The application will be able to record two streams of video at the same time on the iPhone 11 Pro. This means users will be able to record a closeup and a wide angle view of a scene at the same time, or even both a choice of one of the back cameras and the front camera at the same time.
It turns out that this feature should also work on the iPhone 11 and last year’s phones and the iPad Pro as well.
At Apple’s WWDC19 session on iSO 13 multi-camera recording, Apple said:
We do it on all recent hardware, iPhone XS, XS Max, XR, and the new iPad Pro.
This is a pro feature that can be implemented by pro applications running iOS 13 should developers invest their time.
I expect the slower CPU in last year’s devices would mean that applications would only be able to do this in HD and HD, not 4K and 4K. The WWDC session included an example where the front camera recorded 30fps at 640×480 while one of the back cameras recorded 60fps 1920×1080.
I wonder if the CPU in the iPhone 11 range could record three angles at HD at lower frame rates. I’m looking forward to developers discovering what the new hardware can do!Read more
Steve Bayes worked for Avid for 10 years on Media Composer: the application used to edit most TV shows and feature films. He spent over 12 years working for Apple as the Final Cut Pro product manager. Now he is a freelance marketing consultant for businesses serving the post production industry.
He left Apple in July 2018, so is now free to join us on the internet in a private capacity. He has joined fcp.co as a columnist and commentator on the Film, TV and video production industry.
In his first column he outlines what to look for at the IBC 2019 video trade show that is coming to Amsterdam in a couple of weeks:
Look for more advanced workflows that handle HDR better. Use your dynamic range for good and don’t lose track of it on the way to the final display.
and he especially wary of those offering pure cloud solutions for video editing:
Every time someone talks about “the cloud” you need to down a shot of aquavit. Then ask, “I just shot a terabyte of 8K footage yesterday with my 3-camera rig, how long to upload it from my hotel before I can start to generate proxies in your cloud?”. They will point you to a workflow that requires very little footage and lots of GPU computing.
In the end, is there a clear ROI benefit to the cloud over local storage when working with the speeds and quality we expect today? I’d like to see those numbers and the justification. I predict it will remain a cloud/local hybrid for quite some time.
Here is the first of the fcp.co YouTube discussions featuring Steve Bayes on the fcp.co channel on YouTube:
If you are comfortable with Python and building packages on GitHub, version 3.0 of Appleloops is available.
It is for those who administer large networks of Macs that have Apple’s audio editing applications installed. Don’t understand the following requirements? Appleloops isn’t for you:
Apple’s new ‘notarisation’ security requirement for macOS Catalina might mean that installers you have for pre-2019 software will not run if you double-click them in the Finder. Also many installers available online that are not updated will not run in macOS Catalina.
Those of us who have created installers of all kinds – including for Final Cut plugins – should prepare for extra work before macOS Catalina is released in Autumn.
For installer applications to run as normal, they will need to be ‘notarised’ by Apple.
This process includes using Xcode or a Terminal command to submit your application to Apple. Once an automated process approves your application (which takes less than 30 minutes at the moment), it is notarised. That means when a user double-clicks it (or a browser attempts to start it), the Mac will go to the internet to see if it has been notarised. If notarised, it will run. If not, it won’t. If there is no internet connection – if someone runs an installer on a Mac with no or restricted online access – the application will not run.
So that notarised applications can run on offline Macs, there is an additional process known as ‘stapling’ which attaches the notarisation ticket to the application itself. If the installer application has been ‘stapled,’ it will run as normal on non-internet connected Macs.
I used Plugin Manager (from Digital Rebellion’s Pro Maintenance Tools) to make the many installers for my free Final Cut plugins. Part of the process was signing the installers with my Apple developer ID. These installers from years ago will not work smoothly with macOS Catalina.
I watched a long presentation on notarisation by Tom Bridge who has written on his blog:
I found a package that is properly signed that delivers Motion and Final Cut Pro templates that also triggered the quarantine warning. They were signed for distribution, but not notarized. They still flagged the quarantine check because they were distributing files.
Developers might see this as an opportunity to review old installers. I hope Digital Rebellion can help me with my NLE plugin installers. I might also need to make a whole load of new installers that I can notarise using other tools.
It is time for macOS developers to do the research to make sure their applications will easily run in macOS Catalina and newer.
Watch Tom’s presentation (aimed at Mac administrators who are happy building applications using Xcode) from 33:22 to find out more about the notarisation process:
If you do nothing, users running your pre-2019 installers will see this (from Tom’s blog):
There are many useful Mac software installers on the internet that remain safe to use, but whose developers have moved on – who are very unlikely to go through the notarisation process.
Apple have said that users will always be able to run any software they like on their Macs. Their security policies in recent years have been about making running unchecked applications less straightforward – to protect naive users from malicious software.
In the Finder, use the File:Open command (or control-click its icon to see a context menu that includes the Open command) to get a dialog box that asks if you are sure you want to open it – which includes an ‘Open’ button which you can click. Here is what that dialog box looked like in 2013:
Click ‘Open’ and the un-notarised application will always run on your Mac. For each new Mac you move the installer to, you will have to go through the same process.Read more
Apple’s oldest professional application – their real-time motion graphics tool – was first made available to buy 15 years ago: on August 11, 2004.
Motion was first publicly previewed in April 2004. Here is Apple’s video of that 15 minute demo:
The amazing thing about many features shown here is that even 15 years on, it would be hard for today’s other animation applications to match what Motion users could do in 2004. Although the final animations can now be exported into tools like Blackmagic Fusion and Adobe After Effects, they still can’t match the real-time responsiveness of Motion (1)’s user interface.
Since 2004 animations in Motion can modified in complex ways in real time while the animation is playing. No stopping to change settings, waiting for a render, then playing back a lower-resolution preview. Motion users play with ideas while users of other applications make plans of what they will try next.
Although it is possible to make animations complex enough that slow down Motion’s UI responsiveness, Apple’s focus has made sure it remains a real-time animation application.
They have done this by saying ‘no’ to new features that make the UI less responsive. Features that would allow motion graphics designers who also use After Effects or node-based compositing systems to apply methods they know from these other applications.
When Motion was introduced in 2004, After Effects was already the ‘Avid Media Composer’ of motion graphics and video effects. There were already established industry workflows using After Effects – few users saw a reason to switch. They saw that it was a lot faster, but it also seemed strange compared with what they were used to. It didn’t offer enough to make up for its steep learning curve.
Although Apple regularly improved Motion during the rest of the 2000s, it didn’t capture the imagination of a significant proportion of motion graphics designers. It was eventually included in the Final Cut Studio bundle, made up of Final Cut Pro, Soundtrack Pro and DVD Studio Pro and more. Even when hundreds of thousands of users got Motion for ‘free,’ few could justify the time needed to ‘get’ it.
Despite versions 1, 2, 3 and 4 never really breaking out, Apple stuck with Motion. They have kept developing it because Motion became a vital element in the 2011 reboot of Final Cut Pro: version 10.
Motion benefits Final Cut in three ways.
The reason why Final Cut Pro is the fastest video editing application is that since version 10.0, there has been a whole copy of Apple Motion 5 built into it. Motion’s real-time animation system is now Final Cut’s real-time rendering system. Rendering changing scale, colour, position and rotation of a video clip is now slower than a clip that only has one parameter changing.
Final Cut also benefits from Motion because it is through Motion that nearly all of Final Cut’s built-in real time effects, titles, transitions and graphics are implemented. Many feature updates to Final Cut insect 2011 are accompanied by a new version of Motion.
The other side of Motion being at the core of Apple’s Final Cut development is that Motion is mainly improved to support Final Cut. Since 2011 there have been few improvements designed to benefit those who use Motion to make motion graphics.
With Motion there is the classic chicken and egg situation: designers don’t pick up the tool because it hasn’t improved and Apple can’t justify making it better for those designers because few of them are picking it up.
I hope Apple will soon act as if they see Motion as more than a Final Cut developer tool.
Apple Motion has a future as long as Apple’s Final Cut Pro has a future. I’m sure Final Cut will be around for many years. Apple’s video Applications team want it to break though the 20th century timeline barrier as typified by Avid Media Composer and continually being popularised by Adobe Premiere. That means years more improvements for regular people upgrading from iMovie and to attract established post-production people currently sticking with old systems.
Motion evolution – and hopefully revolution – will be at the heart of Apple video applications for years to come. I’m looking forward to it!Read more
Yesterday Apple updated iMovie for iOS and macOS. There’s one new feature in the iOS version which could set Apple’s video tools on the path to collaboration.
I don’t know how much of iMovie for iOS is ClassKit compatible, but ClassKit has interesting features for developers to integrate into iOS apps:
ClassKit and Schoolwork are built with student privacy in mind. Schoolwork only receives and displays student progress data for activities a teacher explicitly assigns, and only when students use the Managed Apple ID that was created for them by their school on their device
Could the ‘Define and Display Assignable Content’ feature could help a feedback note show exactly the timecode it is referring to.
I wonder if Apple’s eventual workgroup collaboration features will involve using Managed AppleID for participants, and tools for a team member to administer membership of groups. Last week’s WWDC mentioned managed AppleID for business in a forthcoming update to Apple Business Manager. I’ll keep a look out for more information from Apple.Read more