With the proliferation of video frame sizes beyond 1920×1080 pixels, memory card readers have become a major bottleneck in the production process. The Lexar Professional Workflow Reader Solution is a high-speed reader system that lets you transfer images from up to four memory cards simultaneously. The solution consists of a four-bay reader hub and independently sold reader modules that can be used both as a module and a stand-alone reader.
How you manage your digital assets in large part determines how much money and time you lose over finding the right image, audio or video clip for a job. That’s the reason why DAM (Digital Asset Management) systems were developed in the first place. However, not all DAM systems are created equal. Generally speaking, there are two kinds of DAM: systems that are designed mainly to find, use and archive assets, and systems that also optimise the production process. CatDV belongs to the second kind.
Divergent Media recently released its EditReady tool, a fast transcoding utility for video production pros. EditReady transcodes media from any QuickTime compatible format to one of the ProRes or DNxHD formats, as well as to H.264. It supports metadata and custom file naming. EditReady looks simple but is pretty powerful — but that’s not why you will want to have a copy.
Final Cut Pro X has a colour grading module, but the interface is non-standard and the capabilities are pretty basic. One FxFactory plug-in that tries to fix this is Hawaiki Color. It’s a plug-in that uses the traditional but familiar interface elements for colour grading: colour wheels and sliders, combined with numeric configuration fields. It extends colour grading inside Final Cut Pro X beyond the basics and is great to work with.
Recently, I wanted to colour-grade some GoPro Protune CamRAW clips and started working in Da Vinci resolve first, then switched to SpeedGrade CS6 and ended up with Red Giant’s Magic Bullet looks. They all looked like overkill, forcing me to go through fat user guides again, because I don’t use these applications often enough to remember their workflow by heart. Then I thought: why don’t I try it with ColorKit again? I rediscovered that plug-in and found it fit my needs perfectly. Better yet, tuning the clips took me about 10 times less effort and time than with any of the other solutions.
Red Giant Universe is a community with access to an ever-expanding library of free and paid tools for filmmakers, editors, VFX artists, and graphic motion designers. Red Giant Universe does not include any Trapcode, Color, Shooter or Keying suite tools. Some tools from the Effects Suite are being ported over to Universe for better speed and results, but the paid upgrade of Universe — Universe Premium Membership — includes only the Universe versions of those tools instead of the entire Effects Suite. Which makes you wonder if Universe is worth upgrading to a paid version at all.
The Ninja Blade is Atomos’ newest available 10-bit HDMI recorder/monitor/player. The difference with its predecessor, the Ninja 2, is unbelievable. Everyone in the business already knows the screen isn’t just bigger but also has a higher resolution, but even if you know all that and have seen the images on the web, it still hits you in the face when you see it in real life. Other than that, the Ninja Blade has waveform monitors and a vectorscope, and a plethora of other features that make it a must-have and an upgrade to consider.