Useful software for videographers and photographers - Part 3

The two previous posts on software has concentrated on PC software since that is what I use most of the time, but a revisit to my Mac Pro reminded me of a couple of good solutions on iOS and also why one bundled app on Windows 7 is so much better than its equivalent on the Mac.

First a piece of software that works on both platforms. It's called Better File Rename and made by PublicSpace.net, is now in version 5 and costs $19.95. It is accessible by right-clicking in a Windows Explorer window which opens a new window offering a huge choice of sorting and renaming options. It is a simple way of renaming a large batch of files and I use it to name the hundreds of images I shoot during a time lapse so that when I open the image sequence in After Effects I see a name for the sequence not just letters and numbers.

Better File Rename

Two bits of advice about using BFR may help you out. First, if you have more than a hundred files, at first just choose one to rename, make the name change and perform rename. Then open all the files and perform the name change without changing parameters again. Because BFR updates the preview to all the files it can take a long time with a large batch. Second, don't try to rename more than 50 files on a network drive, it will fail. Move all the files to a local or USB drive, perform the rename and then move them to the network drive.

One of the ways I found to improve file handling on a Mac was to stop using Finder, which for someone moving around lots of files is clunky and frustrating. I spent a while looking for an alternative and came across Path Finder by Cocoatech. This can completely replace the OS Finder or can work alongside it and is a very powerful piece of software. Simply having two browser panels is a big improvement on Apple's own software, but it offers built in video and stills preview, excellent sorting and a much better control over application launch. I couldn't use my Mac without it and have not found anything quite as good for Windows yet. At $39.95 it is not cheap but you can have a 30 days trial and I think you will shell out after that.

Path Finder by Cocoatech

I upgraded all of my PCs to Windows 7 as soon as it was released and soon discovered the Snipping tool which I have permanently pinned to my taskbar. All it does is grab a still image of a window or a rectangular area of my desktop. I can then save the grab as a file or copy and paste it into any document. It is so easy to use and I am in control of where the files go - much quicker than Skitch. If you haven't used it and you have a Windows 7 PC, just try it. You'll find it in the Accessories folder in your Start Programmes.

Snipping tool

In Part 1 of this software blog series I wrote about Disk Aware and it's ability to find large hidden files using up valuable disk space. CC Cleaner by Piriform discovers all the little files that also use up a large amount of space. The software has been around for many years and I am always astonished by how much rubbish (CC used to be called Crap Cleaner) hangs around my PC. I just ran CC Cleaner on my laptop and this was the result:

CC Cleaner by Piriform

13,127MB of stuff I can happily delete. Notice that the analysis only took 103 seconds to run and I have deselected history and cookies as items I want to delete. At this point I haven't run cleaner so I can look through what it suggests deleting and modify the selection. I can also get it to look at the registry and delete orphan files from there. I wouldn't recommend doing this unless you are confident at fixing problems because the registry is a scary place, but I do use it and so far CC Cleaner has caused no problems.

I hope this series has unearthed a few hidden gems in the software world. Many of the tools are free and all bar one are under $100 dollars. There are some great people making this software and I would like to thank them here for their work. I would also like to ask everyone to use the software properly, not to distribute it and to pay the small amount asked to use it when appropriate. 

Please suggest any software in the comments as I know there must be loads of useful ones I have yet to discover.

  

Useful software for videographers and photographers - Part 2

Earlier this year I was presented with some footage shot in Cote d'Ivoire, Africa on a Canon 5D MKII. The pictures were OK but the sound was distorted when the levels peaked and a look at the waveform showed that everything was square off. After an appeal on Twitter (@pukkascott if you want to follow) one suggestion was to try iZotope's RX2 audio repair software. 

iZotope RX2 tools

This is an immensely powerful suite of tools including Denoise, Declip, Spectral Repair, Declick & Decrackle, Remove Hum and more. After a quick view of an instructional video I applied Declip to the exported WAV file and after a little bit of playing around the distortion was completely removed and the waveform peaks nicely rounded. At $349 for the standard version it is not cheap but could save your bacon. 
A much cheaper version called music and speech cleaner is available for $39 which improves noisy speech but is no good for declipping.
There a lots of sound capturing pieces of software available and after a lot of experimenting I plumped for SoundTap by NCH software. It produces very clean records from anything played on a computer or voice recordings from Skype. 
There a lots of sound capturing pieces of software available and after a lot of experimenting I plumped for SoundTap by NCH software. It produces very clean records from anything played on a computer or voice recordings from Skype. 

SoundTap

Backup is one of the most important day to day operations since tapeless production came along. It took me a while to get round the fact that my G-Tech Raid drives were not backed up despite having two drives in the case but my Netgear network drives were. So now I use Netgear network drives to backup the G-Tech ones using Netgear's own NTI Shadow software. It works OK but it's a resource hogger and I have to disable the software when editing.
Backup is one of the most important day to day operations since tapeless production came along. It took me a while to get round the fact that my G-Tech Raid drives were not backed up despite having two drives in the case but my Netgear network drives were. So now I use Netgear network drives to backup the G-Tech ones using Netgear's own NTI Shadow software. It works OK but it's a resource hogger and I have to disable the software when editing.

Deep Meta thumbnail selection

It's important to set up the right recording location and the file naming convention in options as it would be impossible to find the recordings later if you don't. One feature I really like about the software is that even when you click "start recording" the file only starts to be created when it senses an audio input. Until the end of December it is available for $19.99 so I recommend you to get it this week.

To backup my system drive I use Casper 7.0 by Future Systems which creates a clone of the drive. The software manages to copy every file on the drive so the backup is true replica of the primary drive and when that falls over you really can slot in the backup and everything boots up perfectly. 

It is light on computer resources and it uses SmartClone to only back up changes to the drive, but doesn't take hours checking the drive like other tools I have tried. I doesn't work with network drives or on a Mac unfortunately but should be on everybody's PC.

Getting more specialist I thought I would briefly mention two tools I use to upload and manage stock material. 

I recently discovered Deep Meta by Belgium company Eazign byba which is a great analysis tool for iStockphoto material. I won't go into detail about what the software can do because as it is free there is no reason not to try it, but one feature I discovered is a real bonus. If you control+click to select a number of connected files and then right click to open the dialogue window, click on "create thumbnail links...", save changes and a little while later the associated thumbnails will appear in the iStockphoto listing for each one giving a link to alternative shots for a purchaser. 

 Finally Send to Smugmug by Omar Shahine is a very useful piece of freeware for uploading photo and video files to your Smugmug account. Once account details have been entered it will list your albums (or you can create a new one) that you can upload to. Choose a folder containing the files and select which files you want to send and click upload. Very quick and easy.

Useful software for videographers and photographers - Part 1

Over the years I have purchased or downloaded for free many small pieces of software to achieve specific results or solutions. Some are used a couple of times and then deleted, others, like Christmas dogs, stay with me forever. I thought I would run through some of them here as they may prove useful to you one day.

MPEG Streamclip by Squared 5 is one of the best known video converters and despite owning powerful conversion software by Avid, Apple and Adobe, this is the one I use the most. Firstly it produces files that are universally playable and recommended by stock sites. Secondly it can convert sections of a DVD to a QT file that can be imported to Avid. Thirdly it is quick to use and the presets are logical. Finally it is very small programme that has little impact on computer resources.

MPEG Streamclip options

Most editors know that attaching Apple formatted drives to a Windows PC just doesn't work unless you install Mediafour's Mac Drive which allows you to be totally agnostic about the drive format. But another of the company's software, Disk Aware has been the find of the year for me. Disk Aware analyses every folder and file on a drive and presents it as a list arranged in size order and also as a colour-coded wheel which shows you the relative size of the files and folders. Simply click on a segment and analyse the next layer down.

DiskAware - The Wheel

The programme only costs $10 per computer but it can analyse any drive: internal, external, flash and even network drives. It enables easy clearing up of drives and lets you work out why all your storage has disappeared. 

One tool I used for a while, dropped and have returned to is IrfanView, the strangely named freeware viewer for PCs. One of the more recent improvements is IrfanView Thumbnails which you get when you install the complete set of plugins and I place as a shortcut on the desktop. It opens up an explorer window with a light grey background to distinguish it from Windows Explorer. Open up a folder containing mixed media and almost immediately it is populated with thumbnails which can be set to many sizes, not just Window's three. 

IrfanView Thumbnails of text, video and .psd

Thumbnails are shown for videos (with filmstrip icon), stills (even Photoshop) and text. PDFs are not shown however. One of the most useful tools is the ability to save those thumbnails as separate images for putting into a spreadsheet for example. Hovering over a thumbnail reveals information about the file itself such as dimensions, although for video only the dimensions of the thumbnail itself are shown. Like most features of IrfanView they are a work in progress, but the ability to see thumbnails from both videos and Photoshop files make it worth having.

In Part 2 I look at a a couple of sound tools, a backup programme and a couple of tools for uploading and managing material at iStock and Smugmug.

The evangelists and agnostics of 4K video

One of the best things about editing TV programmes is that you get to see them in the best quality possible straight out of the edit suite. With a broadcaster approved monitor and a fast computer the pictures often look great - the only thing that would make them better is watching them from a comfy sofa - perks of an executive producer, not a humble editor.

At home I have Sky HD which is pretty good and Freeview which isn't. I also have a powerful computer which plays out my 4K timelapses in Cineform QuickTime and suddenly everything before looks inadequate. I don't have a 4K monitor but the detail on a decent HD TV is amazing - you can almost smell the congestion zone in some of my London shots.

But not everybody thinks 4K is a necessary step for the future. Philip Bloom has this to say:

"8K is the future. Not 4k. Now don’t get me wrong – 4k is smashing, but the difference between 2K (essentially full HD) and 4k is not the leaps and bounds that we had from SD to HD. Not to my old eyes, and by the time we all have 8K, won’t see a bloody thing but THIS is the progress leap that will make the difference."

But for Jim Jannard the founder of Red the release of new 4K Sony cameras is confirmation that 4K will be as big as HD:

"Sony has come to the party. God love them. The F65 is a true 4K camera (although not 8K as it is advertised). The F5 and F55 are 4K cameras soon to be released. There are 4K display panels being released. 4K projectors. The world is finally coming to its senses. We predicted this 6 years ago. Now it is here" 

Now Philip Bloom and Jim Jannard have rarely sung from the same hymn sheet but I expected cordiality over this one. I have seen material projected in 4K from the Canon 1D C and the Canon C500 and it looks pretty fantastic but then it had the best post production money can buy so it should. 

It is over 6 years since Sky launched HD transmission in the UK so I feel we are due an upgrade and 8K is just too far removed from practicality, but material is being filmed, edited and shown in 4K right now. It is the near future and I feel every TV production company should start to look to that future.

To 4K and beyond... to Ultra HD

This week the Consumer Electronics Association (the CEA) made an announcement that the next jump in TV resolution will not be called 4K (as it has be called for the last four years) but Ultra HD or UHDTV (according to the ITU). Now before I get swallowed up by TLA's or even FLA's (five letter acronyms) I tried to work out what format I will be working with for the next eight years before 8K is expected to arrive.

With the help of my rusty calculator I did a few divisions and multiplications and worked out that the minimum resolution of 3840x2160 is indeed 16:9 but is a bit smaller than the 4096x2304 that is "real 4K". However it is both double the 1920x1080 we know and love and the format specified by the Society of Motion Picture and Television Engineers (SMPTE for FLA lovers) in 2007.

But the CEA press release reads as follows:

Minimum performance attributes include display resolution of at least eight million active pixels, with at least 3,840 horizontally and at least 2,160 vertically. Displays will have an aspect ratio with width to height of at least 16 X 9. To use the Ultra HD label, display products will require at least one digital input capable of carrying and presenting native 4K format video from this input at full 3,840 X 2,160 resolution without relying solely on up-converting.

So that's a minimum resolution. Sony have declared that they will retain the 4K description and call their products 4K UHD, which presumably means their TVs will be 4096 pixels wide and 2304 pixels high. So what will broadcasters choose? My money is on 3480x2160 which reduces an image by nearly 2 million pixels a frame, quite a saving. Sony will just have to upscale, which is never a pretty job.

All of this makes producing stock material for the future no easier than it is now with 1080p, 1080i and 720p all being used in the real world. Currently Red camera operators can chose to shoot both Ultra HD formats so they may have to make a decision at the time of shooting. Even the (not so) humble GoPro3 can now shoot 4K either in 3480x2160 or the cinemascope (17:9) 4096x2160.  

Choices, choices, choices. 

But 4K or thereabout videos are BIG and you don't want to upload more versions than is necessary, so I will stick with 4096 x 2304 for now because shrinking will always look better than stretching. Won't it?

Please note: 4K footage is not currently available to download from the London Photography And Video web-site, but can be supplied on request if available.

The boring but extremely important part of video making

You've just finished the most brilliant bit of work you have ever produced. Shot on Red, edited in 4K, graded, dubbed and in the preview theatre it looks and sounds amazing. Now what?

Well the video needs to be distributed to lots of different recipients with just as many requirements. Is it going to be shown in the cinema in 4K? Played by broadcasters in 1080p, 1080i, 720p, standard definition? Will it be put on a BluRay disk or a DVD? And if it is going to be watched on a computer, how good is the screen resolution and does the computer have the ability to play it back? 

There have always been multiple options when it comes to saving a piece of video or TV, even in the old days of  U-matic you could choose Hi-band or Low-band. But now if I am asked for a QuickTime file I ask at least 5 questions which are inevitably followed by blank stares and shoulder shrugs. 

Every four years or so there is a new format in town, the last biggy being HD with a top size of 1920 pixels by 1080. The next big step is 4K with either 4096 x 2304 pixels or 4096 x 2160 pixels. We can make this now and there are a lot of formats we can save it to such as old favourites like Apple ProRes and MPEG4 as well as a few new ones like GoPro's Cineform. Shortly HEVC or High Efficiency Video Encoding will be officially released by the MPEG and VCEG joint group. This new codec will have the same quality as MPEG4 but half the size (or the same size and twice the quality). 

Bored yet? Of course you are, but what is the point of producing a superb video when the only place it looks right is in the edit suite? A final thought; archive to the least compressed (preferably uncompressed) format you can so you can always produce new compressed copies from this master. 

What will we be watching in 10 years?

I was sorting out a load of surplus electronic gear that has not been switched on for over 3 years and among it are three perfectly working TVs that I can no longer use, because the TV signal transmitted in the UK is now digital only and these only have analogue tuners. 

About 90% of the material I edit is now originated in high definition and as every UK broadcaster demands that all new programmes are supplied in 1080i I find it hard to watch anything that is not transmitted in HD any more.

I have now started to produce 4K (4096x2304 pixel) video from time lapses shot on a Canon 5D MKII (which are available through the London Photo and Video time lapse gallery). I have nothing to watch them back on yet but 4K TVs are becoming available and PC monitors have been close to this resolution for a while; I expect Apple retina displays will soon reach this level. With the 4K shooting Red Epic and Scarlet cameras becoming widely available more 4K material will be originated and the demand will increase.

The format is likely to remain 16:9 so my LCD and LED 1920p TVs will still be able to show downsized 4K material so hopefully they won't be redundant to quickly. But I doubt they will last as long as one of the TVs I need to get rid of - a Sony Trinitron bought in Hong Kong over 25 years ago and still giving a great picture. 

Maybe I will just keep hold of this one a little longer.