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Insta360 ONE X2 : Tour d’horizon et nouveautés

Par : Michaël

Insta360 : Insta360 One X2

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 […]

Qoocam 360 8K par Kandao – Redécouverte de la caméra

Par : Michaël

Qoocam 8K 360 par Kandao

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 […]

The Horse Before The Cart, Part 2

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...

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The Horse Before The Cart, Part 1

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...

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Always Have A Plan B

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...

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Different Aspects

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...

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Run Through The Tape

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...

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Finishing Challenges, Part 3

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...

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Finishing Challenges, Part 2

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...

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Finishing Challenges, Part 1

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...

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Web Calls

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...

The post Web Calls appeared first on HD Video Pro.

Isolate audio from an NDI camera, to apply across all cameras (OBS)

Par : Michael B
Hi. Simple setup: 2 NDI cameras, one (CAM1) has mixed audio coming through it (literally, via a jack on the back of the camera). I want that camera's audio running in my production continuously, regardless of which camera I have selected as a source in OBS. My current hack is 'hiding' the CAM1 source behind the CAM2 source in my CAM2-based scenes, thus, CAM1's audio is always available. This accomplishes what I want, but I'm wondering if there's a way to split or reference CAM1's audio stream (only the audio component) to include in the CAM2 scenes.

My mental model is based on USB webcams which present separate video and audio streams that can be used independently.

Thanks in advance.

Changes, Part 5

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...

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Changes, Part 4

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...

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Changes, Part 3

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...

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Changes, Part 2

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...

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Changes, Part 1

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...

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Adobe Family

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.

After Effects is top left, Premiere Pro is top right and Photoshop is on the bottom.

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.

After Effects is left and Photoshop is right.

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.

After Effects is left, and Premiere Pro is right.

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.

After Effects is left, and Premiere Pro is right.

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.

Reveal function location in bin mode is on the left, and on the right is the same function when in the timeline.

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.

The post Adobe Family appeared first on HD Video Pro.

Cables Matter—Test Your Connections

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.

Speed test results
Speed test results of reading and writing a 4 GB 4K ProRes 4444 file.

The speed using one cable was even slower than some spinning disks. So, then I tried another cable I had lying around.

The only difference between this test and the previous one is the cable.
The only difference between this test and the previous one is the cable.

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.

test your connections
With an SSD array, this speed looks okay at first glance.

I tried the same cable test using an SSD array. When the numbers get into four digits, you think you’re doing well.

test your connections
Once again, a change in cables changes the speed.

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.

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