“I spent a quarter of a century editing on Avid and several years on Premiere Pro, so why did I decide to ditch them both and go with Final Cut Pro X? I’ll tell ya….
There’s a small but growing number of editors who have made the jump. The process is fairly predictable. Surprise when we first hear a fellow editor rave about FCPX. Followed by a willingness to give it a shot. And then two weeks of massive discouragement and frustration, because it’s unlike any other edit system we’ve used before. And finally, the lightbulb moment, the “NOW I get it” realization that comes with understanding the radically different workflow….”
LumaForge – “Jellyfish shared storage is designed for one thing and one thing only: collaborative editing. This requires a respect for the programs that make video creation intuitive to you. We’re platform agnostic because we believe the problem isn’t with the NLE you’ve chosen, but rather with the lack of ingenuity in the shared storage experience. It’s hard enough to find software you love. We’re making it possible for you to work seamlessly with the programs you’re comfortable with, while no longer needing to continuously pass drives back and forth.”
Leeming LUT Pro has been released for a range of popular mirrorless, drone and action cameras, so Paul Leeming is working on his Leeming LUT Pro Fujifilm combo pack.
Mr Leeming has just purchased a Fujifilm X-T3 Super 35/APS-C hybrid camera in order to dig deep into Fujifilm cameras’ video settings and capabilities.
Cameras currently supported by Leeming LUT Pro include those made by Blackmagic Design, DJI, GoPro, Panasonic and Sony, with a list of which camera models are included now available at the Leeming LUT Pro web page.
The use of LUTs aka look-up tables for camera-matching profiles, dynamic range curve correction and creative looks is supported by a number modern nonlinear editing and colour grading applications including Adobe Photoshop, Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer, Cyberlink PowerDirector, DaVince Resolve and Resolve Studio, Grass Valley Edius, HitFilm, Magix Vegas and a number of third-party colour grading plug-ins.
Several external recorders and monitor/recorders connected via SDI or HDMI are also supported by Leeming LUT Pro including those made by Atomos, BlackMagic Design, Convergent Design and Video Devices.
The news that Leeming LUT Pro will soon be supporting Fujifilm cameras is particularly welcome given that the Fujifilm X-T3 and X-T30 are proving to be excellent and affordable Super 35 video production cameras whether used standalone or connected via HDMI to external monitor/recorders.
Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 18-55mm f/2.8-4 R LM OIS zoom lens.
Fujifilm X-T30 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS zoom lens.
Using Leeming LUT Pro
There appears to be persistent and widespread confusion about how best to expose video with no end of theories flying about and pundits purporting to know which theory is currently the best or the trendiest.
Mr Leeming has throughly researched the technical aspects and limitations of a range of current and recent hybrid camera sensors and has delved deep into each manufacturer’s colour science in this longtime RED camera owner’s quest to derive the best and most photorealistic colour from every camera.
I have watched him test cameras at the Unititled studio and have noted the thoroughness with which he does it, well-qualifying him to issue PDF manuals on how to best set-up each camera, how to best expose and how best to use LUTs in NLEs and colour grading software.
Correct exposure is achieved via exposing-to-the-right aka ETTR, a principle originally promoted by the late Michael Reichmann of The Luminous Landscape aka LuLa for digital stills photography but equally applicable to digital video.
The aim of ETTR is to adjust “the exposure of an image as high as possible at base ISO (without causing unwanted saturation) to collect the maximum amount of light and thus get the optimum performance out of the digital image sensor” according to Wikipedia’s entry on the technique.
I am currently awaiting before and after samples and other supporting images for current Leeming LUT Pro combo packs and when received will be publishing articles on each and how they work, so please come back to Unititled soon!
“… For a lot of us, we download the images to a computer and edit a handful that catch our eye, and then… well, there are more photo shoots to pursue. Maybe we’ll apply some keywords, perhaps mark a few favorites, but too often the photos we worked so hard to create are just dumped onto a hard disk and forgotten. We know we should do better, but who has the time?
Professional photographers, that’s who….”
Getty Images and Associated Press contributing photographer Brian Ach shoots a range of subjects and genres, often under the stress of tight deadlines, poor artificial lighting and the need to get every shot right or if not then the ability to rapidly reduce his selects to a manageable collection for submission, distribution and publication.
That is a far cry from the more leisurely paces and demands of shooting documentary or photojournalism projects over longer time periods, or portraits and photoessays for weekly or monthly magazine feature articles.
I took on a mix of projects during my magazine and newspaper colour supplement days, and came to prefer weekly or monthly magazine projects over daily newspaper assignments for the chance to really get one’s teeth into the subject.
Daily newspaper work had its satisfactions, though, especially in the challenge of producing engaging, informative and sometimes emotive environmental and close-up portraits in no more than fifteen minutes per subject, three to five such assignments per day, in locations throughout the city and suburbs, while carting lights, cameras, stands and tripods about.
That was during the analog era when the time and the stress of processing, proofing and printing after each assignment had to be factored into the equation and before the joys of tethered shooting, editing, processing, tagging, uploading and traveling on to the next job existed as we know them now.
If I were to go back to that world as a freelancer I would have to come up with a whole new workflow all by myself, or learn successful workflows from others, so articles like this come in handy.
So much so that I went straight to the Camera Bits website to download Photo Mechanic to try out, and from a so-far fairly cursory try-out under anything but professional conditions am seriously considering adding it to my software collection.
And I am now crossing my fingers for a similar feature set to appear in the library functionality that is appearing in raw processing and image editing applications that once used to be editing-only.
There is another advantage to having an application dedicated only to selecting, trashing, tagging and organizing – none of the distractions of doing it within a product that also offers deep image-editing features where one can easily be tempted into diving down the rabbit hole of a thousand and one different possible interpretations.
Sometimes, oftentimes, simpler and sharply focused is better.
“Moving to the smaller, lighter, less expensive Panasonic Lumix Micro Four Thirds cameras has made my photography travel life much more enjoyable. Gone are the days of carrying around 12 pound lenses. Getting the most from the smaller systems I’ve started following what I call the Micro Four Thirds Triad. This first video, of my two-part series, explains the cameras and lenses needed to follow the Micro Four Thirds Triad. Watch this video to find out how you can downsize and still get the most possible out of these smaller cameras that save you cash and physical pain. Part two will be released shortly that explains the last part of the triad which is software. Software that solves most problems we have with the smaller cameras so you can produce images that compete beautifully with the larger full frame systems….”
It is timely that wildlife photographer and Panasonic Lumix Ambassador Daniel J. Cox has released his two video about the Micro Four Thirds triad – cameras, lenses and raw image processing – when Panasonic’s Lumix S-Series 35mm sensor format cameras have been announced and are now showing up in touch-and-try events at camera stores around the world.
There is plenty of life left still in the M43 sensor format for photography and video, and many M43 users will doubtless be resisting the temptation to swap over to the larger 35mm sensor format, also misleadingly known as “full frame” and “full format”, and its consequently larger, heavier and costlier cameras and lenses.
I have yet to experience the pleasure of touching and trying Panasonic’s Lumix S1 and S1R cameras and lenses, and am looking forward to several touch-and-try events in Sydney CBD camera stores next week.
Right now I do have some years of experience using Panasonic’s excellent little M43 camera and lenses, as well as Olympus’ M.Zuiko Pro professional-quality lenses, for photography and video, and can attest to the high image quality that can obtained from the M43 sensor format.
When I first tried out M43 cameras and lenses, I was struck at how well-suited they are to documentary photography and photojournalism due to their small size and oftentimes innocuous appearance quite unlike that of the big and heavy DSLR cameras and three-zoom-lens kits of which my former magazine and newspaper colleagues still seem to be fond.
There is nothing wrong with larger cameras, as I amply proved every day during my editorial photography career when I would rely on 4″x5″ sheet film, 120 roll film and 35mm rangefinder cameras far more than I did on the regulation 35mm analog film SLRs of the day.
The Panasonic Lumix S1R with its almost-50 megapixels of resolution, for example, is an intriguing proposition for shooting portraits to be printed extra large for exhibiting in gallery shows.
But meanwhile Daniel J. Cox is sharing some good advice in these videos on how to produce image files large and detailed enough to print up to 24″ x 36″ for exhibition and sale to collectors.
I can attest to the quality and speed of using Mr Cox’s number one raw processing software choice, DxO PhotoLab, as well as the utility value of ON1, Inc.’s ON1 Resize 2018 software which is also available as a component of ON1 Photo Raw.
I note that he lists Phase One’s Capture One Pro as his second choice for raw image processing and image editing, and can attest that it makes a great choice when processing Fujifilm X-Trans image files which are, sadly, not supported by DxO PhotoLab.
I often carry a Panasonic M43 camera alongside a Fujifilm APS-C camera, most often my X-Pro2 along with my Lumix GX8, for their distinctly different ways of seeing and recording the world, and it can be difficult to tell which picture was shot with what camera when processing both in Capture One Pro, especially when applying film simulation styles from any of 1stylespro’s three collections – Portrait Styles, Film Styles or Film Styles Extended.
“This video demystifies use of Rec.2020 HDR footage on a Rec.709 timeline in Final Cut Pro X 10.4.x, especially for Panasonic GH5 & GH5S users who shoot in HLG. I don’t own a SONY camera, but the same workflow shown in my video would apply to Sony Rec.2020 HLG as well. Leeming LUT offers a Sony HLG to Rec.709 LUT….”
Panasonic Lumix DC-GH5 with Panasonic DMW-BGGH5 Battery Grip and Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens.
Panasonic DC-GH5S with DMW-BGGH5 battery grip and Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens.
“Josh Beal is a Hollywood editor who has work on such shows as Counterpart, Bloodline, and House of Cards. As a TV editor, Josh thinks it is time for Hollywood to reconsider Final Cut Pro X as a viable editing platform. In this presentation, Josh explains why Avid Media Composer is the King of the NLE in Hollywood and what needs to happen to convince current Media Composer editors to switch over to Final Cut Pro X….
… “I believe it’s the most forward-looking NLE on the market,” Beal says of FCPX….”
1.6.0 (macOS: 106027, Windows: 18.104.22.168) – Released 2019-02-25
This major update brings a number of exciting new features and improvements as well as fixes for issues that have been reported.
The highlight of this feature is without a doubt the addition of verified copy (sometimes called “offloading”) using industry grade checksum verification based on the established media hash list (MHL) standard. From now on, you never have to leave your favourite workflow tool from camera card to edit/delivery.
Kyno Premium users will welcome the much-requested support for the RED RAW R3D format that you can preview and transcode with Kyno 1.6.
If you’re looking to get in touch with us directly be sure to drop us a line at @lesspainsoft on Twitter or on Facebook at facebook.com/lesspainsoft. If you have questions or need support just pop on over to support.lesspain.software and we’ll point you in the right direction.
What’s New (all editions):
Added “Copy & verify” function (aka verified copy, aka offloading) that copies your camera media or any folder with industry-grade verification using the media hash list (MHL) standard, full or incremental mode supported.
Added workflow for exporting and importing/merging descriptive metadata to aid collaborative workflows that operate on multiple copies of the same material.
Added new “Paste & rename” workflow for people copying and batch-renaming in one step as part of their ingest process.
When browsing through similar clips using the “next” and “previous” button or shortcut audio track and speed settings are retained for similar clips.
Added marker and subclip statistics to “Create report” function
Improved stereo audio track handling when sending files to Premiere Pro
Use full file name as clip name when sending to Premiere (or exporting for Resolve) instead of removing file extension to be consistent with what Premiere does on regular import
Display the XDCAM type in clip metadata for XDCAM footage
Support rewrapping of HEVC files to Mov container
Selected audio track and playback speed are retained when skipping through similar files
Thumbnails are now created with current LUT settings applied
LUTs are now applied when exporting still frames from videos
Added fade in/out support to transcoder
Added preset for XDCAM HD 422 29.97 FPS
Added FPS column to Excel export
Include marker and subclip titles when matching search term in the Browser filter
Added possibility to filter assets based on folder name and date range
Allow tags to be imported and exported
Added a global index as a naming variable to count across multiple rename, export or transcode operations
Added video/audio codec, format, start, end, path as optional metadata columns in Browser
Display overlay icons for tags, metadata, markers in list mode
Support playback of certain old PCM audio tracks from old camcorders
Improved sorting in Navigator tree
Adjusted labels for color properties to be more in line with industry standards
Made subclip time range controls in transcoder window take into account clip timecode
Renamed MJPEG transcoding preset to Photo JPEG because it’s more known under that name
What’s New (Premium edition):
RED RAW R3D support (playback and transcoding)
Multi-Destination verified copy (aka offloading) in one step. Back up your camera media in a simple workflow in two locations
Added ability to automatically transcode files in delivery workflow
Added ability to transfer image files together with video files in delivery workflow
Add a new folder naming option in delivery options
Improve behaviour of delivery folder history
Automatically display folders created by local delivery in Navigator tree
Sort subfolders correctly in delivery folder selector
Improve performance of delivery folder selector for slow connections
New Enterprise Features:
Changed Custom Package Deployment configuration overrides to one XML file that can be loaded from file system or via HTTP
Added functionality for delivery endpoints to be preconfigured via Custom Package Deployment
Added functionality for tags to be preconfigured via custom package deployment
Identified and busted the cause for accidental folder moves in the folder navigator
Improved display of drag and drop items (folders, clips)
Kyno now prevents input of invalid folder names on Windows
Fixed Premiere Pro 2019 not being detected automatically by the “Send to” function
Fixed a minor inaccuracy in duration filter
Fixed a rare crash that happened during drag & drop on certain OSX versions
Fixed a bug where moving a file between volumes resulted in a stale file remaining in the old location
Fixed a bug on Windows that prevented another volume to be registered in the workspace with the same drive letter
Fixed a problem where in rare cases empty clip names where transferred to Premiere or Resolve
Fixed a bug that caused certain HDR ProRes files not to play back
Fixed a rare freeze on Windows when double-clicking subclips
Kyno 1.6 Screenshots
Kyno 1.6: Metadata import dialog
Kyno 1.6: Red Raw support
Kyno 1.6: Offloading destination selection
LumaForge: Media Asset Management and Kyno
Kyno goes from strength to strength as it continue to add essential video and photography production functions that many of us have relied for on a cluster of other dedicated applications made by a range of small software companies.
Add up the licence fees for all of that ever-growing cluster of separate applications and compare it to Kyno’s licence fees in whichever version, Kyno, Kyno Premium or Kyno Enterprise, is relevant to your work.
I am particularly excited about Kyno 1.6’s checksum-verified camera offloading after having tried out a number of dedicated offloading products as well as its metadata workflow improvements as the latter has been something of a sore point for a while.
Kyno 1.6’s ability to add two LUTs – one for camera profiles and one for looks LUTs for example – to still frame image files exported from markers as well as thumbnails is also very welcome.
These and more new and improved features are making Kyno the number one on-location media management system for a range of producers including self-funded independent documentary moviemakers and photographers like me.
I have already put the offloading function in Kyno 1.6 – now updated to version 1.6.1 – to good use in the course of reviewing a camera and lens and look forward to putting more of its new features and improvements to use in the coming days.
I can only imagine what may be coming in Kyno 1.7!
Support for Blackmagic Cinema DNG and Blackmagic Raw come to mind right now for example – I received some sample BMPCC 4K footage from Paul Leeming the other day – and look forward to Kyno adding support for all the latest affordable hybrid and video cameras and camcorders as they appear.
“A couple weeks ago we were approached by a company intending to create a Pilot for a Netflix Series which presented several challenges, the series was going to be shot in 4k DCI 60p in XAVC-I in S-log3 using a pair of PXW-FS7 cameras in several locations around Mexico, the Caribbean and the US, all the media had to be reviewed and qualified by the series director on site, basic editing was going to be done in one city using Adobe Premiere with low res media, and finishing, audio mastering and color grading was going to be done on another city across the country, and as in most productions, budget was extremely limited, so most of the regular tools used on major productions were completely out of reach, so we needed to develop a workflow that would allow…”
“At last year’s FCP X World in London, people were dazzled by watching London-based commercial editor Thomas Grove Carter of Trim Editing cut together an Audi commercial live. The speed with which he conducted the edit was mesmerizing….
… But FCP X, with its magnetic timeline and the powerful tools packed into its browser, is built for lightning-paced cutting—you just have to know how to use it!
As I see it, there are two standout techniques involved in Thomas Grove Carter’s process:
Mastery of three-point editing (and its keyboard shortcuts)
Mastery of FCP X’s browser-based system of organization and labeling…”