Applications, provide personal documentation, and supply tutorials. I will also focus on various aspects of metadata management and media annotations.
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Production Documentation
Apple Pro
Apple ProRes Codecs
FCP 7 Formats and Workflows
Final Cut Pro X
iXML Metadata Standard
MPEG-7 Specification
