[Mads Nybo jørgensen]

Hey Philip,

Yes, simple things should be easy to do.

Do you know the camera model where your SONY BPAV files originate from?
And, are you Mac or PC based?

That will help me trying to narrow down a solution (link) for you.

Atb
Mads

[Mads Nybo jørgensen]

Hey Lucas,

Allegedly, you can run Creative Cloud in off-line mode, but as I am always on wifi, I don’t get to try that.

The Creative Cloud Desktop (or on-line) is where all your apps are managed from.
If you check your Task Manager (Windows) it is always running in the background, if any of your CC apps are running. As in, you might not notice it, but it is there.

If your CC subscription is valid, then there should be no problems with your licencees.

Atb
Mads

[Mads Nybo jørgensen]

Hey Lucas,

I’m not sure what the problem is, or more to the point what is that you want to resolve?

My workflow is that when I click on a pdf file, it will open in Acrobat. As such, I rarely get to the start-up screen.
When I close all my pdf documents down, I am left with a list of recent files.

If I select “Your Computer”, there is the last 5 folders where I have opened files from.
And, the big fat blue thing that says “Browse”, allows me to browse to a new location and open a file from there. That new location, then goes to the top of the list under the “Your Computer” tab.

If you move folders or files, it is likely that you’ll need to manually point to the new location to open them. But you can do that from within your file-manger, rather than inside Acrobat.

Atb
Mads

[Mads Nybo jørgensen]

Echo Craig,

4K Video downloader is great, and easy to use + it can download play-lists from YouTube.

Atb
Mads

[Mads Nybo jørgensen]

Hey Rob,

24 fps was what the world of film settled in to for many years, until Digital Cinema arrived first in form of mini-DV, then HD.
There are many reasons to stay on 24fps, like the feel of the motion picture itself, but also storage space 😉

Maybe not soo much storage space, as there is no reason for why one could not shoot 30, 36, 60, 120 and higher fps’.

My personal preference, which in part from starting out as a 35mm projectionist, I do not like the higher digital frame-rates as they for look too clean and feel like being in a game (X-Box/PlayStation/PC).
Yes, that can be masked by adding film-grain, etc.

Even so, there is something nice about 24 fps.

Atb
Mads

[Mads Nybo jørgensen]

Hey Jawad,

I’m not sure that A.I. is the answer, as it is more Machine Learning to find those beats.

Notwithstanding that one might expect “the beat” to fall with the same interval?

There are a few options open to you:

You can head over to After Effects, and use BorisFX Beat Reactor:
https://borisfx.com/documentation/continuum/bcc-beat-reactor/

You could also use Izotope to separate out the Stem with the beat in, and go from there:
https://www.izotope.com/en/learn/stem-separation-music-rebalance.html

If just looking for the beat, and for this you would need it to peak above the rest of the music, you could use the QC tool in Omniscope to show you where the beats are:
https://docs.timeinpixels.com/nobe-omniscope/qc/qc-timeline

As there are smarter people around here, I am sure that there is one or more ways to do it.

Atb
Mads

borisfx.com

BCC Beat Reactor | Boris FX

Overview BCC Beat Reactor is a filter that can be used within Adobe After Effects to generate keyframes based on an audio track within the composition. These keyframes can be used to affect other parameters within the composition by using … Continue reading

[Mads Nybo jørgensen]

Very true, Eric.

At least AVID MC has also come down in price.

For objectivity it might be worth noting that FCPX is only supported and does only work on systems made by one manufacturer.

One that likes to hard-wire memory, SSD and chip, so you don’t go upgrading later (to be fair, there are a few Mac models where you can add memory to them).
What you might save in software upgrades, you’ll sooner or later get hammered on the cost of the hardware with new operating system 😀

But I agree that AVID used their early gained monopoly on waisting it by keeping costs high, but without continuing to innovate.

Atb
Mads

[Mads Nybo jørgensen]

Hey Rick,

I am jealous, as I have a stack of HD-CAM tapes that I would love to have as files instead of tapes. 😀

I also have the UltraStudio 4K for capturing from PAL SDI.
However, even using the BlackMagic Capture software, it has not been a great experience + it makes a lot of noise.

Instead, I have purchased the Blackmagic UltraStudio recorder 3g and Mini-Sync Generator, which I seem to remember can do tri-level sync, if you need that?

Both are in-expensive and you can use the BlackMagic capture software, and then import into PPro.

Although, if you want to control the vtr from within PPro and with Time-Code, then that becomes a lot more “fun”.
There is a thread here on Adobe site that might be helpful:
https://community.adobe.com/t5/premiere-pro-discussions/blackmagic-desing-with-premiere-pro/td-p/11636892

The alternative could be to install Davinci Resolve and use that for capture only.

So many possibilities for you to spend time on, that you might end up in the same location, which is to use the BlackMagic capture software.

Hope that this helps?

Atb
Mads

community.adobe.com

Blackmagic Desing with Premiere Pro

We recently started using Blackmagic Design (BMD) cards for capturing old film and video material. We use the Intensity Pro 4K and Intensity Shuttle.   The old material (firewire solutions) no longer works and had to be replaced. Premiere could … Continue reading

[Mads Nybo jørgensen]

Hey Steve,

I agree – FCPX development is not focussed on the user, sadly. I have not bothered updating mine, as many of my larger clients has not certified the latest FCPX. Simply because each recent update version of FCPX, have broken more than what they added.

If you compare development in FCPX and Adobe PPro, then this list for Davinci Resolve 19 Beta 5 kind of illustrates how the “big boys” have run out of steam and is no longer innovating editing tools…

From:
https://www.blackmagicdesign.com/support/readme/cd96b535daf24ecbbdb3eec692c47617

About DaVinci Resolve 19

The free version of DaVinci Resolve 19 includes all of the same high quality processing as DaVinci Resolve 19 Studio and can handle unlimited resolution media files. However it does limit project mastering and output to Ultra HD resolutions or lower. DaVinci Resolve 19 only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro.

If you need features such as support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, multiple AI-based tools, HDR tools, camera tracker, voice isolation, multiple Resolve FX, 3D stereoscopic tools and remote rendering, please upgrade to DaVinci Resolve 19 Studio.

We hope you do decide to upgrade as your facility grows and you do more advanced work!

What’s new in DaVinci Resolve 19.0

Items marked with * are in progress.

Cut

• New multi source option to view time-synced footage.
• Support for displaying clip markers and keyframes.
• Support for a large enhanced viewer in the cut page.
• Live overwrite now starts with a single frame duration by default.
• Interactive Resolve FX and Fusion effect overlays in the viewer.
• Improved grouping of Fusion effects.
• Decompose nested clips from clip context menu.
• Ability to find timeline clip in multi source.
• Apply transitions to all edits and set default from context menu.
• Option to select checkerboard and grey alpha viewer backgrounds.*

Replay Workflows

• Support for the cut page as a media player and playout system.
• Support for the DaVinci Resolve Replay Editor.
• View ATEM multiview feeds live in DaVinci Resolve.
• Live sync camera clips in DaVinci Resolve via Blackmagic Cloud.
• Add points of interest and create replays from multiview and timeline.
• Cue and run replays with live slow motion.
• Pick from slow motion, ramp down and other retime presets.
• Apply auto stingers to start and end of playback.
• Automatically add replays to build highlights timelines.

DaVinci Neural Engine

• IntelliTrack AI point tracker for tracking and stabilization.
• AI powered UltraNR noise reduction for spatial denoising.
• New voice isolation mode with faster response and buffering.
• IntelliTrack powered audio panning to video in Fairlight.
• New faster option for Speed Warp.
• Music Remixer FX to remix voice, drums, bass, guitar and other sources.
• Dialogue Separator FX to separate dialogue, background or ambience.
• Option to detect speakers for text based editing workflows.

Edit

• Ability to edit timeline content based on source clip transcription.
• Option to display timecode column in the transcription window.
• Option to search and replace partial words in the transcription window.
• Select a sentence using mark clip in the transcription window.
• Place on top button in the transcription window.
• Ability to import and export transcriptions using SRT files.
• Ability to detect speakers during transcription.
• Preview, skim and scrub source audio channels in the inspector file tab.
• Set common source audio configurations in the inspector.
• Preview up to 36 audio channels in source viewer and inspector.
• Support for the precision trim editor in the timeline viewer.
• Support for safe area overlay options in the timeline viewer.
• Ability to select audio channels when aligning clips using waveform.
• Support for fixed playhead mode in the timeline.
• Support for bezier controls for Open FX keyframes.
• Missing Text+ fonts are indicated as a viewer overlay.
• Ability to edit Text+ titles in the viewer.
• Ability to use the keyboard numeric keypad for direct timecode entry.
• Effect library favorites are now categorized.
• Option to search across all effect library folders.
• Collapse effect library categories with alt or option double click.
• Improved snapping and cursor sensitivity on the timeline.
• Up to 50% faster iris, shape, wipe and simple dissolves on Apple Silicon.
• Option to select checkerboard and grey alpha viewer backgrounds.*

Media

• Support for updating clip usage for all timelines.
• Ability to select channels when syncing audio using waveform.
• Ability to reveal media pool bin from multi bin or search displays.
• Ability to resize 2-up and 4-up views in the media pool.
• Media management now retains alpha for supported formats.
• Marker clips are now editable in the media pool list view.
• Generated proxies now retain reel number metadata.
• Up to 3.5x faster Super Scale on supported AMD systems.

Color

• New ColorSlice six vector grading palette.
• Node Stack allows management of complex grading workflows.
• Support for ACES AMF 2.0.
• Option to normalize channels in the RGB mixer.
• SDI output now shows advanced 3D keyer strokes and marker annotations.
• Support for double clicking to open a compound node.
• Preview matte node layers by alt or option hovering over layer entry.
• Node context menu actions can now be assigned shortcut keys.
• Support for cleaning up node graph for multiple selected clips.
• Support for creating smart filters for HDR graded clips.
• Improved stereoscopic 3D control layouts on advanced and mini panels.
• Improved viewer zoom increments when using shortcut keys.
• Option to link Dolby Vision target display selection for trims and preview.
• Improved HDR Vivid support.
• Support for FujiFilm Log and Log2 for color managed workflows.

Fusion

• Fusion viewers are now color managed.
• Multi Poly tool for easier rotoscoping of complex objects.
• Support for Open Color IO 2.3.
• Support for referenced Fusion compositions in the media pool.
• USD enhancements for Material X and advanced volumetric shading.
• Stereoscopic 3D clip support in Fusion compositions.
• Multiple shape toolset enhancements.
• Improved Text+ inspector and on-screen controls.
• Show user defined guides in the viewer.
• Support for deleting and resetting layers in MultiMerge.
• Option for sBooleans to retain the upstream style.
• Option to specify duplication path in duplicate tools.
• Set control to default now clears animations, modifiers and expressions.
• New occlusion mask input for Surface Tracker.
• Track forward and reverse controls for multiple tracker tools.
• Ability to match planar tracker sizes to dissimilar logo and image overlays.
• Deselecting trackers now hides tracking paths in viewer.
• Faster rendering of streaming 3D textures in compositions.
• Up to 3x faster Magic Mask performance in Fusion.
• New left flow and mid flow UI presets with vertical viewer layouts.

Resolve FX

• New Film Look Creator.
• Better Face Refinement box and profile handling and smooth skin options.
• New Defocus Background isolates foreground with blur.
• Improved blur quality for Radial Blur and Zoom blur.
• Smoother sub pixel animation and finer control for Box and Directional blur.
• Up to 3x faster Beauty, Edge Detect and Watercolor on Mac.
• Up to 2x faster Beauty, Edge Detect and Watercolor on Nvidia systems.

Fairlight

• Fully integrated native Ambisonics workflow.
• IntelliTrack powered audio panning to video.
• Ability to sidechain VST3 and AU audio effects.
• Music Remixer FX to remix voice, drums, bass, guitar and other sources.
• Dialogue Separator FX to separate dialogue, background and ambience.
• Ducker track FX for auto level management of beds against dialogue.
• Voice Isolation supports true stereo and improved buffering.
• Dialogue Leveler has improved with faster cue up time.
• Improved frequency analyzer displays for spectrum and waterfall options.
• Improved real time control response to clip equalizer changes.
• Multiple improvements for native FX processing.
• Multiple automation improvements.
• Support for panning in groups.
• Support for clip head and tail snapping in focus mode.
• Support for zoom to fit for timeline view.
• Support for LTC and MTC chase.*
• Support for an exclusive solo mode.
• Support for fades with Dolby Atmos compositions.
• Ability to loop playback over range from Fairlight panels.
• Preferences option to auto-patch armed tracks to default audio input.
• Support for dynamic delay compensation with AU plugins.
• Support for Sony 360RA Walkmix audio formats and plugin.
• Improved ADM and Vivid audio with MPEG-H SDK 2.75.
• Support for third party auto conform workflows.

Codecs

• Up to 3x faster H.264 and H.265 decodes on non Studio in Windows.
• Up to 2x faster H.264 and H.265 native encodes in Windows.
• Support for Blackmagic RAW SDK 4.1.
• New IMF iQIYI Deliver page preset.
• Support for encoding IMF packages with JPEG HT content.
• Support for exporting AMF with image sequences.
• Up to 2x faster decodes for ZIP1 compressed OpenEXR sequences.
• Support for alpha-based HEIC formats.
• Support for encoding FLAC audio.
• Support for 44.1 KHz and other audio sample rates in Linux.
• Render support for odd numbered resolutions in mov and avi formats.
• Initial support for iPhone Cinematic video on Mac OS Sonoma.
• DaVinci IO Encode Plugin SDK support for audio only formats.
• Support for Sony XAVC H raw controls.
• Support for embedded LUTs in Sony MXF and MP4 clips.
• GPU accelerated decodes for ARRI Codex HDE on CUDA.

Scripting API

• Support for managing clip color groups.
• Ability to query timeline, clip and group node graphs.
• Support for enumerating tools used in a given node.
• Support for setting and getting color keyframe mode.
• Ability to export clip LUTs.
• Ability to export timeline ALE and CDL.
• Ability to import OpenTimelineIO timelines with custom import options.
• Support for querying media audio track mapping.
• Support to query and set speaker detection from project settings.
• Support to add a timeline track at a given index.

General

• Organization profile support for Blackmagic Cloud.
• Support for Blackmagic Cloud monthly Studio licenses.
• Improved Blackmagic Cloud media sync dialog.
• Support for ARM64 based Windows systems.
• Open FX Resolve Renderer plugin for external VFX applications.
• Support for German and Italian user interface localizations.
• Support for duplicating local project libraries.
• Support for restoring timeline backups from deleted timelines.
• Loading large timelines now shows a progress bar.
• Support for disabling specific video tracks for a render job.
• Option to optimize audio loudness and peaks in render settings.
• Support for HDR viewers on Windows.
• Support for HDR scans using the new Cintel scanner 8mm gate.
• Support for black and white scans from the Cintel scanner.
• Media management can trim mp3 and flac audio in mp4 and mov clips.
• Clip flags and colors support in data burn-ins.
• Ability to assign keyboard shortcuts for up to 5 UI layout presets.
• New workflow integration example for common MAM APIs.
• Improved battery life for the Speed Editor and Micro Color Panel.
• DaVinci Remote Monitoring using IP address connections.
• Option to specify a custom TURN server for remote monitoring.
• General performance and stability improvements.

blackmagicdesign.com

Support Center | Blackmagic Design

Blackmagic Design customer support provides the latest software updates, support notes, instruction manuals and contacts for any product related questions.

[Mads Nybo jørgensen]

Hey Glenn

“Luckily” for editors, it is often that the edit-producer / Producer / Director / Client and so forth, have no idea of what should go where to make a good story, which is why they hire a professional editor to do that for them. I for one likes this sytem, as it provides me with a living. 😉

It is quite common on larger projects involving mulitiple editors and suites, that some footage such as B-Roll and Stock, will be sourced from a shared “pool”.

There is also some shows, those with suspense and crime-fighting involved, where they like to keep on repeating what they have already repeated.

The problem of finding duplicates starts the day the editor saves a version 2 of the Time-line, which could grwo to 50+ versions – that is when the Dupe-Detect tools stops being functional across the whole project, let alone the server/cloud storage used.

Just a comment.

atb
Mads