Category: after effects

Adobe announced plans to significantly update all the video apps in Adobe Creative Cloud and will showcase these innovations at the NAB 2014 show in Las Vegas next week.

Milestone feature additions, expected to ship in the next coming months, include major updates to Adobe Premiere Pro CC and Adobe After Effects CC, designed to make everyday tasks easier and faster, enabling video professionals to create stunning videos, TV shows, films and commercials more efficiently. At NAB Adobe is also unveiling new features for Adobe Anywhere, the collaborative workflow platform that empowers teams using Adobe professional video apps to work together as they access and manage centralized media and assets across virtually any network.

Watch this preview of the Premiere Pro update

See the After Effects update preview video

See what’s coming to SpeedGrad

Watch the Audition overview video

All credit is given to author cinema5DJohnnie Behiri

Today, Red Giant one of the most recognizable names in the industry, has announced Red Giant Universe (public beta). This is their biggest launch to date.  This is a universe based on community that provides members with access to free tools for filmmaking, post production, and visual effects.  How big is this Universe? Let’s take a closer look…

Red Giant had previously hinted at a very large release on March 6th.  Red Giant created a short teaser of what we could see coming. This got many of us in post production and filmmaking very excited, as we have all come to either use or rely on Red Giant’s tools.

After spending countless hours waiting and wondering, today the mystery is resolved. Red Giant created Universe now in public beta. When you join Universe, you gain access to 50 free plugins all at once. Everything from transitions, to glows and blurs.  Plus, there is more on the way, as Universe expands. Red Giant Universe is also GPU accelerated and supports various post production software, such as After Effects, Premiere Pro, Final Cut Pro X and Motion. Red Giant Universe will also support both Windows and Mac based platforms.


In addition to the free expanding plugins, Red Giant Universe also offers access to even more tools to its Premium members. These will include new effects, as well as existing ones, optimized and updated to work within Universe. Some of these include Knoll Light, Factory EZ, Holomatrix, Retrograde, and ToonIt .


Red Giant  Universe Features:

  • Tons of New GPU-Accelerated effects and transitions.
  •  31 Free Tools includes 22 Effects and 9 Transitions
  •  19 Premium Tools includes 12 Effects and 7 Transitions
  •  Regularly updated (using our dev tool, Supernova)
  •  Porting of some existing Red Giant products to Universe (Premium)
  •  Voting on new tools to decide what gets made next
  •  Invitations to private betas for new tools (Premium)


OS Requirements:

  • Mac OS X Mountain Lion 10.8.5
  •  Mac OS X Mavericks 10.9.0 and later
  •  Windows 7 with Service Pack 1
  •  Windows 8 and 8.1


Host App Compatibility:


Hardware Requirements:

  • A GPU-accelerated graphics card.

Pricing & Availability:

Red Giant Universe (public beta) is available free starting today, with Premium membership available for purchase in the next few weeks.

  • Basic Membership: Free
  • Premium Monthly: $10
  • Premium Yearly: $99
  • Premium Lifetime: $399

Red Giant has also created a wonder developer’s tool known as Supernova. The developer’s tool allows you to create, manage and even update various plugins. The only real limitation seems to be your imagination.  Supernova will make it easier for developers to create plugins that are needed by the filmmaking community by large.

Supernova: Behind the Scenes of Red Giant Universe from Red Giant on Vimeo.

Red Giant has been on the fore front of supporting filmmakers and post production.  Red Giant is now taking this a step further by creating a Universe with a community. They will listen to feedback from their members, and create and expand Red Giant Universe even further.

Red Giant Universe could expand to become the largest offering of tools for filmmakers and post production people. Only time will tell if this ever expanded Universe will be the first step for filmmakers or the next leap for filmmaking tools.

We will take a closer look at it soon and report back on Universe’s features in a comprehensive review.


Learn more at

All credit is given to author cinema5DTej Babra

In this episode of Film Scene we show you how we shot an exploding collision between a dump truck and an oil tanker for our recent project with the US Department of Homeland Security and Public Safety Canada.

Watch the complete video here.

All credit is given to author NextWaveDVTony Reale

In this episode of DVTV, we follow up on the Adobe Creative Cloud debate and share ways to avoid having to subscribe to Creative Cloud. Casual users may find all the features they need by purchasing software like Adobe Photoshop or Premiere Elements or HitFilm.

All credit is given to author NextWaveDVTony Reale

Warp Stabilizer is one of the most invaluable features in Premiere, and now it’s got a big brother in After Effects CC, Warp Stabilizer VFX. It lets you control track points, preserve framing, and more. With dynamic link, this is still a super fast and easy to implement tool if you aren’t getting the results you like from the standard Warp Stabilizer filter in Premiere.

Check out Adobe’s own tutorial on how to stabilize one object in your frame.


All credit is given to author Wide Open CameraNate Weber

5D Mark III raw guide

Click here to download this guide as a PDF document

Here’s a quick and easy way to get raw recording setup on your 5D Mark III thanks to the recent Magic Lantern developments.

1. Prepare your 5D Mark III

Charge the battery fully.

Set the camera to movie mode on the live view dial and set the mode dial to M. I also recommend assigning 5x focus magnification to the SET button.

Attach a lens. DSLRs don’t work without a lens :)


2. Download

If you’re running the new uncompressed HDMI firmware from Canon (version 1.2.1), download and install the older version 1.1.3 instead. Unzip the firmware files and copy to your card, then go into the camera menus and select Firmware Update.

Download Magic Lantern – the zip on this page (nightly 5D Mark III Magic Lantern)

Unzip it (double click) and copy all the files to the root directory of your card.


Above: KomputerBay – the Comic Sans of Compact Flash cards :)

3. Prepare your Compact Flash card

For 1080p will need a 1000x speed card, preferably 64GB as some of the higher capacity 128GB cards currently have issues with lower than expected write speeds.

Mac users should use Mac Boot to prepare the card, whilst Windows users can use EOS Card. You just downloaded these in step 2.

Windows users: Open the EOS Card app and choose your compact flash card from the drop down box (it must be in your PC / USB card reader) click the Magic Lantern logo and click Save. Done.

Mac users: If you have OSX Mountain Lion first double click the macboot.command shell to run it. This must be in same folder as the Mac Boot class app. Then you can run the app. Select card drive in drop down box at the top, click Make DSLR Bootable and then Prepare Card.

Tip: EOS Card can also install one of the existing 600D / 5D Mark II Magic Lantern releases on the card. If it does, delete those files and repeat the part of step 2 where you copy your downloaded Magic Lantern files to the card.

EOS Card

4. Record raw video

Put the card in your camera and go to the Canon main menus. Select Firmware Update and follow the commands on screen. From now on your camera will automatically use the Magic Lantern firmware on the card. (To go back to the normal camera firmware you simply turn off the camera and use a normal SD or CF card).

Enter the Magic Lantern menu with the delete key on the camera (it has a trash can on it). The top dial navigates the tabs and the rear scroll wheel and joystick navigate the menu options. The Q button goes into a sub-menu and back out again.

  • You can choose your resolution and start the recording in the Raw Video menu of Magic Lantern
  • You can stop the recording by pressing the Playback button (or by going back into the raw menu)
  • Copy the raw clips from the DCIM folder on the card to your PC or Mac
  • Drag and drop your 5D Mark III raw files into the Raw2DNG app to convert to DNG format
  • Be amazed

Click here to view the embedded video.

After Effects Workflow

First step is the Raw2DNG app that you downloaded in the zip. This app too, like the raw recording module on the camera, is hot off the lab and very very early code! This is required to make your raw files compatible with mainstream Adobe, Avid, Apple and Blackmagic post production software. You drag and drop the raw clips into it, and out come DNG raw image sequences like the Blackmagic Cinema Camera. One important difference is that these are standard DNG image sequences, no Cinema DNG metadata. You can’t yet put them straight into Resolve unfortunately.

Once in DNG format you can load individual frames in Photoshop for inspection or load the folder of frames in After Effects to render it out as a sequence. After Effects is how I am doing it at the moment. Drag each folder of DNG clips that Raw2DNG created on your drive into After Effects.

In After Effects you can render the DNG sequence in any codec you like – be it CineForm, ProRes or space saving H.264.

After Effects allows you to grade the first frame using standard Photoshop camera raw controls. That grade is applied to the whole sequence. In the future, using Resolve would be preferable (like Blackmagic) but a stills DNG to Cinema DNG utility needs to be made first for that to happen.


Of course in the future the raw video feature of Magic Lantern will have more options. Some of the functionality is still in the Canon side of the firmware. For example to activate crop mode and higher resolutions than 1920×1280 you need to enter 5x magnification focus assist mode. I currently have this assigned to the SET button. To access higher frame rates than 30p you need to set the video mode to 720p in the Canon menus rather than 1080p, and use the FPS Override menu in Magic Lantern to choose your frame rate. 24p and 25p work most reliably.

The post Easier 5D Mark III raw guide in 4 steps appeared first on

All credit is given to author EOSHD.comAndrew Reid

In this tutorial, we are going to show you how to create a custom text or image light paintings using Adobe After Effects and your smartphone or tablet. You are going to see how to create simple yet very attractive custom light paintings.

Watch the Video

The fun part of creating these light painting images is shooting them. Set up your camera on a tripod, and take a few test exposures. You’ll want to be in a darkened environment, which will lend itself to a long shutter speed. You do not want the environment to be perfectly exposed. I usually try to be about one stop under exposed. Also keep in mind the play length of your video. Your shutter speed needs to be longer than that.


After that, you’ll need to do a dance with your tablet or smartphone with the video playing. This will require many attempts to the the pattern just right. Every image will be different, so just visualize what you’re trying to create.

Here are a few tips to help you troubleshoot problems.

  • The slower you make the video run, the brighter it will be.
  • If the image or words look stretched, move the tablet slower.
  • If the image is squeezed, move the tablet faster.
  • To keep the tablet moving in a straight line, line it up with something in the environment like a bookshelf or top of wall.

Thoughts or questions? Leave a comment below!

All credit is given to author Phototuts+Stefan Surmabojov

Click here to view the embedded video.

These past days I’ve been trying to make myself useful to Alex at Magic Lantern, testing the DNG raw video recording on the 5D Mark III with a nightly build of Magic Lantern.

Here’s what the video quality looks like in the DNG video modes at 30fps.

Click the image below to expand…


(Note: the 3.5K crop mode is downscaled to 1928 in this shot)

Image quality wise no matter what the resolution in DNG, it is a HUGE step up from the current H.264 video mode or HDMI in every way – sharpness, detail, dynamic range, grain, colour, roll off, smooth gradation, you name it.

I actually use the term 2K raw for brevity’s sake – the horizontal resolution is actually 1928 not 2048 and the aspect ratio is 3:2 not the cinema standard for 2K. Neither is it 1080p. To get the data rate low enough for the Compact Flash or SD card to handle vertical resolution needs to be cropped from 1285 pixels to 720, giving you an anamorphic style 2.66:1 aspect ratio – 1920 x 720.

It is still an actual resolution increase on the current video mode because the detail is so finely resolved in raw mode and so soft in the current H.264 1080p.

3.5K mode (a 1:1 crop of the sensor) is lovely, but the frame sizes are just too huge (9MB) for an SD card to handle at frame rates high enough for motion pictures so don’t hold your breath for it! Also as you can see from the video in this mode jello is a big issue with handheld footage!

As you can see from the framing in the picture above, 3.5K crop mode samples just over half the sensor horizontally and 1320 pixels vertically. There’s currently a black band on the far right in this mode but that can be chopped off in post.

With the Magic Lantern build I have and the 5D Mark III set to 720p in the movie mode menus, the camera outputs very clean 1928 x 670 raw frames too but my 670p is squashed vertically and need to be shot with an anamorphic lens attached to correct the distortion. The distortion is actually helpful in that respect, saves you having to apply a squeeze in post when shooting with the Iscorama. I believe they have 1920 x 720 working with no distortion but have yet to get this working on my version.

By turning the in-camera CR2 raw recording off and putting JPEG recording on Medium or Small, I can get up to 2 seconds of continuous raw recording on the 5D Mark III at 1928 x 670 and just over 1 second of 1928 x 1285. That is 50 frames of raw video for 1928 x 670 in a burst of up to 30fps and up to 30 frames at the full 1285p. As a timelapse or photographic burst mode it is extremely useful even in it’s early bleeding edge form, very much like the Nikon V2 mirrorless camera but lower resolution.

5d3 3-5k raw

Above: click to enlarge the 3.5K sample frame (downsampled to 1920 and converted to JPEG)

The short recording time is limited by the size of the camera’s buffer. When the camera dumps the frames from the buffer to the card, it seems to debayer the raw frames for the image review causing the whole process to dramatically slow down. We need real-time recording of DNG to the card for all this to work as a video feature.

Magic Lantern have got the image review working which gives you a live preview of footage as they are slowly written to the card. This debayering is in my opinion very CPU intensive and I think they’d need to find a way to turn it off.

The debayering method used to produce the live view image and H.264 is less CPU intensive but of course results in a very poor image, the source of the soft video we have on the 5D Mark III. Then on top of that dodgy facsimile plenty of compression is added to create the H.264 MOV files. With the latest firmware (1.21) we now know what the compression does not really change image quality, as the uncompressed H.264 output via HDMI looks just as rubbish as the internally recorded compressed H.264 (at 24Mbit in IPB mode).

5d3 dng raw frame 2

In theory if Magic Lantern can turn off debayering and simply continuously dump raw frames from the buffer at 24fps to the card, then we have continuously recording raw video and are not limited by the size of the buffer (512MB). The buffer also has to store other stuff, not just the DNG files hence the low number of frames it can store at once before it becomes full.

Writing raw video to the card is not processor intensive, but has a very high date rate.

So the next big hurdle is whether the card – and more importantly the card controller of the 5D Mark III – are fast enough to get that uncompressed DNG raw video out of the camera’s buffer in realtime.

My tests say that in theory yes they are fast enough!

Magic Lantern has an internal benchmark that writes a block of data to the card with the card controller. In the 5D Mark III I got sustained 75MB/s write speeds to my 1000x compact flash card which I used in the 1D C to record 4K MJPEG. Not only is the card capable of that rate, but the internal card controller seems to be too. This part was upgraded in the 5D Mark III to support newer UDMA 7 cards.

The 5D Mark III’s 1080p DNG raw would likely need to be cropped to an anamorphic aspect ratio. Either 1440×1080 4:3 for anamorphic lenses (my preference!), or 1928 x 720 for a faux anamorphic 2.66:1 which many people do in post anyway with 1080p.

5d3 dng raw frame 1

Uncompressed 1920 x 1080 raw is around 120MB/s to the card, and on the Blackmagic Pocket Cinema Camera with 2:1 compression it is 60MB/s. Compressed raw doesn’t seem to be a realistic option at this point on the 5D though. The Blackmagic Pocket Cinema Camera does 2:1 compression on its DNG files but it does so with dedicated hardware for the task. Magic Lantern’s DNG module runs in software. It is C code on a general purpose processor. I very much doubt that it has the performance to do complex compression on 2K raw files at 24 frames per second, and if it can do that, your camera will probably explode.

Rather than compress 1080p an anamorphic style 2x crop to 1920 x 540 would produce raw video at 60MB/s, perfectly within the benchmark score for my 1000x compact flash card.

However rather than the camera’s card write LED flickering continuously as the DNG files are written to the card, it does a very brief flicker for each frame and then the camera thinks about something else for around 1 second per frame. With the Magic Lantern card benchmark, the LED flickers manically and continuously.

Could this delay be due to the camera debayering the raw file for image review on the LCD? Hopefully Magic Lantern can find out what the camera is thinking about, and either turn it off or dramatically speed it up. Whatever it is, it isn’t yet a continuous 60MB/s stream of raw video frames to the card, and needs to be if we are to get it to work for video.

As well as a faster card controller than the 5D Mark II the other major advantage of the 5D Mark III is that the raw image appears to be downsampled much more cleanly from the sensor. The DNG raw files have a lot of false detail evident on the 5D Mark II, whilst they are silky smooth and pin sharp on the 5D Mark III. Here’s an example of the difference (at 1:1):

5D Mark III vs II - DNG raw

As you can see, there’s a lot of red, blue and green errors on the 5D2 DNG raw with fine detail, it has a very scratchy look and now smooth at all. I put this down to the 5D Mark III doing 3×3 pixel binning on the sensor and the 5D Mark II line skipping over the sensor, producing more false detail – though some very good sources have told me it IS possible to get good quality with nearest neighbour downsampling – essentially the same as skipping lines 3:1 on the sensor to get 1080 lines from 3840 less a crop to 16:9.

The 3:2 aspect ratio 1928 x 1285 frames are 4.8MB each and appear to have around 11 stops of dynamic range. Detail is cleanly rendered and tack sharp, none of the same moire or aliasing issues we usually see. It has less moire than the Blackmagic Cinema Camera too, yet is much cleaner in low light and with a full frame sensor.

The 3.5K frames are activated when the sensor is put into focus assist mode. With the 5x magnification active on the live view display, the 5D’s sensor does a 1:1 crop of the full frame sensor at up to 30fps continuously to the buffer, measuring a huge 3592 x 1320. The aspect ratio is similar to shooting with a 2x anamorphic lens on a 16:9 camera sensor, and I have actually grown to like that look a lot.

Since it is a 1:1 crop the image quality in this mode has no scaling, so the image quality is the same as a raw CR2 photo viewed at 1:1.

The crop however comes from a very oddly positioned window on the full sensor, it isn’t centred. When the focus assist box is moved with the joystick from the far left to the far right, Alex has noticed that it pauses very briefly in the middle and speculates that the sensor changes the windowing mode from the left to the right. As it is, framing a shot in this mode is currently very difficult as the live view display only shows a very narrow (roughly VGA) crop of the much larger 3.5K sensor crop resulting in a very extreme magnification of the full 3.5K image frame, which was after all how it is designed to work (as a focus assist)!


Thanks to an EOSHD forum member’s advice in the Nikon V1 60fps raw burst mode topic I was able to get a very quick and simple raw workflow with the 5D Mark III going.

Rather than use DaVinci Resolve (which only works with TIFF sequences and Cinema DNG, not plain photographic DNG sequences) I used After Effects to put the sequences of DNG frames together into video clips.

Ctrl-I brings up an import dialog box and you simply put each sequence of frames into it’s own folder on your drive, now they act like short clips. Choose the first DNG frame in the folder and After Effects will allow you to grade it in Photoshop, before applying the look to the rest of the frames in the sequence automatically as if it was a video clip.

Then I exported each composition to a lossless Quicktime file, and dropped that straight into Premiere. Of course there’s no audio recording to a separate WAV file yet with Magic Lantern so have the dual system audio recorders at the ready.


All in all the recent Magic Lantern developments have left my jaw on the floor, both with amazement and with bafflement at how Canon can leave out such valuable features. If this team of programmers who have had zero assistance from Canon and zero insider knowledge can put a DNG burst mode of 30fps raw into the 5D Mark III, you have to wonder why Canon didn’t put one in themselves and it is only natural for me to question this, as I am sure everyone else is doing!

Actually we shouldn’t be too harsh on Canon. Although they could have done it at the drop of a hat but didn’t, I don’t think there’s a conspiracy. I believe the issue lies with the economics of the camera industry and the consumer. There are drawbacks for the regular customer – support requests from people with slow SD cards would go through the roof and add to Canon’s overheads if they put the 30fps raw burst mode in there. Sensors might fail due to heat build up and the reliability of the camera might be effected long term resulting in more returns under warranty and the huge implications for Canon’s reputation that could bring. Jello is an issue  in the crop mode, though I’m surprised there’s not a 1080p H.264 crop mode since the 600D has it and the sensor on the 5D Mark III is clearly capable of it.

However as we have seen time and again, whether it is with the GH2 hack or Magic Lantern, we are being given a very small subset of features compared to what the hardware can offer and it really is time this situation was improved. Power to the people.

The post 3.5k Canon 5D Mark III raw video with Magic Lantern and latest updates appeared first on

All credit is given to author EOSHD.comAndrew Reid

Adobe is really pushing their Creative Cloud now that CS6 is out since May.

Maybe they didn’t get as many subscriptions as they intended to get, maybe this whole cloud thing is just too new and complicated for people to really pick it up.
Anyway, they’re now really driving the ad mill and throwing out a deal until the end of August. You’ve got to own any previous Adobe CS app (CS3 or higher) and they give you $29.95/month instead of $49.95/month for the whole first year.

Adobe Creative Cloud explained (again):
Basically is the whole Creative Suite (CS6 as the real apps!) with some advanced cloud sharing features (like Apple iCloud), but you’re paying on a monthly basis, just as long as you use the Suite, much like an App Store if you will.

The cloud version of CS6 will set you back $600 $360 (with August deal) a year while the retail version of the whole bundle (“Master Collection“) is $2599 and the lighter, filmmaking oriented package “Production Premium CS6” is $1799. And since we can expect another next version next year anyway that’s a pretty good deal for a serious suite like that.

The downside is that you cannot use the cloud on a month-by-month basis, so you cannot only use it during September while editing and save the money cause you’re out shooting during October.

Maybe Adobe wants to take over the disappointed Final Cut Pro people before Final Cut Pro X really takes off (if ever). It’s a fact that you’ve got to put in more braincells to learn CS6 than any Apple product.

Get started with Adobe Creative Cloud (yearly plan) for $29.95: LINK

For Europe:
Adobe Creative Cloud (yearly plan) for 36,89€ (instead of 61,49€): LINK

Why is it more expensive in Europe? Because we have taxes.

Here are 10 free Premiere Pro CS6 Tutorials Andrew Devis to get you started on Premiere CS6:

via nofilmschool

All credit is given to author cinema5D newsSebastian

As announced on April 23rd, the newest and most feature-packed version of Adobe’s design tools, Creative Suite 6, just started shipping.

What’s really exciting though is the “creative cloud”:
Adobe is launching their new creative cloud service in 2 days.

Basically it’s the whole creative suite with some advanced cloud sharing features, but you’re paying on a monthly basis ($49.99 and $29.99 for students) to use an online version of all CS applications, much like an App Store if you will.

The cloud version of CS6 will set you back $600 a year while the retail version of the whole bundle is $2599.

This is how you access the 30-day free trial:
Go to Adobe’s creative cloud page, click “join” and on the next screen you can choose the free trial.

If you own a previous CS version you can start a creative cloud membership for a reduced price of $29/month:

You can buy the Adobe CS6 products at B&H:

Awesome feautre overview by Vincent:

Commercial overview by Adobe:

All credit is given to author cinema5D newsSebastian