La « Insta360 ONE X2 » est la nouvelle version de la caméra de poche d’Insta360. Nouvelles fonctionnalités ? Performances réhaussées ? C’est ce que nous allons voir dans ce tour d’horizon ! Insta360 One X VS Insta360 One X2 Quels changements ? InstaOne X vs InstaOne X2 Cette nouvelle version de la caméra intègre de nouvelles […]
La Qoocam 8K 360 de Kandao est une caméra qui a été conçue afin de concurrencer la GoPro Max et l’Insta360 ONE X. Polyvalente, elle excelle dans le milieu professionnel, tout en étant redoutable dans le cadre des vlogs ou de la production de contenus. Son format, ses menus et ses fonctionnalités, ont été travaillés […]
Previously, I wrote about the need to understand the final delivery requirements for your project. Getting deliverable specifications early allows you to make sure your workflow and final finishing will produce the best results when your project is finally delivered. As an example, I wrote about doing the finishing on a project that was completed Read more...
When I wrote about “running through the tape” and explained how I make sure to deliver a properly finished project, I briefly mentioned deliverables. I spoke of the deliverables matching the client’s deliverable specifications. If this past year is any indicator, the topic of deliverable specs needs to be more than a quick aside. Although Read more...
Recently, Amazon had a major outage with its Amazon Web Services (AWS) system. Thousands of companies were affected for hours. The problem showcased which companies had their own infrastructure and which were simply cloud-based. What surprised me was the lack of a plan when things go wrong. Certainly, that starts with Amazon, but it also Read more...
As editing software companies add tools to accommodate the plethora of aspect ratios editors are faced with these days, I can’t help but wonder about the results. Social media platforms have a dizzying array of ratios. And we’ve all probably seen the results when one aspect ratio is crammed into another. I understand why the Read more...
I recently wrote about some of the challenges in the finishing process given how many of us work remotely now. While processes may have changed, I still keep in mind a quote I heard that’s used in track and field: “Run through the tape!” You might have seen videos showing a lead runner slowing down Read more...
In my last post, I talked about my process for exporting trimmed clips to send to color that’s handled elsewhere. I explained the need for trimmed files because of challenges with file sizes. Once I get the footage files trimmed and exported, there are a few more steps I take. Because I like to make Read more...
Last time I talked about today’s challenges when sending footage for grading. While drives can still be shipped, more and more projects require me to send files electronically. Because files are getting bigger and bigger, sending full-length clips isn’t practical. Sending trimmed files is becoming essential. When you work with trimmed files, it’s important that Read more...
These days, I’ve worked with remote colorists to get projects finished. For various reasons, the workflow has gotten a little more complicated. In the past, it was easy to send a drive with footage to a colorist via messenger or courier. I’d send either the selected original footage clips with an XML or all the Read more...
I recently wrote about using live streaming to edit remotely. I talked all about setting up the process, testing what worked and didn’t work. But there’s one thing that I didn’t mention, and that was the politics of the web call. Since I had been doing low-latency live streaming for clients, I was asked to Read more...
While wrapping up my posts on editing in the current environment, I wanted to talk about what the experience has been on the client-side. I previously mentioned that I stream the output from my suite to the clients with very minimal delay from my room to the client’s screen. The client “attends” in a web Read more...
These days, in-person supervised edit sessions are few and far between. While I do a fair amount of edit and post, edit and post, there are times when clients need to interact live during the edit process. I previously wrote about setting up low latency (minimal delay) streaming to clients’ locations for edit sessions. I Read more...
Last time, I started to write about live streaming my edit sessions. Over time, I developed a process that achieves a low latency (delay) of about two seconds or less. I send a stream to a content delivery network (CDN) that allows me to embed a low latency, high-resolution stream in a web page. That Read more...
Last time, I wrote that I’m still able to do rare sessions with clients on-site. The keyword is ”rare.” Almost all of the time, I’m on my own. Sometimes work is accomplished by posting; then following up via email, phone calls or web conferences to discuss changes; then rinse and repeat. But as I mentioned Read more...
In my career as an editor, I’ve seen many changes. First, it was tape-based, now it’s all file-based. We went from interlace to progressive (although interlace just doesn’t seem to go away). And then we moved from SD to HD to 4K and soon 8K. While change can certainly be challenging, I’ve really enjoyed those Read more...
I got a chuckle out of an online discussion about Adobe changing their icons again. While the complaints were well argued, it seemed like a molehill compared to the mountain I see regarding Creative Cloud. Creative Cloud feels like a consortium of different companies rather than a symbiotic ecosystem.
Since the Creative Cloud workflow suggested by Adobe enables you to switch in and out of various applications to get work done, I’d hope that many aspects of the environment would be similar. I don’t expect the interfaces to be identical. It makes sense that they’d be different because you don’t usually use a timeline in Photoshop, and Premiere Pro doesn’t edit photos. But there are things that seem as though they should be consistent across applications.
Take a look at the color picker in Photoshop, After Effects and Premiere Pro.
Notice the differences in the three color pickers? I realize that Photoshop is going to have a few more options since it deals with CMYK, etc., but why is the color sample eye dropper in different positions? Why does Photoshop label “new” and “current” colors and the other two do not? And apparently you only need to worry about web colors in Premiere Pro and Photoshop. Of course, I could accept all those differences if there were color swatches in After Effects and Premiere Pro, as there are in Photoshop.
A similar situation is happening with type.
The After Effects and Photoshop type controls seem to have a pretty similar assortment of tools. The similarity ends there. Even the layout between font and font style are different. The differences become more dramatic when you compare After Effects and Premiere Pro.
I realize the tools are very different. (I’d like them to be the same but that’s a whole other issue.) The Premiere Pro toolset includes paragraph settings that are in a separate panel in After Effects.
However, for those controls that are similar, the layout really feels so different that I almost think I’m working in some other brand’s application. I’m not sure why the type size is a scroll bar in one window and a scrollable value with pull down in another. One is labeled with px and the other isn’t. The various adjustments for kerning, leading, etc., are also quite different from one application to the next.
Now I know some of my layout issues might not be easy to change because of the various controls in each tool. But take a look at something as simple as where you can go to adjust keyboard shortcuts.
When I refer to keyboard shortcuts, I don’t mean the interface for creating and modifying keyboard layouts. I only refer to where you need to go to get to that setting. In After Effects, it’s under the Edit menu; in Premiere Pro, it’s in the Premiere Pro menu. Make sense? (And the keyboard shortcut to get to the keyboard shortcut is slightly different.)
Even within a single application, there’s inconsistency. For example, in Premiere Pro, sometimes I use the Reveal function to find the location of a clip on my workstation.
When I right click on a clip in a timeline and look for “Reveal in Finder…” it’s near the top of the pop-up menu. But when I search for the same function while right clicking on a clip in a bin, it’s almost at the bottom of the pop-up menu. Same application, same function, different location.
I realize that for most people these differences aren’t that important. Maybe my observations seem like some of the rants about the icon changes. And I also realize that the individual applications have a long history with lots of users and that changing the location or arrangement of tools can be a huge deal. But it can be frustrating to switch between the various applications and know that some changes to these little things could make Creative Cloud more of a “collective” than just a collected group of applications.
I recently wrote about testing an SSD. As I opened the packaging and noticed the cables that came with it, I started thinking about all the different cables I’ve acquired over the years. While I always try to use the cables that come with equipment, for some reason I seem to end up with extras.
In the past, figuring out cables wasn’t much of an issue. USB and the various flavors of Firewire weren’t interchangeable—their connectors were obviously different. You instantly knew which cable you needed to use. Now, with various iterations of USB and Thunderbolt, it starts to get a little messy because the connectors appear identical.
Just to prove the point, I did some tests with a portable SSD drive.
The speed using one cable was even slower than some spinning disks. So, then I tried another cable I had lying around.
The difference is dramatic. With the right cable, I was able to get close to the maximum specification for the SSD’s read and write speeds. Even though I used high-performance storage, there was a significant speed difference.
I tried the same cable test using an SSD array. When the numbers get into four digits, you think you’re doing well.
The only thing I changed was the cable, but speeds increased for both read and write. I could go into a long explanation of what’s going wrong. That explanation would involve comparing various technologies, and it would probably include a rant about how the people naming USB connections keep making things harder.
Unfortunately, since cables aren’t always well marked (the two I used in this test had no markings to differentiate them), it might not provide guidance for all situations.
Instead, I recommend to always test your connections. Software to test drive speed is available, for free, from AJA and Blackmagic Design. Run the test with any new drive and cable combination, and make sure you get the speed you expect. Don’t assume that you’re getting the performance you expect, prove it.
In the last of this 4-part series, I’m wrapping up the rest of the master bin structure I use to keep me organized and efficient when editing. Over the years, I’ve found that if I don’t start out organized I end up spending more time than I want to dealing with cluttered bins and trying to find things.
The Finish bin is my catchall bin, whether I do an online finish of another editor’s project or I finish my own. This is also where I put footage coming in from a color session. It’s tempting to put graded scenes in the Footage bin, but I’ve found keeping them separate is less confusing. Sometimes the graded clips have the same names as the original, so it can be hard to quickly distinguish between the two.
If provided, I also put XMLs that I get back from the grading session. I’ll then use this bin to work through the conforming of graded footage to my sequence. Once conformed, I either move a copy of the sequence into the Cuts bin or copy and paste the clips into a finishing sequence that resides in the Cuts bin.
This is also where I put composites, as well as effects shots like stabilization and screen replacements—when I’m not doing it within the edit.
In addition to the graphics and graded footage from others mentioned previously, there are other elements that come flying in from clients. These could be reference clips from other shows or the web, sent by the client with words to the effect, “We were thinking it might look something like this.” The From Others bin is a catchall for these clips.
This is also where I put any kind of branding guidelines, color palettes, etc. that I can use for reference during the edit. This and the next bin are the only two bins in the project template that may contain content, even though it’s a template. For some clients, I populate this bin with client-specific content and then save the project template as a client template.
Last and—I’ll say it—least is the bin where I put common clips that I use for most projects. As I said above, I actually put content in this bin when I create the template. Instead of creating black/white frames, color bars and tone or slates each time I start a project, I create them in the template so they’re automatically created each time I start a new project.
I also put things in here like masks or overlays for 1×1 or other aspect ratio approval. I might also have other faux interface elements for social media “title safe.” I’ll admit that sometimes this bin becomes a miscellaneous bin. But I’m careful to make sure it doesn’t get too cluttered.
That’s the project bin structure that helps keep me organized during an edit. And it really does help me. Even for quick, one-off projects, I regret it if I don’t use one of my templates because the project can quickly get out of control without some organization.
Previously, in Part 2, I showed how I set up my master bin structure for sequences and footage. This bin structure is then saved as a template so that I can start off organized when I begin a project. Now on to other bins that store a wide variety of content.
I use this bin to store sequences of select shots. For some projects, I line up all the takes into one timeline, cutting out all the gaps. This way if I need to show a director all the takes of a scene, I can quickly do it. I might also build b-roll montages in this bin.
While they might be considered footage, stills get their own bin. Often, I get a boatload of stills and it helps to have a separate place apart from footage. Since this bin contains only stills, I can use an icon view to quickly see what I have. I know the thumbnail represents a still and not moving footage.
Full frame and keyable graphics go in this bin. Whether I create them myself or work with a motion graphics designer, I keep it all straight here. I also have a separate Type sub bin where I store things like lower thirds/name supers and legal disclaimers.
There are several sub bins for audio that are useful at the start of a project and at the finish. I mentioned before that I move production audio away from the footage folders. I’ve found it helps keep things straight because sometimes—over multiple days’ shoots, using different location audio crews—naming conventions can stray from the camera footage folder’s naming schemes. So there’s a bin for Production Audio, in addition to the usual audio elements. If I create scratch tracks, they’ll go into the VO bin in a separate Scratch bin.
Nests are actually just sequences. However, if you use nesting a lot, those sequences can quickly overwhelm a bin. I like to have a bin just for nests and, most importantly, I appropriately name the nest when it’s created.
Unfortunately, when the nest is created it’s put at the top level of the project. I make sure to move the newly created nest into the Nest bin before I do anything else. That’s another reason why I have a Nest bin at the top level rather than as a sub bin in something like the Cuts bin.
I’ll finish up the rest of the bin structure for my template next time.
In part 1 of this series, I described how creating project templates can help you stay organized while editing. Similar to the folder structure system I discussed awhile back, project templates can keep your content at your fingertips without the need for a search tool to find that one shot. Today, I’m going to show you how I use bins to edit efficiently.
You could call it the Sequences bin, but the Cuts bin is where I keep most of my sequences. Within the Cuts bin, the Current bin is for timelines that I’m working on but that haven’t been approved. If I’m working on a series of spots or shows, I’ll put finished shows in the Approved bin so that they’re out of the way.
Remember, I want to be efficient, so I want to keep the bins uncluttered. If a spot is approved, I don’t need to sift through it when I start to work on a different spot.
Since I have the habit of making copies of sequences before I make major—or sometimes even minor—changes, I need a place to put the backups. That’s what the Zold bin is for.
Note: I put a number at the front of the bin name to force the bins to sort correctly. I use Zold for any old bins. It’s a custom I’ve used for a long time, both in applications and also at the folder level. “Z” will always be last. If I used a number instead, like “5”, I’d have to change it if my bin count increased.
You might be surprised that the Footage bin looks so simple. Since projects are so different, it can be too confining to create a rigid structure here. While I’m all for staying organized, trying to force a structure here can lead to frustration. For one project, I may want to organize by day or by location. For another one, I might want to separate out the b-roll. Or perhaps it makes sense to keep the b-roll close to an interview subject.
Once I’ve started working on a project, I let this bin become what it needs to be. But as far as the template, I just have a Stock sub-bin. I want to keep stock separate because I might work with comps—watermarked low res files that are used before purchasing the high res files. This way I can track what stock has been purchased and what hasn’t.
Next time, bins that deal with graphics and audio.