Apple Launches Open-Source Language-Based Image Editor

Apple has released MGIE, an open-source AI model that edits images using natural language instructions. MGIE, short for MLLM-Guided Image Editing, can also modify and optimize images. Developed in conjunction with University of California Santa Barbara, MGIE is Apple’s first AI model. The multimodal MGIE, which understands text and image input, also crops, resizes, flips, and adds filters based on text instructions using what Apple says is an easier instruction set than other AI editing programs, and is simpler and faster than learning a traditional program, like Apple’s own Final Cut Pro. Continue reading Apple Launches Open-Source Language-Based Image Editor

Apple Developing User-Friendly AR Creation App for Headset

Apple is preparing for the release of its upcoming mixed reality headset by engineering software that, while aimed largely at developers, would also allow users to create their own augmented reality apps in the same way as Final Cut Pro, which is used to edit video by both professionals and laymen. Apple’s highly anticipated headgear is expected to come to market this year, and a general use AR development tool would be a major coup for the company, given that AR apps are complicated to create and new technologies typically rely on fresh content to drive sales. Continue reading Apple Developing User-Friendly AR Creation App for Headset

Film and TV Professionals Request an Improved Final Cut Pro

An international group of more than 100 television and movie production professionals has petitioned Apple CEO Tim Cook with an open letter requesting improvements to make the company’s Final Cut Pro video editing software more commercially viable. Although generally capable of professional execution and apparently fun to use — qualities that have made it popular among individual creators, amateur and pro alike — Final Cut lacks collaborative features and general awareness among industry decision-makers, signatories say. Posted Tuesday on the eve of the NAB Show using GoPetition, Apple has not yet responded to the communique. Continue reading Film and TV Professionals Request an Improved Final Cut Pro

Apple Turbo-Charges MacBook Pro with M1 Pro, Max Chips

Apple unveiled the long-awaited upgrade to its MacBook Pro, which comes in 14- and 16-inch display configurations with mini-LED screens (what the company calls Liquid Retina XDR). The new laptops are powered by Apple’s homegrown M1 Pro and M1 Max chips, which the company calls “the first pro chips designed for the Mac.” Improvements such as stronger battery life, ports galore and eradication of the dreaded Touch Bar have been largely well-received by Mac bloggers. Apple says the 32 GPU cores on the M1 Max provide power that rivals the Nvidia RTX 3080 high-end gaming class laptop chip. The 14-inch model starts at $1,999 and the 16-inch at $2,499. Continue reading Apple Turbo-Charges MacBook Pro with M1 Pro, Max Chips

Adobe Is Buying Collaborative Video Software Firm

Adobe is purchasing cloud-based video collaboration platform for $1.275 billion in a deal expected to close in Q4 2021, which ends in late November. co-founder and chief executive Emery Wells and co-founder John Traver will join Adobe, with Wells leading the team and reporting to Adobe chief product officer Scott Belsky, who is also executive vice president of Adobe Creative Cloud. Adobe will integrate the company’s review-and-approval functionality with Premiere Pro, After Effects, Photoshop, Illustrator and “other Adobe Creative Cloud applications.” Continue reading Adobe Is Buying Collaborative Video Software Firm

Apple Confirms Transition From Intel Chips to Its Own Design

At its Worldwide Developers Conference (WWDC) this week, Apple revealed that after years of development, it’s ready to replace Intel’s chips with its own custom-made ARM processors. Apple will be able to customize its circuitry for AI, 3D image rendering and other specific uses, with a focus on powerful, energy-efficient processors. The company expects its migration to silicon to take about two years, with its first ARM-based Macs shipping later this year. It will continue to ship Intel-based Macs in the short term and says it plans years of support for Macs with Intel processors. Continue reading Apple Confirms Transition From Intel Chips to Its Own Design

YouTube Debuts New Features, Plans More Original Content

At VidCon, YouTube introduced new feature upgrades, among them a redesign to mobile and desktop that allows the screen size to adjust to the video format playing, and a sharing feature, currently being tested in Canada that will soon debut in the U.S. and South America. YouTube is also pursuing virtual reality via a new format being created in partnership with Lenovo and LG. And the company reports that its Red Originals are proving successful (although it didn’t provide subscriber stats) and expanding to new markets. Continue reading YouTube Debuts New Features, Plans More Original Content

Canon Announces New Cameras in EOS Digital Cinema Line

At Cine Gear Expo on the Paramount Pictures lot, Canon unveiled the much-anticipated Canon EOS C200 and Canon EOS C200B Digital Cinema Cameras, the latest in its EOS digital cinema line. Key new features are two 4K video formats, Canon’s  Cinema RAW Light and MP4, targeting HDR productions. The cameras also have a dual DIGIC DV6 image processing system, which was developed for these cameras as well as Canon’s Dual Pixel CMOS AF system. Both cameras are slated to deliver in August 2017. Continue reading Canon Announces New Cameras in EOS Digital Cinema Line

NAB 2016: Sphericam and Liquid Cinema Look to Advance VR

Two companies at last week’s NAB Show, Sphericam and Liquid Cinema, are making interesting contributions to the advancement of VR Cinema. Sphericam is preparing to launch a 6-sensor, 4-microphone spherical camera the size of a baseball into the prosumer market. The camera can internally stitch at 30 fps and, with an attached PC, output 60 fps live video. Liquid Cinema has developed a comprehensive yet simple-to-use software package for editing VR footage, adding effects, and, most interestingly, re-establishing the director’s intent for where viewers should look at cut-points within the video. Continue reading NAB 2016: Sphericam and Liquid Cinema Look to Advance VR

CES: Livestream Debuts the Movi, its First Consumer Camera

Livestream announced a new product at CES called the Movi that helps budget-conscious videographers create the illusion that they have been shooting with multiple cameras instead of a single pocket-sized device. The product is designed for those shooting footage that can quickly appear dull when there is only a single viewpoint, such as a concert, school play, press conference or sporting event. Livestream will launch Movi as its own brand. Although it will integrate with the current livestreaming services, users can also simply record their video and share at a later time. Continue reading CES: Livestream Debuts the Movi, its First Consumer Camera

Will Apple Win Back Pro Editors with Final Cut Pro X 10.0.1 Update?

  • In response to negative reviews and public outcry regarding FCP X, Apple made Final Cut 7 available again for editors frustrated by the upgrade’s reported limitations. ETCentric posted a story last week explaining that the company was reintroducing the previous version via Apple telesales for a limited and unspecified time.
  • Now Apple has released a new update (Final Cut Pro X 10.0.1) that contains a number of promised features.
  • Additions to the new update include: XML import and export of project and event information, intelligent stem export from project timelines using Roles, timecode start customization, GPU acceleration for export, a camera import SDK designed to ensure Pro X-compatible hardware and a fullscreen mode in OS X Lion.
  • “Townhill admits, however, that several promised features have yet to be implemented, above all multicam editing and broadcast video monitoring,” reports MacNN in response to statements made by Richard Townhill, Apple’s director of pro video product marketing. “He elaborates that Apple is ‘fully committed’ to adding the options in a 2012 update.”
  • Apple is also trying to win back alienated customers with a 30-day free trial and a PDF booklet that introduces Pro X to Pro 7 editors.

Apple Responds to Pros by Making Final Cut 7 Available (For Now)

  • In response to the public outcry from video enthusiasts and professional editors regarding the reported feature limitations of FCP X, Apple announced it has reintroduced Final Cut 7.
  • However, it will only be available through Apple telesales and at the original $1,000 price (the newer version costs $300, plus $50 each to add Compressor and Motion). According to the New York Times, the deal is for a limited and unspecified time.
  • The article suggests one drawback: “…it is impossible to import work from Final Cut 7 to Final Cut X. That means partially finished Final Cut 7 projects must be completed in 7. That also means many pro editors will have to keep both products on their computers for some time to come.”
  • The move is reportedly meant to appease producers who are in the process of assembling a film. “For the rest of us, especially the video dabblers, it makes more sense to get used to Final Cut Pro X, which more than serves most amateur needs,” suggests the article.

Professional Editor Offers a Different Slant on the Future of FCP X

  • “CSI: Miami” editor and creator of 2-pop FCP informational site, Lawrence Jordan A.C.E., provides an alternative analysis of Apple’s much maligned Final Cut Pro X release.
  • In his recent Editors Guild Magazine article, Jordan discusses the history of FCP emerging as an affordable alternative to Avid, the unveiling of FCP X at the SuperMeet in Las Vegas, the subsequent negative backlash and comparisons to iMovie, Apple’s response to the debacle, and a refreshingly optimistic view of FCP’s future.
  • “Marketing debacles aside, once you dig in and start to really understand the breadth and depth of the things it can do, it’s hard to argue that Final Cut Pro X is not groundbreaking,” he writes. “It’s a slick, sophisticated and innovative rethinking of the editing paradigm that, considering Apple’s weight and power in the marketplace, will very likely be embraced by an entire new generation of media creators — people who will be crafting stories into the future, for platforms and devices that don’t even exist yet.”
  • Jordan concludes on a promising note: “Although I can’t recommend it to my fellow editors for editing features or television in its current incarnation (after all, it is only version 1.0), I look forward to what Final Cut Pro X will have to offer as it matures and as Apple begins to deliver on promises of a professional-level product that meets the needs and expectations of both its new and experienced users. I guess we will just all have to wait and see.”

Adobe Announces Acquisition of IRIDAS Film and Video Technology

  • Adobe announced at IBC in Amsterdam that it has acquired certain assets of IRIDAS, “a leader in high-performance tools for digital color grading and enhancement of professional film and video content, including stereoscopic technology.”
  • The deal is part of Adobe’s efforts to invest in its own video software solutions, Premiere Pro and After Effects, at a time when videography is democratizing (especially with the arrival of video SLRs) and some consumers are frustrated by changes to Final Cut Pro.
  • “The IRIDAS Speedgrade software offers the ability to refine video in a number of ways, notably what’s called color grading, which can shift a video’s color tones to give a particular look,” reports CNET.
  • According to Adobe’s press release: “With the addition of IRIDAS technology, Adobe Creative Suite Production Premium and Adobe Creative Suite Master Collection, the world’s leading video tools for professionals, are expected to gain a comprehensive set of tools so video editors can manipulate color and light for any type of content, including professional film and television. The addition of premier color grading tools exemplifies Adobe’s commitment and leadership in the digital film and video space.”
  • Adobe also explained that the deal will help the company move forward in regards to the growing trend in 3D video.

Review: Apple Final Cut Pro X by Oliver Peters

  • Oliver Peters, writing for digital filmmaker resource site, provides a detailed analysis of Apple’s recently released Final Cut Pro X editing platform. He describes the new version as “a tool intended to be easier to use by people who aren’t necessarily full-time editors — meaning event videographers, video journalists, producer/directors who occasionally edit and corporate presentation professionals.”
  • Peters adds, “The sweet spot today for Final Cut Pro X is a production that is file-based and can be started and finished entirely within FCP X without the need for interchange with other applications.”
  • The review is divided into the following areas: Speed, User Interface, Events Database, Projects and Storylines, Effects and Color, and How To Get In and Out of FCP X.
  • For those interested in a thorough evaluation with helpful suggestions for utilities and workarounds, Peters’ review is ideal.
  • The bottom line: “If you can deal with the current ‘version 1.0’ limitations and are dying to see whether Apple’s re-imagining of nonlinear editing is a better way for you to tell the story, then Final Cut Pro X might be right for you. But if you are a professional user with established, advanced workflows, it will likely be a frustrating experience in that scenario. FCP X is ready for prime time now, although Prime Time might not be ready for it!”