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The new feature will let users instantly create edited versions of their videos that come in at 5, 15, or 30 seconds. The updated app, version 2.9, also receives an “improved camera software update process” and a number of bug fixes and other improvements.
Apple finally gave ambitious road-warriors with excellent vision the Retina MacBook Pro they'd been demanding, a 13-inch model to join the existing 15-inch Pro at the pinnacle of the company's mobile range. Still, there are some compromises to be made for reducing bulk (and for starting $500 less) from the 15-inch Retina Pro. All the ports, wireless connectivity, and 720p webcam are the same as we saw on the 15-inch, as is the backlit keyboard and sizable trackpad. Apple's industrial design continues its gradual evolution toward thinner, pared-back computing, and the new MacBook Pro is no different.
The 13-inch MacBook Pro Retina display is, at 2560 x 1600, slightly lower than the 2880 x 1800 of the 15-inch, but because of the smaller size its pixel density is even higher: 227 ppi compared to 220 ppi. As before true Retina mode on the MacBook Pro doesn't actually give you 2560 x 1600 resolution. Apple is quoting a 75-percent reduction in glare from its new Retina display, versus the previous MacBook Pro 13.
We then turned to Cinebench, which benchmarks processor and graphics performance with a mixture of 3D rendering and OpenGL testing.
If you're planning use your new Mac for serious graphics or video editing, our suggestion would be to stick to the larger Pro, as the standalone GPU pays dividends. While the battery in the MacBook Pro 13 Retina may be smaller than before - 74-watt-hour, or versus the 95-watt-hour of the 15-inch - the fact it's driving a smaller screen and less extreme components means Apple rates it for the same runtime: up to seven hours of wireless web browsing, or 30 days standby. In practice, with a mixture of web browsing over WiFi, some music playback, a couple of YouTube videos and some emailing, and the display set to a usable half brightness, the Pro lasted just over six hours.
The $2,000 mark is an important mental barrier, and the 15-inch MacBook Pro with Retina's $2,199 starting price put it out of consideration for many. Increasing storage isn't cheap - you can boost the entry-level model to 768GB, yes, but it'll cost you more than a MacBook Air to do so - but the $200 extra for the Core i7 dualcore strikes us as a worthy upgrade given the impact it has on performance overall.
While the Air might be the smallest of Apple's notebook line-up, the 13-inch Pro hits a more palatable sweet-spot for balancing power, performance, and functionality. The result is the Bandit, a camera that will use its motion detectors and GPS to smartly detect and record exciting moments. Get the best tech deals, reviews, product advice, competitions, unmissable tech news and more!
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Drop down menus can be accessed with the 3D Touch feature, similar to Force Touch on new MacBooks. Hip-Hop Wired delivers daily hip-hop music news, videos and streaming tracks from your favorite rap artists, plus the latest political and fashion news—including the hottest sneakers to hit the street.
Adobe invited me to see DEADPOOL on the 20th Century Fox lot in the Zanuck Theater (Atmos sound system) on Saturday, February 13. This is something that I’m realizing more and more as I look at the features that each editing application brings to the table.
The main reason for this is that it was a very effects heavy show…with a lot of speed ramps. OK…so I watched DEADPOOL in the Zanuck Theater equipped with an ATMOS sound system, and it was GREAT! OK, so the post super, editor and other editorial staff were convinced that Premiere Pro would be the best option for this movie, and with a little effort they were able to convince the studio as well.
During the editing process, the director would send clips to After Effects for treatment…the most common of this was speed ramping, as I said before.
So the director and editor could send a clip to After Effects, adjust the speed, go back to Premiere Pro and hit RENDER AND REPLACE and there it was. If they used Avid, or FCX, they’d have to do the old fashioned way of exporting files and importing into the NLE and that would slow them down. So there you have it…one reason why Premiere Pro was the best option for editing DEADPOOL.
This one is all about how a network executive can’t seem to tear his eyes away from his iPad while giving notes on a show. OK, if you are an editor, and are on Twitter, you probably know about the hashtag #timelinetuesday. ANYWAY…normally I just post a single timeline on Twitter, or now also on Facebook in the AVID EDITORS or ASK AN EDITOR section. Another thing you’ll notice is that I label my tracks by what type of audio goes on them. Finished adding VO and adjusting the reality tracks and isolating mics (meaning only having the audio up for the people talking at that given moment, to cut down on audio distractions).
This on is how editors are pigeon holed, not only by type of show (doc, reality, scripted), now they are pigeon holed by the TV networks they cut for.
Along with straight up creative cutting, I also online edit and color correct.  This started years back when I started using FCP.
From onlining and grading a special here and there, I landed a full year job grading two series and a handful of specials. For that I turned to the Ripple Training tutorials of my friend Alexis Hurkman.  In a few hours, spread over a couple days, I got up to speed. I’ve been editing from home lately, and using my 2012 MacBook Pro as my main editing computer.
And this box sports a lot of connections…two Thunderbolt ports for loop through (very important)…two bus powered USB 3 ports (backwards compatible with USB 2 and USB 1), two eSATA ports (up to 6Gbps), and one FW800 port. There’s no Ethernet port, but I know many people won’t need this….if you do, other options sport this. This unit requires power, therefore it needs to be plugged in….just like every model I tested. Now, my laptop doesn’t have eSATA, but my MacPro does…so I’m going to use it as a baseline. In short, the AkiTio is small, sports many connections, and has connections that are as fast, if not faster than direct to computer connections. Very useful to have that, as I have more than a couple drives with eSATA, and with high data rate formats, and the need to edit native formats, speed is good.
OK…this unit has two Thunderbolt ports (again, loopthrough), FIVE bus powered USB 3 connections, one Firewire 800 port, one HDMI 4K port, one Ethernet port, and Audio In and Out.
The speeds of the FW800 connection are pretty much identical to what I get with the AkiTio box. And like the CalDigit unit, this one also allows for display splitting, with the same restrictions.
Every day after school, my youngest daughter (age 11) comes into my office to watch me cut A HAUNTING.
She will be in my office one day as I watch down all the dailies for a scene…and then start to assemble the scene.
This was an issue because not only would this be a jump cut, but the position she was in for the CU of the scream, didn’t match the wider shot at all.
AtA NABA in Las Vegas, Drobo Chief Technical Officer Rod Harrison covers some of the latest enhancements to their line of expandable, redundant mass storage devices, and explains how they maintain a focus on simplicity in a world where complexity and feature bloat are very real occupational hazards. This edition of MacVoices is supported by Macstock Conference & Expo and the Midwest Mac BBQ, coming to Woodstock IL on July 16 and 17.
AtA NABA in Las Vegas, we found Rich Harrington taking a rare break from his busy schedule of teaching and appearances, and persuaded him to give us an update on his many activities. A certified instructor for Adobe, Apple, and Avid, Richard Harrington is a practiced expert in motion graphic design and digital video.
Rich is a member of the National Association of Photoshop Professionals Instructor Dream Team, and a popular speaker on the digital video circuit. A This edition of MacVoices is supported by Macstock Conference & Expo and the Midwest Mac BBQ, coming to Woodstock IL on July 16 and 17. A At NABin Las Vegas, Alex Grossman, the President and CEO of SymplyA explains why your storage needs are constantly increasing, and how their new storage solutions address those needs for both the individual creative as well as collaboration production environments. At NAB in Las Vegas, Uli Futschik, the Chief Operating Officer of Freedom360, shows us their Broadcaster 360A that delivers 360-degree video from only three GoPro cameras. Nick MattinglyA of Switcher StudioA had a very busy schedule at NAB and the associated events events. At ShowStoppers in Las Vegas, Jeffrey Martin, founder and CEO of Sphericam, introduces their baseball-sized camera that can deliver 360-degree video in 4K at 60 frames per second. At ShowStoppers in Las Vegas, Mark Horton, Strategic Product Manager of Ericsson talks about their new technology that will enhance video, including live video, with HDR (high dynamic range) processing that delivers a superior picture. At ShowStoppers in Las Vegas, Dale Hylton, the Director of Events & Dealer Support for Autel RoboticsA demonstrates their prototype handheld 3-axis gimbal for smart phones.
Charles Edge has advancedA Take Control of OS X Server to the third edition, this time covering the revisions and changes in Server 5. MacVoices Magazine, our free magazine on Flipboard that helps you do more with your Apple tech.
Mike Woodworth began 15 years ago as an editor and post production supervisor before launching divergent media, a post production tools company based in San Francisco CA.
A Josh CentersA is back with Take Control of Apple TV, Second Edition, the guide to your new 4th generation set-top device. SmileA has released TextExpander 6, the latest update to their text expansion utility, adding features and changing the pricing model. Maia Olson has worked with the software company, Smile, spreading the joys of quality productivity software for the last 7 years. Previously users resorted to third-party apps for similar functionality with GoPro camera hardware.


You’ll be able to drag the timeline to select what 5, 15, or 30 second portion of your video you want to isolate. Promising the same eye-watering visuals with the sort of processing power the Pro line-up is known for, the 13-inch version also makes some concessions so as to slim down to suit more frequent travelers.
The 13-inch MacBook Pro with Retina loses the discrete graphics option of its 15-inch sibling, making do with Intel HD Graphics 4000, though you can still power two external displays - via a combination of the two Thunderbolt ports and the single HDMI - and run the notebook's own display simultaneously.
That means you get a pair of Thunderbolt connectors (which can double as Mini DisplayPort), two USB 3.0, a headphone jack, SDXC memory card slot, and an HDMI output. From the side, it's like the old model but flatter; you can also glimpse the new "side gill" vents which are part of the reworked cooling system. With both in front of you, though, you don't see any difference - the whole point, after all, is that the pixels aren't supposed to be individually identifiable - only the mesmerizing detail and smoothness of the graphics that leave other notebook displays, no matter how bright or colorful, looking crunchy and jagged.
In practice, there's certainly fewer reflections, which adds up to more flexibility in where you can use the notebook. It's a good way of examining how a system will handle intensive tasks such as video processing, or gaming. Of course, it also requires more power, though it includes the same Intel HD Graphics 4000 chip for more everyday use. However, the 60-watt MagSafe 2 power adapter is slightly smaller and thus continues the theme of the 13-inch MacBook Pro with Retina being easier to transport.
Scaling that back to solely browsing and we broke past Apple's seven hour estimate by a couple of minutes. In contrast, the 13-inch version starts at $1,699 with the 128GB flash drive, rising to $1,999 for the 256GB model. At $1,699 and up, the 13-inch MacBook Pro with Retina display sits at the premium end of the notebook market ($500 less than the entry-level 15-inch model, mind, although you do get extra performance for that) but it does offer features that, right now, you can't get elsewhere. The aim was to create a device that makes the journey of shooting, editing and publishing much more straightforward. It will even detect your heart rate (when paired with the TomTom Runner) and start capturing if it senses a spike in activity.
You can unsubscribe at any time and we'll never share your details without your permission. They all have their strengths and weaknesses…all have areas where they do things better than the competition.
The director, first timer Tim Miller, was already familiar with Adobe products as he is a visual effects artist with many features under his belt, and he knew he would be involved in the post process doing many of the speed ramp effects himself. Adobe will be posting the video of the event online soon, so you can watch that to see the issues and solutions. Due to the tight integration of Premiere Pro and it’s ability to SEND TO After Effects, and have the clip link to the AE comp, it made this process very smooth. What that is, is you can have two timeline windows open at once…and stack them like pancakes, one on top of the other. The fact that Deadpool had a full face mask enabled the filmmakers to retool dialog where needed. Normally this is something that the story producers would slap together, but this was the last episode, and since our show has an AFTERSHOW (like Talking Dead), we editors needed to do a more polished reality pass so that they could air this on the show.
Helpful for me at a glance, and other editors who might end up fine cutting this, or dealing with notes.
Added a tease for the upcoming at at the end, lower thirds, and addressed producer notes given just after lunch. Sure, it has a LOT more than a MacBook Air, but when it comes to all the things I need connected to it when editing…it falls short.
Two Thunderbolt ports (allowing loopthrough), and 4K HDMI port, three USB 3 ports (two in the back and one in the front that is bus powered), two eSATA ports, an Ethernet port, and audio IN and OUT ports.
So you can send a signal out to a computer monitor via HDMI, or Thunderbolt (some monitors still needing a TB to DVI adapter).
Which is fine for many, as many people might not have eSATA, but need the FW800 connections, as all new Mac computers lack this connection.
There are also ones by Belkin, Elgato, and one by Sonnet that also has a BluRay drive for authoring BluRay disks. But because she sees how the show is cut, she sees the scene pre-visual effects, pre-scary sound effects and music cues, the show has been de-mystified for her. Sure, I tried it, because often this difference would be minor and not noticeable…but it was just too different. See, you need to know (if you don’t watch A HAUNTING), the show is a mixture of interviews and recreations. JB Lauzon talks about how their Ribcage kits can adapt your GoPro for professional lenses of all types.
Rich talks about the value proposition of NAB and Post Production World, his company, his newest web site, ThinkTAPLearn, and why he is so driven to share visual storytelling skills. Starting his career out in the world of broadcast journalism, Rich has always had great interest in visual communications. His book, Photoshop for Video, was the first of its kind to focus on Photoshopa€™s application in the world of video. Division CEO Steve McIrvinA shows off the newest version of their X-Star Premium drone that can be equipped with Lume Cube lights to create a powerful search-and-rescue unit that can fly info dark, inhospitable areas, illuminate those areas, and send back video.
Tim provides some examples of VR headset monitoring, the 360-degree plugins, and how the software solves some of the problems 3D editors have been facing.
With features such as remote wireless control and rescue, customizable display, cue point recognition and easy script loading, ProPrompter Studio moves to the head of the pack. With remote management via iOS, storage monitoring via Apple Watch and expandability so that your needs are always met, Symply might be just what you are looking for.
With a little retro-fitting and some special lenses, they deliver a more cost-effective way to get into the immersive video world.
We caught him during a break to hear all about it, see his set-up, and find out whata€™s next for the iOS-based video production software. Featuring a Watch folder, the ability to stitch clips together and much more, Proxymill simplifies your post production. Not just 4K or UHD (ultra-high definition), HDR uses more of the information captured by modern cameras to provide a better, richer picture.
EditReady is a fast, simple yet powerful transcoder for anyone who needs or wants more than just straight conversion of formats. Josh looks at the best features, names some of his favorite apps, and discusses the issue of gameA controllers.
Protect your Internet by Securing Your Connection, and get up to 50% off with the offer code "VOICES". Over that time she has worn many hats, including those of customer support, technical writing, marketing and PR. Once you’ve selected your clip, you’ll be able to instantly share to Facebook, YouTube, Instagram and other social sharing options available in the app. In use, it's quiet, with the fans only rising to a concentrated hum during the heavier moments of our benchmarking. Viewing angles are broad enough that you might have to worry about those next to you on the plane glancing over and seeing what you're working on.
Third party applications are available which will force the display resolution even higher, though are not officially supported by Apple.
It's not a true matte finish, mind, though by ramping up the brightness you can use it outdoors and still see what's going on. It's worth noting that the increases weren't solely in the processor categories: the Core i7 model also recorded better memory scores, suggesting that it makes better use of the 8GB it has.
In contrast, a more ambitious use of the notebook for video playback and some brief video processing in iMovie saw the battery expire in around four hours.
You also get a gigabit ethernet port, FireWire, and an optical drive, though you miss out on the lighter chassis and far improved Retina display.
Those for whom sheer power - particularly multimedia editing - is essential should probably opt for the bigger model, but those road warriors looking to pare back weight and bulk without unduly sacrificing usability will find a lot to love in the 13-inch MacBook Pro with Retina display. And the ability to send from the editing app to After Effects to do this work and send it right back was a huge bonus.
Not only did he help provide them with the post workflow, but he also provided training to the editor, director and post staff. This system was used on GONE GIRL the year before, and proved to serve the production well. Vashi explained that one lesson they learned on Gone Girl was that simply linking to the AE comp caused the systems to really bog down. The laughs start right away with the open credit scene, and continue after the credit roll ends.
It’s getting finicky with random crashes, the AJA card in it is finally giving up the ghost (8 solid years with that baby!) and it’s just plain slow compared to my 2012 MacBook Pro.
Now, one thing that this unit CAN offer over any other, is dual display monitoring from a single Thunderbolt connection. And we all have lots of FW800 drives that still function, and we still need to connect them to the computer. But I tend to forgive the lack of homework doing because she’s very interested in the craft of editing.
And then explain the process of back-timing music to make it fit the scene, and then why I might extend shots a few frames or so to accommodate the music hits.  Many times I will play a scene and ask her opinion as to what type of sound effect she thinks I should put, and when. Mainly recreations, but with interviews of the people the incidents really happened to to give the scenes more weight.  I will cut the scenes, but then need to adjust the cuts to accommodate the interview bites.
The kits can be installed by the end user, or Back-Bone will sell you a GoPro with the modifications already installed and ready to use. His producing skills were also recognized by AV Video Multimedia Producer Magazine who named him as one of the Top Producers of 2004.


He is also a contributing author for Applea€™s Aperture, iLife a€™08 and iWork a€™08, Final Cut Pro On the Spot, After Effects On the Spot, After Effects at Work, and Producing Video Podcasts.
With an impressive range and the strength of the Lume Cubes, the X-Star Premium is one more reason drones are an important part of emergency response, among other tasks.
Dale discusses why they are looking for consumer input on the features of the device, and how you might even be able to name it. Charles talks about some of those changes, why you might not want to run your own server, and why you definitely shouldna€™t run your own mail server. With LUT (Lookup Table) support and the ability to convert frame rate, resolution and encoder, EditReady is something anyone at any level of video production can use. AirPlay remains a killer feature, especially if you love music, and Josh explains how it can be an inexpensive alternative to the more expensive multi-room systems. The new sharing feature across Smilea€™s new cloud service is quite a bit different that the old syncing across devices function. She spends her summers volunteering at App Camp For Girls, a summer camp geared to inspire girls to join the tech industry by having female role models teach them to make iPhone apps.
The compromise to be made is one of repairability and room for improvement: the memory is soldered to the logic board, so as to shave away bulk, as is the processor, and the flash storage uses a proprietary connector so it's sensible to buy the biggest drive you can afford initially. It is made of some type of newfangled aluminum that NASA or maybe the Star Trek Enterprise would surely use. You need to look at the workflow you want to tackle, the features that you need to accomplish what you want, and then use the editing application that best addresses those needs. But it is gloriously self aware, and broke the 4th wall all the time, and in very creative ways.
And Avid has a proven track record and well established workflow, so they feel comfortable with it.
Vashi said that there were about 9 basic keyboard command that any editor needs to edit, and he taught those to the crew. If they needed to reposition the shot, they could easily do that at any time by going back to the masters.
This system was able to meet the demands of playing back multiple streams of ProRes on five edit stations, without any delays or skipping during playback. What made them choose this over Avid or FCX, because that’s something I talk about all the time. And then they locked that VFX shot, they could take that After Effects project and relink it to the RAW camera file and redo the composition in 4K, full resolution. So this really sped up the edit, and kept the post schedule short…and a shorter post schedule is good on the budget, which makes the studio happy. One way was to have all the selects in one timeline, and then build the cut in another…dragging the footage from the top timeline do the bottom. At that time, I used the simple 3-way color corrector and a little product by Red Giant software…Magic Bullet Editors. But I also started digging into Avid Symphony…as more and more jobs coming my way were Avid based. Meaning the one Thunderbolt out from your computer, can then be split to the HDMI out and Thunderbolt outs. It also has an AC adapter and is required to be plugged in to work, but again, that’s how you get power out to USB 3 ports. I have a lot of things I need to connect via USB…a USB to DVI adapter (on the computer), a fan (on the computer) and then keyboard, Rampant drive, thumb drive, dongle for Resolve, Time Machine drive, or other transfer drive…all on the OWC unit. And in this scene I had the interview bites happen much later in the scene, after the second person rushes to aid the first.  But I could just move the first one up sooner.
If you do, though, Charles discusses automatic software updates, how and why to back up servers, and more. ScopeBox delivers in software what used to be available only in hardware - scopes to help you make the most of your footage. For those of us with legacy media libraries, Josh has a media conversion and management chapter, and he also shares some tricks that you didna€™t know Apple TV could do. Greg explains why, and how this will be the basis for the future, not just the present, of TextExpander. And of course, it is waterproof.The Bandit works with a companion app that lets you review your footage instantly, thanks to the camera's built-in media server.
In the case of DEADPOOL, the post team did just this, and felt that Adobe Premiere Pro would be the best choice.
He also asked how they liked their keyboards mapped, and spent time mapping each station to the needs of the person at the controls…making sure that their muscle memory was able to go unchallenged. The Assistant Editors would receive the dailies from Encore in Vancouver and would sync them with the audio and then turn them over to the editor. There’s alway some flame war online about what editing app is THE BEST editing app out there.
So Adobe came up with a way for After Effects and Premiere Pro to access the same render cache.
This helped them track how far along the selects they were, and how much time they had remaining. Here you can better see how I color code my tracks: BLUE is Interview, GREEN is reality, SALMON is sound effects, and PURPLE is music. For I need that to connect to an IO device, the AJA IoXT that’s connected to an FSI professional color monitor, and also loop to a computer display. So even when your computer isn’t connected to the unit, the USB ports supply power…great for things like charging your cel phone, or keeping your astronaut light lit.
But ONLY if your monitors connected via Thunderbolt are Thunderbolt native connections…like Apple’s monitors or LG’s TBT display. And when I do eventually upgrade, I’ll need the FW800 and Ethernet connections as I have lots of FW800 drives, and a color control surface. The conversation also touches on security, the goods and bads of corporate IT departments, and Charlesa€™ many other projects and books.
With their new ScopeLink, you can feed video straight from your favorite NLE (including Final Cut X) straight to ScopeBox. Maia details why the subscription model will mean more updates delivered to users sooner, and both compare and contrast the pricing of the old, separate-purchases-for-different-platforms with the new all-inclusive pricing that even extends to a new Windows version. You can use the app to edit your movie with music overlays and all the usual tools, although one particularly interesting feature lets you simply shake the smartphone to "instantly create an exciting movie."It's a bit of a gimmick, but we can imagine we'll have a lot of fun with it. So to look into the possibilities for how to best accommodate his needs, the team decided to look at Adobe Premiere Pro, and hired post consultant Vashi Nedomansky, an editor himself, and an expert with Adobe apps. They convinced the studio that this would be the best option given all VFX nature of the feature.
Anyway, by lunch time all of the edit staff was able to dive in and edit away without much issue. Normally, when they cut on Avid, they were used to getting ALE files that contained metadata they relied on, such as color information that could be passed onto the VFX teams.
Each reel of the film was a separate project, and the larger they got, the slower they were to open, and the more VFX shots in a reel, the larger they got.
This makes me hope that they release the alternate jokes as a special feature on the BluRay.
And I make different shades of each so I can see at a glance where the stereo pair tracks are.
And then because my laptop monitor is too small to hold all the bins I need open, I use one of the USB ports for a USB to DVI adapter. I might also want eSATA ports, as my tower has those, and I have many drives with that fast connection, but no new computers have them. Mike talks about the integration of the two, why LUTs can be a challenge to find, and the suprising reason compression of consumer formats are often faster to transcode than pro formats.
Before you pass judgement on the changes, hear what Greg and Maia have to say about what the new platform will allow them to offer.
Being an editor and consultant, he knew the real world workflows that would work best for the production. This would render the AE comp out to a Quicktime file, and Premiere Pro would link to that file, rather than the comp. Editing is best when it’s invisible, so that we, the audience, can concentrate on the enjoyment of the movie.
By that, I mean that all the tracks for this are MONO, but all the ODD tracks are panned LEFT, and all the EVEN tracks are panned RIGHT, so I need to make sure I add my stereo clips on the proper tracks, odd first, than even. So, I could either get Firewire to Thunderbolt adapters, and eSATA to Thunderbolt adapters, Ethernet to Thunderbolt (for connecting to network RAIDS), and USB hubs, or one unit that solves all my needs. He came in very early on to discuss what equipment they would need, and how to best deal with the multiple cameras and formats they would be shooting.
And then when the editor goes back and does changes, Matt can stack the two timelines and compare them…see where the changes occurred, or new stuff was added, and address those areas.
Premiere Pro was the tool that enabled the editor and director to tell the story they way they wanted to.
So if the AE artists  would make a change to the comp (or in this case, the director), they would make the change, and back in Premiere all you’d have to do is again, RENDER AND REPLACE and the clip would render a new Quicktime clip from the comp and link to that. And this is a lot smoother, and a more simple, than rendering out of After Effects and importing into Premiere pro…and keeping track of the latest export and the export folder getting clogged with exports.
So when the scene work was complete, Matt could compare the scenes, drag over the work he had done and then continue work on the new areas. Coming from FCP, I’m a big fan of having access to multiple sequences at the same time.



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