“Hewlogram”: A Completely Believable Plot Line for a 1980s Sci-Fi Buddy Cop TV Show Known for fun and clever short films that manage to entertain while showing off Red Giant visual effects and motion graphics tools, Red Giant’s newest film is no different from classics like “Old/New” and “Plot Device.” Written and directed by Aharon Rabinowitz, in his directorial debut, “Hewlogram” was born out of both Aharon’s love for holograms and David Hewlett’s love of visual effects tutorials. Hewlett, who is part of the all-star cast of Guillermo Del Toro’s forthcoming film, “The Shape of Water,” discovered Red Giant software through a bit of internet sleuthing.

“Hewlogram” also includes an appearance by Chuck Wagner, who played the title character in Automan, the 80s sci-fi TV series that inspired Aharon’s obsession with holograms.

Hewlogram,” which was created to showcase tools from Red Giant Universe, tells the story of a current day animator who accidentally brings to life a 1980s holographic TV superhero. The idea behind the film was to create a film that felt truly authentic to the Saturday night sci-fi action dramas of the 80s Aharon watched as a kid.

Using Universe stylization effects, such as VHS and Retrograde, as well as Magic Bullet Colorista IV, Aharon created a process for emulating an authentic 80s look. He relied heavily on the robust Universe toolset. In all, the Red Giant Films team used Magic Bullet Suite in Adobe® Premiere® Pro CC for color correction, PluralEyes for AV sync, Red Giant Keying Suite in Adobe® After Effects® CC for keying and compositing – crucial to create David’s holographic suit – and Trapcode Suite for the visual effects.

Red Giant Universe 2.2 Delivers Fast, Easy Transitions that Look Awesome

Along with “Hewlogram,” Red Giant has released a bevy of new transitions in Universe 2.2, making it possible for filmmakers, editors and motion graphics artists to apply unique looks to their own works of art. The update includes 11 new transitions – including classic 80s aberrations and transitions like RGB channel blurs and clock wipe – bringing Universe to a total of 76 tools. Universe 2.2 also features updates to two existing effects, VHS and Retrograde, which were both used heavily in “Hewlogram,” and support for Avid Media Composer.

As Seen on TV

Red Giant Universe has been used on “Saturday Night Live,” “Portlandia,” “Documentary Now,” “Kung Fury,” and much more.

How to Purchase Universe 2.2

Universe is available as an annual subscription ($99/year) or as a monthly subscription ($20/month). New Red Giant Universe customers can purchase a subscription or download a free trial at http://redgiant.com/universe.

To learn more about Red Giant products, please visit http://www.redgiant.com/products/.

Available in the Red Giant Volume Program

Red Giant Universe is available in Red Giant’s Volume Program, the flexible and affordable solution for customers who need 5 or more floating licenses. Learn more atredgiant.com/volume/.

The Red Pledge

Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at www.redgiant.com/redpledge/.

The post David Hewlett Joins the Red Giant Universe in New Short Film appeared first on Tej Babra.

The latest update features tools with GPU-accelerated plugins.  These include Retrograde a transition that creates an authentic film strip transition using real scans from 16mm and 8mm film, to a Channel Surf transition that creates the effect of changing channels on an old CRT TV.

“The Red Giant Universe tools make it easy to quickly turn stories into something that is visually amazing,” says Red Giant CEO Chad Bechert. “We’ve heard non-stop from editors that they need faster and more interesting transitions, and we wanted to deliver to them in a big way. Drawing inspiration from Universe’s most popular tools, like VHS, Retrograde and Carousel, we’ve delivered several companion and unique transitions. We can’t wait to see what our customers do with these new tools.”

All 76 Red Giant Universe effects and transitions now run in eight host applications, including: Adobe® Premiere® Pro CC, After Effects® CC, Apple Final Cut Pro® X, Blackmagic DaVinci Resolve and more. 

Brand-new transition effects in Red Giant Universe 2.2 include:

• VHS Transition: A transition that mimics the effect that occurs when a VCR has been used to record over pre-existing footage.
• Retrograde Transition: A transition that that uses real scans of 16mm and 8mm film to create an authentic film strip transition.
• Carousel Transition: A transition that mimics advancing to the next slide in an old slide projector.
• Flicker Cut: A transition that rapidly cuts between two clips or a solid color, and which can invert the clips or add fades.
• Camera Shake Transition: A transition that mimics camera shake while it transitions between clips.
• Channel Surf: A transition that mimics the distortion you’d get by changing the channel on a cathode ray tube TV.
• Channel Blur: A transition that blurs each of the RGB channels separately for a unique chromatic effect.
• Linear Wipe: A classic linear wipe with the addition of wipe mirroring, as well as an inner/outer stroke with glow on the wipe border.
• Shape Wipe: A transition that uses an ellipse, rectangle or star shape to move between 2 pieces of footage. Includes control over points, size, stroke and fill.
• Color Mosaic: A Transition that overlays a variety of colors in a mosaic pattern as it transitions between 2 clips.
• Clock Wipe: A classic radial wipe transition with feathering and the option for a dual clock wipe.

Updates to existing effects in Universe 2.2 include:

• VHS: This update includes new VHS noise samples, VHS style text, timecode and function icons (like play, fast-forward, rewind), updated presets, and updated defaults for better results upon application.
• Retrograde: This update includes a small but valuable addition that allows Retrograde to use the original aspect ratio of your footage for the effect.

Red Giant Universe tools run in Adobe® Premiere® Pro CC, Adobe® After Effects® CC, Apple Final Cut Pro X, Apple Motion, Blackmagic DaVinci Resolve, HitFilm, Magix Vegas Pro and now Avid Media Composer – making it available to virtually every creative on the planet.

As Seen on TV

Red Giant Universe has been used on “Saturday Night Live,” “Portlandia,” “Documentary Now,” “Kung Fury,” and much more.

Update to Red Giant Universe 2.2

Existing Universe customers can download the new tools directly by launching Red Giant Link.

How to Purchase

Universe is available as an annual subscription ($99/year) or as a monthly subscription ($20/month). New Red Giant Universe customers can purchase a subscription or download a free trial at http://redgiant.com/universe.

Available in the Red Giant Volume Program

Red Giant Universe is available in Red Giant’s Volume Program, the flexible and affordable solution for customers who need 5 or more floating licenses. Learn more at redgiant.com/volume/.

The Red Pledge

Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at www.redgiant.com/redpledge/.

The post Red Giant Universe 2.2 appeared first on Tej Babra.

Logo Motion

Red Giant has added another great tool to Universe 2.0 known as Logo Motion.  This plugin allows you to instantly create dynamic animations for text and logos, on and off screen. Logo Motion essentially lets you create intro animations, idle animations, and outro animations.

Logo Motion is similar to other Red Giant plugins. It comes fully loaded with 20 presets to help get you started, or to quickly design your animated logo. I really love how Red Giant provides these presets. This can save a lot of time when working on tight deadline. It also allows me to create an animation that my producer can view almost instantly.

Once you have applied Logo Motion to your timeline. The first thing you will notice, its ability to adapt. What I mean by this… If you need to adjust the length / duration of the clip, there is no need to readapt the animation. Simply drag the length of your clip longer or shorter, and Logo Motion will automatically adapt the outro animation to the new ending.  This is a feature I simple love.

Logo Motion is incredibly customizable, and allows you to either build from scratch, or adapt a preset to your current project.  These can include everything from duration, scale, rotation, and blur. Logo Motion also excels in creating lower thirds for projects, all while working within timeline in Premier Pro or After Effects.

Final Thoughts

Red Giant has updated Universe 2.0 to excel in post production workflows. They have provided 4 new effects, new transitions, as well as updates to 29 tools across the board.  Many of these updates and new tools support the preset browser, which is simply outstanding to work with. There is so much within Red Giant Universe 2.0 its nearly impossible to review ever aspect.  It’s just an ever expanded universe of tools and features that you simply can’t get enough of.  If you have not had the chance to try Red Giant Universe 2.0, I urge to to download the trial. I’m sure you will simple love all the features and tools they have offer.  As of me, I simple love having Universe 2.0 in my arsenal for editing.

Download trial here

The post Red Giant Universe 2.0 Review Part 2 appeared first on Tej Babra.

Red Giant Universe 2.0 comes with a plethora of new updates. There are over 60 GPU accelerated plugins that have been updated to work within Adobe Premiere Pro, Adobe After Effects, Apple Final Cut X, Apple Motion , and DaVinci Resolve.  Universe 2.0 also includes 4 new tools along with 29 updated effects and transitions.

HUD Components 

HUD Components is new addition to universe. This tool allows you to add animated Heads Up Display graphics into your motion graphics. HUD Components also allows you to add interface animations, and visual effects into your shots.  Jumping to After Effects, you can find HUD Components within the effects and presets pane. HUD Components also comes with 27 presets that include ready to go animations and elements.  This is great for both novice and seasoned graphic designers.

Red Giant provides you with even more flexibility to customize each element, from size, cloning,  rotation, glow, and much more. All of this is easily accessible from the drop down menus. This kind of flexibility within HUD Components really allows you to create almost anything you can imagine.

Each Element also comes with access to 55 preset elements from arrows to arcs, and various shapes. This allows you to customize, create, and seamless loop animations quickly without having to build these elements.

HUD Components is very flexible, and can be composited with other effects to create all kinds of visual effects. Layering the composition with a few HUD Components allowed me to create a visual animated effect, that could be used for an Heads Up Display. I was amazed at how quickly I was able to put this effect together with out the need for any tutorials or advanced training.Red Giant really excels at having a simple and intuitive user Interface.

Line Tool

Red Giant Universe introduces a new tool known as Line.  The new Line tool is designed to make it easier for you to generate lines between two points. Lines can have their color, styles,  and animated flight paths, all adapted to your project. When you first drop line on to your composition / timeline, it will provide you with a yellow curved line.

Just like HUD Components, Red Giant has provided you with various presets that include line styles and line colors. This allows you to quickly create your effect without having to build from scratch. I found this to be a real bonus for meeting time constraining projects

The Line tool gives you the option to create 4 different kinds of lines. A straight or curved line between two points, as well as a 3 point or 4 point bezier curve. The line can then be manipulated to have more or less curvature.

Using the Line tool is incredibly easy. In just a few clicks, you can animate a line, or an arrow onto your footage. This allows you to create and customize each line to your project.  The Line tool can also be stylized to create different looking lines for more dramatic effect, or a more traditional effect, depending on your project.

HUD Components and Line are just 2 new tools within Red Giant Universe 2.0. There is so much power within this universe, and I have hardly scratched the surface. However, I  plan on flying a little deeper into this universe, so come back next week of part 2 of my review of Red Giant Universe 2.0

The post Red Giant Universe 2.0 Review Part 1 appeared first on Tej Babra.

Out the box I was immediately surprised at how good it looks from front to back. The bag feels like its made from quality materials. It’s fairly lightweight, fashionable and the adjustable padded harness feels great to the touch, and on your shoulder when fully loaded. I especially liked to the embossed 24/7 logo on the back making it feel all the more special.

The 24/7 easily carries my Canon 5D MkIII with my 24-70mm attached. It also has a secondary side for carrying my wide angle 17-40mm. This all fits nicely into the main compartment, while being fully adjustable for various sizes  of cameras and lenses.

On the inside of the flap, there is a compartment for carrying your spare CF Cards. This little pouch makes it easy to store and remove a single CF card, or multiple SD cards.

The only downside I discovered, it was initially hard to get my CF card out the pouch the first few times. However after some use, it did break in nicely. The pouch also had a plastic holder so it could be removed, and placed elsewhere. This could make it easier for accessing and swapping memory cards.  It also had the 24/7 logo which was a nice added touch.

The top of the bag has even more storage, and slots for you to add more CF cards, batteries or a flash. The top compartment also comes with a handy removable zipped bag, that could carry almost anything from loose change, filters, memory cards, or if your like me… another lens.

The 24/7 Sling bag also has a large rear pocket perfect for carrying your favourite tablet. This pocket is padded and easily fits my iPad with it’s carry case on. This is a great feature, I could see many people using this to quickly edit their photos in the field using Adobe Lightroom mobile, or your own choice personal of application.

Once fully loaded the bag feels good on the shoulder. There is plenty of padding on the harness, and the added torso adaptation strap helps keep support for heavier gear.  The harness is adjustable. If you have a smaller, or larger frame than my own, rest assured it will fit safely on your back.

Over the past month the the 24/7 Sling bag has seen his fare share of locations, and has held up very well. I am very surprised how much more I seem to like this bag over my old LowPro. I couldn’t be more impressed at this bag’s capability given the cost. It feels like a much more expensive bag than listed. Just when I thought this bag could get any better, it had one more trick up it’s sleeve.

During a sudden spring shower, I had to pack up quickly. I was concerned the bag would get soaked in the rain and damage my gear. But to my surprise, the 24/7 Sling bag had a rain cover built into the bottom that can be pulled out and cover the bag in a flash. This cover helped to keep all my gear nice and dry. This feature alone made my LowPro seem so outdated.

The 24/7 Sling Bag has performed far better than I expected. The Sling Bag is definitely far better than my current LowPro bag. (now officially retired). If you looking for a sling bag that cost effective, and yet packed full of features. The 24/7 Sling Bag will protect and perform very well.

The post The 24/7 Sling Bag Review appeared first on Tej Babra.

Red Giant Shooter Suite 13 features an all new PluralEyes 4.0 application. PluralEyes 4.0  comes packed  with an all new user interface, and easier to use controls, which makes speeding up your workflow a breeze.

Key New Features

• •Entirely New User Interface
• •More Automated than ever before
• •Premiere Pro Panel
• •Smart Start
• •Automatic Drift Correction
• •Vertical Waveform Scaling
• •Track Comparisons
• •Keyboard Shortcuts
• •Color Coding
• •Integration with Offload

Once you are ready to begin synchronizing all of you clips. Simply drag and drop your selections into the application. PluralEyes will then synchronize your footage, and amazingly it will detect what type of camera the footage came from. Footage from the same device are organized on to the same track.

Once you hit the synchronize button PluralEyes will begin to sync. PluralEyes will also color code the clips. Clips marked in red let you know where PluralEyes failed to sync, or require your attention. It is a helpful feature when trying to sync audio from a full length feature film. Now don’t wonder off too far after hitting the synchronize button, as PluralEyes will actually synchronize all your clips in just a few moments. It’s incredibly fast too.

PluralEyes 4.0 now also features drift detection. This feature can detect drift and automatically  remedy the issue. PluralEyes also provides you the ability to toggle between the corrected sync, and the original audio, without the drift correction applied. This gives you more control over your audio as some times you may not want your clips corrected.

Previewing with PluralEyes just got a lot easier with the integrated ability to adjust the waveform scaling. This provides you with the ability to better see your audio waveforms. The waveform scaling only effects the previewing, it does not adjust the volume for export, or apply the adjustment to your footage.

New to PluralEyes is the tool for track comparisons. When previewing your sync, you can click the drop down menu and select either your audio recorder, or in camera audio. This is a great way to ensure all audio is correctly synced and there are no issues.

PluralEyes 4.0 also now features an all new Premier Pro Panel.  Users that wish to sync footage within Adobe Premier Pro can now do so. Simply find the PluralEyes option from the windows drop down menu, under extensions, and let PluralEyes sync for you. PluralEyes will also color code your footage here as well. However a big a bonus is that PluralEyes will not shift your edit around in your timeline. It will however, create another duplicate sequence marked “sync” at the end of sequence name for you to review.

Red Giant Shooter Suite 13 also features other tools such as Offload, Instant 4k , and Frames. For a more in-depth look a those features feel free to go back as see my previous review on Red Giant Shooter Suite 12.5.

Final Thoughts

Red Giant Shooter Suite has grown with the addition of welcomed upgrade of PluralEyes.  The new user interface as well much faster streamlined workflow make PluralEyes 4.0 an essential update. PluralEyes 4.0 is much better than it ever was before, any legacy user should consider upgrading. The Red Giant Shooter Suite continues to be all one application suite that packs a powerful punch.

The post Red Giant Shooter Suite 13 Review appeared first on Tej Babra.

Trapcode EchoSpace

Red Giant’s Trapcode EchoSpace is designed to work within After Effects, to create a falling domino effect, or a follow the leader style motion graphic. These can be cloned and all animated in a  multi-layered 3D Space.

Animating and cloning is done in just a few steps. Echospace provides you with options to repeat, and manipulate the locations based on offset, and scale. The cloning will even work images. If you need to create an animated cloned sequence, all of the animation can be manipulated to run on X and Y axis, or even in a circular pattern. This provides you with unbelievable control and flexibility.

Trapcode Starglow

Trapcode Starglow allows you to create various types glows and stylized effects for motion graphics and text.  Starglow can create multi-colored or monochromatic glows. Trapcode Starglow also features 49 presets. Each of these presets are customizable.

Trapcode Starglow is easily dragged and dropped on to your existing composition. Once there you can manipulate and customize it, to get your desired look. Working with text to create glowing effects is incredibly easy. It was pleasantly surprising at how quickly I was able to create, and use existing preset.

Trapcode Soundkeys

Trapcode Soudkeys is a whole different beast. Trapcode Soundkeys provides you with a tool that helps you create an audio driven motion graphic.

Trapcode Soundkeys using advanced keyframes from analyzing your audio, and then can link them to your layer animation. These properties then can be scaled and rotated according to the beat of your music track.  Combine them with Trapcode Particular and you can create some stunning effects.

New to Trapcode Soundkeys, is the ability to show or hide various elements. This also makes it easier to isolate and integrate them to your composition.

Trapcode Horizon

Trapcode Horizon is an incredible tool for creating 360 degree maps, or infinite backgrounds within After Effects. Trapped Horizon also is fully functional with After Effects camera, making it a very powerful tool.

Trapcode Horizon also supports color gradients, and the user interface is incredibly easy to understand. Creating a flying smoke trail within a city scape can be done using Trapcode Horizon. Applying the After Effects camera to chase your smoke trail within the 3D space, allows  you to create some incredible motion graphic / footage.

Final Thoughts

We have come to end of this 3 part review on Red Giant’s Trapcode Suite. Over the past few weeks I have had the privilege of working, and testing this incredible package. Sitting back looking at the entire package, I have come away simply amazed. Trapcode Suite is packed with so many powerful tools. Picture editors like myself who normally do not specialize in motion graphics are able to create some stunning visual effects. Visual Effects artists, who have honed their skills would be able to create something far more advanced. This is where Red Giant continues to excel. They can create a suite of tools that can be utilized by just about anyone, from the novice to the advance user. Trapcode Suite is simply one of the best visual effects packages I have ever used. Fantastic job Red Giant! I look forward to seeing what else you have in store for us in the future.

The post Red Giant Trapcode Suite Review Part 3 appeared first on Tej Babra.

TrapCode MIR 2.0

Trapcode MIR 2.0 works within After Effects, to give you the tools to create 3D surface, terrains, and wire effects.  Trapcode MIR can also tap into Adobe After Effect’s 3D Camera and lights to seamlessly integrate with motion graphics and effects.

Trapcode MIR  has slew of new features. Performance has been optimized and enhanced for 3 times the rendering speed and much improved VRAM management. This will be huge benefit for users who are upgrading, and new users.

The user interface is always where Red Giant shines. Trapped Mir provides you with customizable controls over Geometry, Fractal , Shader, Material , Texture, Reaper, and Visibility. All of these have drop down menus, that allow you change just about any feature. This frees up your mind to create your desired visual effect. In just a few moments, I was able to begin creating a a red alien background. I was amazed at how intuitive Trapcode MIR really felt.

Trapcode MIR has the ability to seamless loop fractal based backgrounds. This makes animating loops for vfx much easier than before. Fractals have been upgraded to feature Z-Range, which allows you to control the displacement minimum and maximums. This is useful for creating craters on the moon, or mountain ranges on an alien planet.   Fractals can also be set to either Regular, Multi, SmoothRidge, Multi SmoothRidge for varying displacements of the mesh. The results greatly change the way your graphics look.

Trapcode MIR 2.0 has so much potential, it almost need an entire tutorial and review series. However, any seasoned Graphic / VFX artist will be off and running in no time. I was amazed at how simple it was to begin working without a heavy VFX background.

Trapcode Shine

Trapcode Shine has been now updated to feature 3D light rays and the rays are 3D camera aware, meaning you can create stunning light rayed titles. There are 35 fully customizable presets within Trapcode Shine 2.0.

The user interface within After effects provides you with controls to control the the light rays source point, length and color.  Trapcode Shine makes adding light almost any scene, incredibly easy. I was able to quickly add sunlight to a other wise gloomy cloudy day in matter of moments.

Trapcode LUX

Trapcode  Lux  allows you to create 3D volumetric spot lights sources for within a scene. The effect is fully AE 3D camera-aware, and is customizable with control over intensity, falloff, and reach.

Trapcode Lux really works well when you need to create spot lights, or create light source points for text graphics of titles. Working with both Trapcode Shine and Trapcode Lux, allows you to create light vfx for just about any scene. Music video editors world really benefit from this, or filmmakers that need more spotlights for night club scene.

Trapcode 3D Stroke

Trapcode 3D Stroke provides tools for a motion graphic artist that works heavily in animated logos, and effects. Lines can be created to glow and taper through a 3D workspace.

Creating a logo within After Effects using Trapcode 3D Stroke proved to be very easy. There are several presets to choose from that are all customizable.  Trapcode 3D stroke takes advantage of the camera to create lines drawn on to your footage to create the logo you require.   The lines can also be changes by thickness, feather, taper and can even have some motion blur for better results.

Trapcode 3D Stroke allows you to create line paths from simple to the more complex and animate 3D shapes.  Trapcode 3D Stroke also supports Adobe Premier Pro.

Coming Soon Part 3 of  my review of  Trapcode Suite 13

The post Red Giant Trapcode Suite Review Part 2 appeared first on Tej Babra.

Trapcode Particular

Trapcode Particular allows you to create organic 3D particle effects, and more complicated graphic elements. Using Trapcode Particular within Adobe After Effects, provides you with the tools to create elements such as fizz for a bottle, or more complicated elements such as fire and smoke.

Red Giant has added an all new Effects Builder that allows you to create new effects, load presets and customize them to your project. Using the Effect Builder is incredibly user friendly. The user interface supports drag and drop, plus the presets load into your preview window install providing you with a sample.  The Effects builder was able to customize and load presets instantaneously into the preview window, making it extremely powerful tool.  This feature alone makes it virtually essential for graphic users that work in After Effects.

Trapcode Particular takes it a step further by providing you with not only a few presets to work from, but over 130 new Effect Builder presets.  Customize virtually almost any feature, using the effect builder. Just a few examples of customizable features include particles, aspect ratio, color, shade, motion direction, the possibilities are endless. After taking Trapcode Particular for a test drive,  you will be amazed at its ability to customize particle effects, and other complicated effects such as fire, water and smoke.  This is one of the most comprehensive effects / graphic tools around.

Trapcode Form

Trapcode Form is tool for creating particle effects and particle grids within Adobe After Effects. Trapcode Form provides you with immortal particle grids and 3D shapes that can live on, and change over time. The tool provides you with ability to create audio generate effects to dissolve text into sand.

Trapcode Form also allows you to load 3D models or animated 3D sequences in the OBJ format. However, I am mainly an picture editor and not a graphic designer,  I did not have any 3D models to fully test this feature out. I was able to use some a test model provided to me from graphics department, and I was impressed with the results.

Red Giant has also provided you with the ability to customize and change a slew of variables once inside Adobe After Effects. These variables can be manipulated including size, particles, shading and adding layer maps.

Creating audio generated effects can be easily done. Each generated layer can follow a specific layer of audio that you can select from the drop down menu. This makes it perfect for editors working with music and music video. Editors that require a quick and easy way to create an audio generated effect will be pleased.

Trapcode Tao

New to the Trapcode Suite comes Trapcode Tao.  This new tool allows to generate various shapes and ribbons, create masks, paths and motion all while working with After Effect’s  3D camera and lights.

Trapcode Tao runs on OpenGL which is benefit for rendering, and providing faster feedback. This feature comes in incredibly handy when creating repeating complex geometric designs. OpenGl also helps with creating looping animations for motion graphics.

Red Giant takes Trapcode Tao a little further by giving you the ability to work with lighting, materials and textures.  Using these tools you are able to create motion graphics with texture that are photoreal.

Red Giant excels at providing you with a user interface within After Effects that easy to understand and work with. Trapped Tao also has many variables that are customizable from textures, displacements, offsets, and includes their own lights known as TAO Lights. In just a few moments, I was able to begin creating my own project.

Part 2 of my Review of Trapcode Suite 13

The post Red Giant Trapcode Suite 13 Review Part 1 appeared first on Tej Babra.

Uploading Files

Uploading files to Kollaborate is easily accomplished.  Once you sign up for your account, a Quick Start Tutorial will point you in the right direction. After you select you files you can easily begin uploading them to Kollaborate.

Depending on the time you have and the size of the files this method will take some serious time. Even on my fastest connection that I had accessible. It took a nearly an hour to upload a few files. Now this is not because Kollaborate’s servers are slow or that my connection is slow. It’s actually being hampered by the speed of my web browser. Uploading files using a web browser is always slower than an FTP connection.

The folks at Digital Rebellion have already thought of this, and provided you with a free tool to speed up your upload connection.  The free tool known as Kollaborate Transfer not only sped up my upload time to a just a few minutes, it also has a hidden gem. Collaborate Transfer will convert your file type to a more friendly web-optimized version, perfect for screening on almost any device.  Just remember to check off the box marked “ convert to web-optimized version”. Kollaborate Transfer also has the ability to alert other users and email links to clients along with passwords for access.  It does all this for free. I can’t stress enough how important this tool is when using you Kollaboarte account. You can download it free here.

Once you have you files uploaded, you can easily begin managing and organize your files for clients or producer approval.  Kollaborate allows you to create folders and subfolders along with different projects. This will help keep you organized, and allow you to keep track of where each of your files go. I like to use this to keep track of various clients.

Notifications and Support

Kollaborate also has notifications that work very well. If by chance you upload a file that has not been optimized for the web,  Kollaborate will automatically flag it and give you a notification just above the player.  Equally impressive, was the support from Digital Rebellion. Short time after I had uploaded the bad file, I received an email from Jon Chappell notifying me about the issue, and how they could correct it from their end, or how I could prevent it from happening again. This is great to see such a dedication to service and support.

Auto notifications allows people in your team or clients to stay up to date with the latest videos or comments. This keeps everyone in loop, and furthers the a collaboration experience.

Interface

The User interface in Kollaborate is very easy to use. Once your video is ready for playback, you can easily add markers, comments and even annotate videos on specific timecode positions. This can also all be done while having synced viewing sessions.

NLE Integration

Using the free Kollaborate Plugin Pack  ( Download Here ) allows you to export directly to Kollaborate. It also gives you the ability to email the link to a client for notes.

Once your notes have been made by the client or producer, you can re-import their notes as markers back into your NLE easily. Be sure to use the Marker Import Plugin to make your workflow easier and quicker. Just be sure to download the correct version, either PC or Mac.

Cineplay

Cineplay may be a separate application that can be used with Kollaborate, but it can also be very essential. Cineplay  is a media player for Mac and iOS that supports timecode. Cineplay allows you to comment, make notes and annotations on any given specific timecode placement. You can also add markers for easier identification. Title Safe areas are also supported.

Cineplay is also supported on iOS both on the iPad and iPhone. Cineplay was very fast and playback worked extremely well on my iPhone 6. However I did discover there is no way currently to add markers on the iPhone. But Markers are fully supported on the iPad. Let’s face it, the viewing experience on the iPad is much better anyways. The iPhone was just a nice added benefit.

Final Thoughts

Kollaborate is a full featured cloud workflow platform, with the added benefits of free plug-ins and apps such as Kollaborate Transfer and Cineplay. Kollaborate works very well and integrates into your current NLE creating faster and more intuitive workflows.  It speeds up the reviewal process and makes it easier for clients on iOS devices to view your work just about anywhere. Top this off with the incredible technical support from Digital Rebellion, and you have cloud workflow that not only streamlines your workflow, but also understands the needs of postproduction professionals.

Update: I was contacted by Jon Chappell at Digital Rebellion and they had some insight on the disparity of uploading speed.  Here is what he had to say 

Kollaborate Transfer is about 10-20% faster than uploading through the site but the primary difference is when the encoding happens. When you upload a file through the site it uploads as-is and then converts on the server but when you use Kollaborate Transfer it converts first and then uploads. So probably the reason for the disparity in upload times was that the encoded file was a lot smaller than the original file.

The post Digital Rebellion’s Kollaborate and Cineplay Review appeared first on Tej Babra.