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BlogKeyFlow Pro: How it might work with Final Cut Pro X in futureWednesday, July 29 2015

New on the Mac App Store: KeyflowPro from Malgn Technology. fcp.co has the story:

The problem with MAMs or Media Asset Management systems was that they were expensive and required a lot of hardware to service them. Not anymore. The newly launched KeyFlow Pro is $299 and can run on a MacBook Pro. A very interesting new app.

Up until now, the use of MAMs in video editing has been only for large installations who can afford the installation and support of such a project.

KeyFlow Pro has jut been released and is set to change all of that. For just $299, any user who needs their video files cataloging and organising can run a MAM that has been designed to work on a Mac and of course integrate with Final Cut Pro X.

Some will recognise elements of other media asset managers, but its integration with Final Cut Pro X metadata opens up other opportunities.

The ‘Key’ in KeyFlow Pro is short for ‘Keyword’

Keywords flow in and out of KeyFlow Pro. Keywords added to footage and stills in KeyflowPro are applied as keywords to clips in Final Cut. You can also share directly from a Final Cut timeline into a KeyflowPro library. As well as the movie file, you have the option to include the X XML version of the timeline as well. The metadata added in Final Cut also appears associated with the shared movie in KeyFlow Pro.

As well as being a very interesting product today, version 1 points the way to future possibilities:

  • If KeyFlow Pro can point to media inside Final Cut Pro libraries, it could use X-generated proxies to display footage and stills in KFPro libraries (it generates H.264 proxies at the moment)
  • If a future version Final Cut Pro X could export a reference movie Quicktime of a timeline (a movie that refers to other movies to play back), when that movie is imported into KeyFlow Pro, the clips used (and their metadata) could be added to the KFPro library
  • KeyFlow Pro library to Final Cut Pro X library round-tripping and vice-versa (including titles, title renders and title proxy renders from and to Final Cut)
  • KeyFlow Pro Proxy libraries that would be linked to a parent library on a main server that could remain on portable Macs – only the proxies would need to update as the parent changes due to other user updates. The Final Cut library on the local machine would use the local KFPro to show proxy media. When reconnected with the main server, the Final Cut library would be able to use media managed by the parent KFPro library

As well as inpsiring Apple to create their X version of Final Cut Server, I hope KeyFlow Pro also inspires other developers such as Arctic Whiteness – makers of Final Cut Library Manager

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BlogFCP.co supremo Peter Wiggins interviewTuesday, July 28 2015

Peter Wiggins, the power behind fcp.co * – the best independent Final Cut Pro X website and plugin makers Idustrial Revolution is the latest guest in the new ‘Lunch with Philip and Greg’ video podcast:

Peter Wiggins [38:46]: A year after Final Cut Pro X came out, I compared it to a Forumla 1 racing car. It could go very fast, but it couldn’t turn left. They invented a chassis that can go very fast. What they’ve done in the four years they’ve built the thing up so it can go really fast. Yes you can come off at the corner – there are gotchas – but compared with the other NLEs, they’ve put a turbocharger on, trying to make their old one go faster, but there’s a limit and it won’t go any faster.

* – when I first discovered this site in 2011, I was surprised that Colombia was a big enough market to host a Final Cut website. Oops.

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BlogUh oh: “Have patents relevant to internet video streaming? Want royalties?”Tuesday, July 28 2015

Patent negotiation group MPEG-LA:

World licensing leader MPEG LA, LLC today announced a call for patents essential to the MPEG Dynamic Adaptive Streaming over HTTP (DASH) standards for the purpose of offering the market efficient access to this important technology. Currently used in leading content delivery platforms, DASH adaptively streams audio and video content enabling continuous viewing without freezing or stuttering.

[…] MPEG LA President and CEO Larry Horn. “We invite all patent holders to participate.”

 

Jan Ozer:

How many companies considering the transition from Flash to HTML5 incorporated DASH-related content-royalties into their budgets? How many questioned whether or not DASH would be supported by every current browser? Though it is today, the specter of royalties could change that quickly.

The timing of this story didn’t allow for any industry reaction, but it’s going to be fascinating to watch over the next few days and weeks. At the least, it’s a minor speed bump in the Flash to HTML5 transition, but for some, it might also become a brick wall.

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BlogScience examines edits: 7 types of narrative discontinuity in popular moviesTuesday, July 28 2015

From a scientific paper: “Event segmentation and seven types of narrative discontinuity in popular movies” by James E. Cutting:

These results suggest that there are at least four different signatures of narrative shifts to be found in popular movies — general patterns across time, patterns of historical change, genre-specific patterns, and film-specific patterns.

[…]

…the structure of popular movies, and the changes in that structure over the last 80 years, are fit to perceptual and cognitive processes that allow movies to be faster paced but still easy to understand. Moreover, we know that in real life and in movies this segmentation process is an aid to memory and comprehension. Thus, understanding the reasons for why and how viewers segment movies into events brings us closer to understanding why we find them such a powerful component of contemporary visual culture.

Once a system is analysed, others will attempt to encode this analysis into algorithms.

And I thought editors would never be disintermediated…

Judith Allen found this.

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BlogiOS app replaces professional editor with algorithmTuesday, July 28 2015

Triller is a music video app:

…the app will then automatically edit your takes together using an algorithm that’s designed to emulate how a professional editor would cut a music video. Triller looks at the action in your footage, how much the camera itself is moving, and how many faces are detected in each shot to make its editorial decisions. It then cuts everything into tiny clips that are perfectly synced with the song you’ve chosen.

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BlogBlackmagic DaVinci Resolve 2005Monday, July 27 2015

Before Blackmagic Design bought da Vinci Systems in 2009, they had years of hardware and software product history.

Thanks to the Internet Archive, their website from 10 years ago is still preserved.

Included in the archive is a PDF leaflet:

From the genius of da Vinci comes Resolve®, the company’s first software-based color correction system

Note however:

Resolve2K and 2K Plus are registered trademarks of da Vinci Systems, Inc.

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