“For many photographers and videographers, editing and post-production are a vital part of the process. For this reason, it’s crucial to have an accurate and effective display to work on in order to produce the best results….”
BenQ SW320 31.5″ 16:9 4K Color Accurate IPS Monitor
BenQ PV3200PT 32″ 16:9 4K Video Editing IPS Monitor
It has been a long time since I last came across a BenQ monitor in a store in either of the Australian cities in which I have lived, and I have never bought nor used one, so I cannot comment on their qualities for photography and video editing, nor their longevity, but I am willing to consider them and found this article a useful start to my research.
We often rely on two monitors here at the ‘Untitled’ home office, but some of them are ageing or failing, with yet another dying just the other day.
As a result we have sworn off Dell products for life and have been looking at other brands for our video and photo editing workstations as well as for more mundane tasks not demanding high-end monitors.
The two BenQ monitors covered in Fstoppers’ article look interesting but their lack of Thunderbolt connectivity means they are of limited interest for use with our Apple computers.
Will we upgrade our Windows PC to something more contemporary, and will either of these monitors play a part in that?
Or will we stick with Apple machines given the wide range of macOS software already in use here?
Apple’s computer operating system gained support for external graphics processing units aka eGPUs with macOS 10.13.4 and the race was on for third-party suppliers to release compatible units with few actually making an appearance in the local market.
Meanwhile Apple was collaborating with Australian moviemaking production hardware powerhouse and video industry disruptor Blackmagic Design on the Blackmagic eGPU, and it was released to retail in Apple stores worldwide this week.
Blackmagic Design Blackmagic eGPU, front.
Blackmagic Design Blackmagic eGPU, rear.
I have yet to set eyes upon an actual Blackmagic eGPU in the flesh, as it were, as our closest Apple store does not carry them or have one on display but I am reliably informed one can be seen at our second closest Apple store and I plan on dropping in sometime this week to see and try.
An eGPU developed in close collaboration with the maker of the computers for which it has been designed to best support with the latest connectivity standards is hard to argue against.
Blackmagic Design’s Blackmagic eGPU
Blackmagic Design Blackmagic eGPU with MacBook Pro.
Dimensions of the Blackmagic Design Blackmagic eGPU.
I/O connectivity of the Blackmagic Design Blackmagic eGPU.
Blackmagic Design Blackmagic eGPU for video production.
Blackmagic Design’s DaVinci Resolve Studio and Blackmagic Design Blackmagic eGPU for colour grading, with MacBook Pro, Blackmagic Design DaVinci Resolve Mini Panel, LG UltraFine 5K monitor and URSA cinema camera.
Blackmagic Design Blackmagic eGPU for gamers.
Internal graphics processing units have been taking the load off central processing units for some years now, especially for graphics-intensive video production work and this latest development in external GPUs is an exciting one.
The Blackmagic eGPU makes a powerful companion to Apple’s latest iteration of its 15-inch MacBook Pro, ramping up its processing speed in the direction of the iMac Pro.
The Blackmagic eGPU is supported by macOS 10.13.6 High Sierra onwards.
“Apple has now released a new update for its flagship music recording software, Logic Pro X. While we are getting a very long list of minor tweaks and enhancements here, version 10.4 is bringing some major new features to the table along with some serious gear in the way vintage EQ emulation, new orchestral instruments, a pair of multi-effect plug-ins and hundreds of new sounds.…”
Apple’s affordable though high-end sound and visuals post-production software suites, Final Cut Pro X and Logic Pro X, have been given some impressive updates recently with the former gaining pro-quality colour grading features while the latter has received plenty of music-oriented improvements and content.
Now the stage is set for Apple to introduce some really big, long-needed improvements in its audio-editing and sound design capacity to equal or surpass the credible threat rendered by Blackmagic Design’s DaVinci Resolve 14 and its built-in Fairlight Audio page tools obtained as the result of the purchase of the legendary Fairlight audio and video hardware and software company.
Apple’s two separate post-production suites need to be made to work together in a far closer, far more intuitive way than they do at the moment to the degree that it would be unthinkable to use one without the other.
Let us hope that Apple has some pleasant surprises up its sleeves this year, but not too late in the year as Blackmagic Design is already roaring ahead with full audio integration in the free and paid-for versions of DaVinci Resolve 14.
digitalfilms, a blog by Oliver Peters – Apple Final Cut Pro X 10.4 – “The hope for an enhanced, roles-based audio mixer has once again gone unanswered. On the other hand, the built-in audio plug-ins have been updated to those used by Logic Pro X and there’s a clean path to send your audio to Logic if you want to mix there.”
digitalfilms, a blog by Oliver Peters – Blackmagic Design DaVinci Resolve 14 – “But is that enough to sway loyal Final Cut Pro X, Premiere Pro, or Media Composer editors to switch?… I wouldn’t be surprised to hear news of a TV show or small feature film being edited with Resolve in the coming year.”
“Neat Video plug-ins have been updated to version 4.6. Among the changes are generic noise profiles, second revision of the Premiere plug-in, support for new versions of video editing applications and GPU models, as well as other improvements:
Added a set of generic noise profiles.A new set of generic noise profiles is intended to help preparing a noise profile in a situation when video contains no frames and areas suitable for analysis by Auto Profile…
Added new Second Revision plug-in for Premiere.New Second Revision plug-in for Premiere uses the newer API of Premiere to overcome bugs of old API of Premiere that caused the following problems:
problems with cut/trimmed clips (incorrect input frames supplied by Premiere)
problems with adjustment layers (incorrect input frames supplied by Premiere)
The newer API (and therefore new plug-in) has some limitations of its own: it is necessary to manually prepare sample frames (by clicking a new button) before opening the plug-in window.
Second Revision plug-in is installed separately from the regular plug-in and will not automatically replace it in existing projects.
Second Revision plug-in for Premiere may supersede the regular plug-in in the future.
Added support for new versions of OFX host applications:
“You may have heard of DaVinci Resolve as a color grading tool—it has a strong pedigree in color, and about a decade ago, you only would have seen it inside high-end post-production houses and finishing facilities, replacing the color timing workflows for film with cutting-edge digital intermediate workflows.
However, it’s also great for syncing audio, preparing dailies, conforming, and in the past few years, has even started to offer tools for editing and sound mixing. The sound mixing tools are brand new, so the industry hasn’t adopted them widely yet, and the editing tools aren’t yet as robust as what you’d see from Apple, Adobe, or Avid, but they’ll suffice in a pinch. This whole collection of tools, together, makes Resolve one of, if not the most powerful tool in post-production. It’s the glue that holds the entire post-production workflow together….”
“Fusion 9 is a massive new release with features specifically designed for the latest virtual reality, visual effects, motion graphics, and 3D workflows! The entirely new VR toolset makes Fusion indispensable for virtual reality projects, while new camera and planar tracking features make it possible to precisely track and composite objects while maintaining perspective and camera motion. Fusion 9 also includes delta keyer, with advanced image science that makes it the world’s most advanced keyer. In addition, you also get Studio Player which includes new multi user collaboration tools for tracking and managing shots, along with version history, annotation notes and more!…”
“I hasten to inform you that I was very lucky! I ended up in the team of beta testers Color Finale 1.7 and it’s really amazing product.
I’m not a colorist at all, quite the contrary! But even I managed to make a quick and acceptable color correction in Color Finale 1.7
– HSL Curves
– Rewritten Color Wheels with better response
– New LUT Gallery
– Export LUTs
– CDL Import/Export
– Undo is rewritten
– Lots of bugs fixed ( some added)
If you are interested – you can write to firstname.lastname@example.org, and offer to become a beta tester. Hurry to try, release soon!
And yes — upgrade from previous version is for FREE!”
“Lately I’ve been taking a hard look at the Academy Color Encoding System aka ACES and trying to wrap my head around it. There are a handful of decent white papers on the topic but they tend to be overly technical. Through pulling tidbits from multiple sources, one can come to a decent understanding of the how’s and why’s of ACES but I was hoping to find some kind of an overview; something that presented the “need to knows” in a logical and concise way and wouldn’t require a big time commitment to understand. I did not find such a resource so I’m writing it myself.”