NAB 2016 CC reveal “sneak peeks”

Premiere Pro :-

Premiere Pro – Proxy Editing :-

Premiere Pro : Lumetri Enhancements :-

After Effects :-

After Effects : Faster workflows with C4D :-

Audition :-

Audition : Export with Media Encoder :-

Character Animator :-

Adobe Media Encoder :-

Walter Murch: Making the Right Editing Choices & Switching to Adobe Premiere Pro CC

Proxy Editing RED 6K in Premiere Pro CC

This lesson covers the proxy editing workflow in Premiere Pro for RED 6K files.

Please test this workflow thoroughly before using it on a live production.

How to update multiple titles in Premiere Pro using Indesign

Here’s a lesson from Paul Murphy on using InDesign for creating /updating multiple titles in Premiere Pro :-

How to make your voice sound better (Secrets Revealed)

New Features Speedgrade CC (2014.1)

New Features – Premiere Pro CC (v 8.1)

Creative Cloud Ask a Pro Webinar Series Recordings

Hi Peeps,

For those of you who missed the Ask a Pro webinar series we had conducted over the past few weeks, here are the links to the webinar recording :-


Design :





Adobe Creative Cloud June 2014 Updates



CC 2014















Please follow the links below to the product pages for info on the new updates to each product in the June 2014 release :


Prelude CC 2014

Premiere Pro CC 2014

Adobe Media Encoder CC 2014

Story Plus

After Effects CC 2014

Audition CC 2014

SpeedGrade CC 2014


You can grab a CC wallpaper from here :-

Mapping Multichannel audio to 2 speakers for monitoring

Mapping Multichannel audio to 2 speakers for monitoring

Since many editors working with Multi- channel audio in Premiere Pro CC usually monitor audio with 2 speakers and hence by default only 1 & 2 can monitored.
In a recent update, Premiere Pro CC has an option (highlighted in red in the screenshot above) to Map all channels to your speakers.

Smart Rendering in Premiere Pro CC

Smart Rendering is turned on by default in Premiere Pro CC.

It can be found in the Export Settings dialog box (screen grab below)



Heres an excerpt from the Premiere Pro help on “Smart Rendering”  :-

When exporting, smart rendering can be used for certain formats to create better quality output by avoiding recompression when possible.In previous versions of Premiere Pro, smart rendering has been available for DV and DVCPro formats.In Premiere Pro, smart rendering capability has been added for Long GOP MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or XDCAM EX file. Smart rendering can accelerate MXF render times for long GOP MPEG2 essences, while avoiding recompression.

For DV or DVCPro formats, smart rendering automatically engages.

For XDCAM formats, check the checkbox for smart rendering in the XDCAM exporter plug-in. If you have these types of clips in your timeline in a sequence with matching settings, are exporting out to MXF OP1a with a matching preset, and the checkbox is checked in the XDCAM exporter plug-in, it engages. Premiere Pro sees effects applied and falls back to regular rendering if needed.

To disengage smart rendering, deselect the checkbox in the XDCAM exporter plug-in.
Using these formats, smart rendering creates an accelerated workflow, and less generational loss. Render times are anywhere from 4 to 12 times faster than realtime. The lower the bit rate, the faster it renders (less data per frame to copy, so it can do more at the same transfer speed).

Smart Rendering Formats updated in Premiere Pro CC

In Premiere Pro CC, the following formats are accelerated:

  • AVC-Intra in MXF (Format > MXF OP1a)
    • AVC-Intra Class50
    • AVC-Intra Class100
  • DNxHD in MXF (Format > DNxHD MXF OP1a)
  • DNxHD (QuickTime)
  • ProRes (QuickTime)
    • ProRes Proxy
    • ProRes LT
    • ProRes 422
    • ProRes 422 (HQ)
    • ProRes4444
  • Animation (QuickTime)

Inside the edit – “The Editor”

A homage to every editor out there in those dark rooms creating art with moving images.
Direction, Design, Animation – Dave Penn
Sound Design – James Locke-Hart
Script – Paddy Bird

Apple’s New Mac Pro and Premiere Pro CC & GPU Debayer

New Mac Pro & Premiere Pro CC Review

YUVSoft’s Stereo Processing Suite Lite for After Effects (Win)

Stereo Processing Suite Lite is a set of Adobe After Effects plug-ins that enable you to quickly and efficiently perform standard stereo postproduction tasks:

  • Correction of geometry and color mismatches between stereo views
  • Adjustment of insufficient or excessive parallax
  • Estimation of disparity maps

Stereo Processing Suite Advantages

  • Fully automatic processing eliminates tedious manual work–just add a plug-in to your composition
  • Handles most essential stereo postproduction tasks
  • Prices for individual tools start at $149; the full tool set is just $699
  • Try before you buy; trial versions are available for download from YUVsoft’s website

Usage examples:

Color correction:



Disparity map estimation and parallax increase:

Differences between Lite and Pro versions

In the lite version:

  • Input resolution is limited to 1080p for one view;
  • Two advanced plug-ins are disabled:
    • Stereo-to-Multiview–automatic stereo-to-multiview conversion for glasses-free displays;
    • Depth Upscale–high-quality resolution increase for disparity maps.
  • Only available for use in Adobe After Effects;
  • Some fine-tuning parameters are disabled.
The software consists of the following tools:
• Color Corrector–Automatically corrects color mismatches between your stereo-3D (S3D) views
• Geometry Corrector–Automatically corrects vertical parallax and tilt of your S3D footage
• Depth from Stereo Lite–Automatically estimates disparity maps for captured S3D sequences
• Parallax Corrector Lite–Automatically increases or decreases parallax of captured S3D footage
The tools are available as standalone products or as a complete set.
Key advantages:
• Fully automatic processing that eliminates tedious manual work–just add a plug-in to your composition
• Handles most essential stereo postproduction tasks
• Prices for individual tools start at $149
• Try before you buy–download a trial version from YUVsoft’s website.

Stereo Processing Suite Lite requires Adobe After Effects CS5/5.5/6 or Creative Cloud, and a Microsoft Windows environment.

For more information :-

Ask a Pro – Video Webinar Series


  I am conducting a bunch of webinars for this month and the next (yes, its free!). Here are the details for the same :-


Adobe Prelude for Ingest, Logging and Rough Cuts
Tuesday, 22nd Oct, 2013 | 11:00 am to 12 Noon

Join this session to explore how you can streamline your production process and work faster using more connected tools and an interface designed specifically for video ingest and logging workflows. Register Now>

Adobe Premiere Pro CC & Audition CC
Tuesday, 29th Oct, 2013 | 11:00 am to 12 Noon

Professional video editing and sound editing is faster and more efficient than ever thanks to dozens of brand-new features in Adobe Premiere Pro CC and Audition CC. A session not to be missed. 
Register Now>



Adobe After Effects CC Overview
Tuesday, 12th Nov, 2013 | 11:00 am to 12 Noon

Discover After Effects, the industry-standard tool for video compositing, motion graphics, and cinematic visual effects. 
Register Now>

What’s new in SpeedGrade CC
Tuesday, 19th Nov, 2013 | 11:00 am to 12 Noon

Join this session to see how you can deliver balanced color and distinctive, vibrant looks for any type of video production. Grade faster with more connected tools, over a dozen powerful new features. Register Now>

Nvidia Grid Press Conference

NvidiaIt was awesome being on stage yesterday at a press conference with Nvidia’s Global CEO Jen-Hsun Huang and demoing Photoshop CC on the Nvidia Grid!

Quick Tip : How to blur faces in Premiere Pro CC

In this QuickTip ill be showing how to blur faces in Premiere Pro CC

Quick TIp : Speed Ramps or Time Remapping in Premiere Pro CC

Quick tutorial on how to create ramps or change the speed of the clip in Premiere Pro CC

Quick Tip : Working with Titles in Premiere Pro CC

Quick Tip on the new keyboard shortcut (Atl + Drag) for creating copies of titles on the timeline.

October update for Adobe CC apps

Creative Cloud

It’s exciting times here at Adobe. We just recently announced new features for all our video products!
In a matter of just 4 months the team has worked on new features, new codec support and enhanced some of the existing functions in the apps.

Premiere Pro CC

One feature I’ve been looking forward to is the integration between Premiere Pro and SpeedGrade!
With this release, SpeedGrade has fully implemented the Mercury Playback Engine from Premiere Pro, and a brand new workflow between the two applications is being introduced, namely Direct Link. With Direct Link, editors can save a project in Premiere Pro and then open the sequence they were working on directly in SpeedGrade, with no need to deal with interchange formats or any kind of conversion. SpeedGrade then opens the sequence in a familiar timeline that more closely matches how you work in Premiere Pro. You can access all the clip edit points, transitions, and layers, using the same track layout as Premiere Pro.

New native file format support for Cinema DNG, Sony RAW, Phantom Cine, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200 is included, and Cinema DNG can be debayered on a supported GPU for even better performance. For the highest resolution, RED Dragon 6K is also natively supported, with full RED color science built in.

Support for Proxy workflows

The new Monitor Overlays feature allows for critical information to be superimposed in both Source and Program Monitors. Designed to be flexible and customizable, editors can select which metadata is displayed and where, so important information such as clip timecode, edit point indicators and marker comments can be seen at a glance and in context.

Multicam workflows have been further enhanced, with easy control over the ordering of angles, and the ability to switch angles on and off, making working with large numbers of camera angles simple. Working with multicam source sequences is also improved, with Premiere Pro now displaying a composite view during the edit, so the multicam view matches the final output, and displays any applied scaling or effects.

Please find more info on Premiere Pro CC here :-

AfterEffects CC

After Effects CC also gets an update this month. I love the new mask tracker and the speed enhancements to the 3D tracker.

Here are a few examples of this in the October 2013 update to After Effects CC, version 12.1:

  • 3D Camera Tracker and Warp Stabilizer VFX analysis of footage is a WHOLE LOT FASTER.  It’s now fully multi-threaded, and we’ve seen results going from a 60% speed increase to in some cases 8 times faster analysis depending on machine and footage.
  • snapping and property links: significant advancements to composition layout and layer control for complex projects
  • HiDPI content viewers for Retina display on Mac
  • new mask tracker for simple tracking of masks
  • Detail-preserving Upscale effect: This continues on the theme we started with adding Bicubic sampling in After Effects CC (12.0). We hear loud an clear from you that scaling (especially with 4K and ultraHD coming) is very important.
  • The Cineware effect now allows connection to Sketch & Toon as well as the Cinema 4D Physical renderer for customers of Cinema 4D Broadcast or Studio
  • media management enhancements with auto-opening of folders in the Project panel, as well as an early preview of the Media Browser panel, based on the Media Browser in Premiere Pro
  • new cards added to GPU list for CUDA acceleration of the ray-traced 3D renderer, as well as a preference to enable the use of untested, unsupported GPUs for this feature

Please find more details information here :-

SpeedGrade CC

Expanded Format Support
Another advantage of Direct Link, is that you can now bring any format supported by Adobe Premiere Pro CCinto SpeedGrade CC. Adobe Premiere Pro leads the industry with native support for virtually all of the major video, image, or audio formats, including new formats like Cinema DNG, Red Epic Dragon (6K), Sony RAW (F65, F55, F5 FS700), Phantom Cine, improved MJPG performance from Canon 1DC,  Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200.

Multiple Masks

Another thing that our users have been asking for is the ability to create multiple masks within a single look file. Once again: your wish is granted. With the October 2013 release of SpeedGrade CC, users can now add as many masks as they need with the layer stack of their grade and even link them, making it much faster to create, save and copy complex looks. The last point (copying those looks) will be a real time saver for many users, who previously had to copy a group of looks every time they wanted to have more than one mask.

We are also delighted to announce that we have licensed a special SpeedLooks package for the next release of SpeedGrade CC. The package includes a set of 14 camera patches so that you can adjust color spaces quickly when working with different cameras on the same project. The camera patches create a “level playing field” so that any grading or looks you apply on top of them will deliver the virtually the same result – even if they are being used on shots from different cameras. Just one more tool in your color kit to make sure your shots match and look great. SpeedLooks will also include four special creative looks that add instant vibrancy to you image.

Please find more information on the same here :-

Adobe Media Encoder

  • GPU Enabled Rendering –The Mercury Playback Engine inside of Adobe Media Encoder CC is now GPU enabled.  This allows you to speed up many of your everyday operations by taking full advantage of your hardware.  Tasks such as scaling, pixel format conversions and de-interlacing will all be faster to name a few.
  • Automated Image Processing – With the addition of GPU acceleration, Adobe Media Encoder CC helps you create customized output of media including watermarks and TimeCode overlays as well as image processing, such as Lumetri Look or LUTs.  You can pick from presets that ship with Adobe Media Encoder or pick from ones you have created yourself.
  • Sync Settings – Never again waste time customizing your software every time you use a different machine.  The Sync Settings features give you the ability to upload settings files from your local computer to Creative Cloud and then download your settings from Creative Cloud to any other computer from within Adobe Media Encoder CC.
  • Format Updates – A number of importers and exporters have been re-written to deliver fast output on new and popular formats such as AVCI and XAVC.
  • Native Adobe Premiere Pro CC projects – Adobe Media Encoder CC natively imports Adobe Premiere Pro CC projects to help speed up renders and give you some options.  For example, you can choose to render a whole stack of sequences from a Premiere Pro CC project file.

Please find more information here :-

Prelude CC

  • Prelude Live Logger – This is an iPad app that is in development and allows you to log live events and on set productions as they are happening with Prelude Live Logger.  Once logged on the iPad, you would be able to send the timecode synched markers in an XMP wrapper to Prelude CC desktop via the Creative Cloud. Import and combine single or multiple XMP files with your video assets using the Prelude CC Unassociated Metadata workflow.  See it in action.
  • Export clips, subclips and rough cuts — Send clips, sub-clips, and rough cuts directly from the Prelude CC project panel to Adobe Media Encoder CC for quick and efficient export of your logged assets.
  • Export Marker List – Export printable lists of markers for quick review and reporting on logged assets in your Prelude CC project.  Export in either CSV, easy for excel, or in HTML, an easy to read format with thumbnails.  Easily allow Producers to provide editors with a simple, easy-to-read shot list and comment marker sheet.
  • Expanded XMP Support – Capture and use the richest media possible, faster.  With added support of new formats such as GoPro, continue to ingest and log your preferred footage in its native file format, enabling greater control over the creative process.
  • Still Image Support – Import Still images into Prelude CC projects to organize, use in rough cuts, and for streamlined ingest into Adobe Premiere Pro CC.

Please find more information here :-

Src :



Clicked this while loitering in Kochi during the day of the show!



Clicked this in Trivandrum during the last Roadshow!

Setting Frame Rate for Image Sequence Import in Premiere Pro and After Effects

During the last Roadshow many had asked me about setting up Premiere Pro and After Effects to import image sequences at a certain frame rate and change the default which is set to 30 FPS.

Heres how you do it Premiere Pro CC :-

Goto Preferences -> Media -> Intermediate Media Timebase


And for After Effects :-

Goto Edit -> Preferences -> Import -> Sequence Footage


Incase you are using After Effects CC and are facing problems with importing DPX sequences then you might want to take a look at this  :-

Adobe Ask a Pro Webinar Series

hi Guys,

 We had conducted a series of Ask a Pro Webinars and I had promised to post the recordings here.

Well, here they are!


Whats new in Premiere Pro CC July 2013

One of the benefits of the Adobe Creative Cloud is that you dont need to wait until the next version is shipped to make use of the new features. With CC, the Apps will be updated through the year allowing members access to the latest and greatest.

Its been barely a month since the new CC versions of the Apps were made available and the Premiere Pro team already has an update.

Here are the new and changed features in Premiere Pro CC :-

1. Anywhere for video support

2. Duplicating a title in a sequence creates a new, unique title, which can be independently edited from the original.

3. Lift and Extract can be used when only an In or Out point is set (if only an In is set, Lift/Extract will use the end of the sequence as the Out point; if only an Out is set, the beginning of the sequence will be used for the In point).

4. Copy, Cut, and Clear commands work between In and Out points on targeted tracks when no clips are selected.

5. When a sequence is loaded in the Source Monitor, keyboard shortcuts can be used to navigate to edit points (Up/Down keys by default).

6. Keyboard shortcuts can be used to clear In/Out points on clips in the Project Panel.

7. The Enable Clip command now works as a toggle when multiple clips are selected, such that any disabled clips become enabled and vice versa.

8. The Match Frame command will prioritize a selected clip over a targeted track.

9. The Relink command can now be used on a sequence containing offline media.

10. The Export EDL dialog now contains the option to include or exclude Transitions and the Key Track.

11. The Reveal In Project command now works from the Source Monitor.

12. A preference has been added to select whether or not playback jumps to the beginning of the Timeline or a Clip once the end has been reached.

13. A button has been added to the Timeline Panel to globally Link or Unlink all clips in the sequence.

14. An assignable keyboard shortcut has been added to enable toggling between the Source and Program Monitors.

15. The Reveal In Finder command can now be used on clips in a sequence..

16. A default start timecode value for all new sequences can be set in the Timeline panel.

17. Clips can now be dragged from the Finder or Explorer directly into the Source Monitor.

18. The Match Frame command now works on Nested or Multi-Camera Source Sequences, first matching to the source sequence, then stepping back further to the original master clip used in that source sequence.

19. Offline audio clips are now displayed in red, matching offline video clips.

20. The Source Settings dialog can be accessed by right-clicking on Clips within the Timeline Panel.

21. A preference has been added to allow the Timeline Panel to be automatically focused after an Insert or Overwrite edit is performed.

22. The Auto-Save dialog is suppressed during editing, and auto saves will not occur if no changes have been made to the project.

23. The Tone Settings dialog allows users to set the amplitude and frequency of the Bars and Tone synthetic clip.

24. Closed Captions are displayed on thumbnails in the Captions panel.

25. Options have been added to the Automate To Sequence dialog for Still Clip Duration, giving control over whether still clips use the In/Out range or a specified number of frames per clip (for timelapse workflows).

Source :

List of whats new :-

Bug Fixes in Adobe Media Encoder


bugs fixed in closed captions:

  • Timecode started from zero in closed caption sidecar files in some cases in which they should have had non-zero start times.
  • QuickTime movies with embedded closed captions had the wrong frame size in some cases.
  • STL or XML sidecar files for closed captions were not being written when closed captions were embedded in the source files.
  • Exporting and re-importing closed caption sidecar files deleted some characters.
  • Closed captions settings were not retained in Adobe Media Encoder (AME) when the source was a Premiere Pro sequence or a clip with embedded closed captions.

bugs fixed in H.264, MPEG-4, and MPEG-2 exports:

  • H.264 exports were of the wrong duration (longer or shorter) under various conditions.
  • When transcoding a clip to MPEG-4, the exported video frame rate was less than what was specified; the audio duration was correct. This makes the video portion longer than the original.
  • MPEG-2 and MPEG-2 Blu-ray exports failed with some settings.
  • Switching to NTSC from PAL didn’t show the proper frame rate options for some combinations of Profile and Level settings for MPEG-2.
  • When using the Match Source command, the matched Profile/Level values weren’t updated according to the current bitrate until reopening the Export Settings dialog box.
  • Changing the Key Frame Distance property was not recognized as a setting change if the box was checked/unchecked by clicking the text area rather than the box itself.
  • When creating the system encoding preset with Match Source enabled, bitrate sliders were not created with the full range of possible values for the given Profile and Level combination.

other bugs fixed:

  • Incorrect flavor of ProRes files were created because of an error in smart rendering.
  • Garbage characters appeared in Korean and Simplified Chinese on the OK button in the Preferences dialog box.
  • Improvement in inefficient code for RED (.r3d) importer.
  • A .m2v Blu-Ray file exported from Adobe Media Encoder didn’t work in Encore, failing with the error “reached end of stream before finding start code”.
  • Encoding from MPEG-2 source files failed the first time.
  • P2 AVC-Intra media exported from Premiere Pro with drop-frame timecode was imported into Adobe Media Encoder with non-drop-frame timecode.
  • AVC-Intra media exported from Premiere Pro was not being accepted by XTAccess system.
  • Incorrect audio was being encoded at the end of a file.
  • Smart-rendered QuickTime movies with the Animation codec contained video artifacts.

 Manual Downloads

Premiere Pro 7.01 Update Mac:

Premiere Pro 7.01 Update Windows:

AME 7.01 Update Mac:

AME 7.01 Update Win:

Adobe Audition for Forensics

For more information on the same please click on the link below:-

Source :

Shoot HDR video in real-time

Disney’s DuctTake Seam Based Compositing

Technology preview from Disney Research. DuctTake is a system designed to enable practical compositing of multiple takes of a scene into a single video.

Adobe Creative Cloud “Magma”

‘Magma’ is the very first Dvein’s music video for The Vein’s new single.
+ Making-of:
+ Info:
+ The Vein:
Direction & Art Direction: Dvein
Client: Adobe

Adobe CS6 Tips & Tricks Webinar Link

Thanks for those of you who had attended the Tips and Tricks webinar on the 12th of Feb!

Heres the recording as promised😉

Premiere Pro CS6 Shortcuts (the not so obvious ones!)

Many users have asked me about some of the FCP shortcuts which are hard to find in Premiere Pro CS6.

So here’s a list of some of the ones that come up quite often :-

1) Open in Source Monitor 

Someone had asked me if it was possible to import clips into the bin and review them in the Source Monitor without double clicking on them. 

No default shortcut is setup for this, hence you need to open the Keyboard Shortcuts panel (Edit -> Keyboard Shortcuts) and look for “Open in Source Monitor”. Ive set mine to Ctrl + Enter. 



2) Mark Clips

While working on the timeline, you might need to ripple delete a clip. In the past I would add In and Out points to the head and tail of the clip by using the Up and Down arrow keys and then use the Extract (‘)  function to ripple delete the clip.

You can setup a keyboard shortcut to automatically set an In and Out point to the clip by using the “Mark Clip” option. 




3) Adding Clip Markers to Clips 

Many editors using Premiere Pro don’t realize that you can add markers to clips directly on the timeline instead of double clicking them and loading them onto the Source Monitor and then adding the markers. 

You will need to setup a Keyboard Shortcut for this, and will need to look for “Add Clip Marker” command in the Keyboard Shortcut panel.

Color Grading with Moods Plugin in Premiere Pro CS6

A new color grading plugin for Premiere Pro CS6, Final Cut Pro X , Motion and After Effects.

Rendering ProRes / DnxHD in Premiere Pro CS6

APPLE (ProRes)

As far as the Pro Res export option is concerned, Apple has released the ProRed Codecs as a free download for Mac Quicktime here:-

These codecs still require an Apple Pro app installed to work (eg Compressor or Motion from the AppStore for $50).

Someone has posted a workaround this on Karl’s Blog here (scroll to the comments below) :-


For Avid, the codec download link can be found below :-

Premiere Pro CS6 to Pro Tools

In case you are using Pro Tools 9 or later then you can import all the active audio tracks from an entire sequence in Premiere Pro CS6 using an Open Media Format (OMF) file.

More documentation here :-


However, if you are using a previous version of Pro Tools which does not support OMF import, then you could export unmixed files using the following procedure :-

-> Go to Edit> Edit in Adobe Audition> Sequence













-> In the Edit in Audition dialog box, you could uncheck “Open in Adobe Audition” (since we want to send this out to Pro Tools) and then hit ok.










-> This should export each track as a separate discrete file, the resulting files are Wave files.


Colin Smith was kind enough to share this tip with me, he shares several of his tips here :-


LUT Buddy for Premiere Pro CS6

Although, Red Giant hasnt yet released a CS6 update for LUTBuddy.
You can still use the previous installer for CS6, the following video shows how to install:-

Stunning Tilt-Shift Time lapse from Singapore

Shooting info at:

Switch to Production Premium CS6 Webinar Series

Join Creative Suite video experts for a free, in-depth online webinar series featuring the new Creative Suite 6 Production Premium. These sessions would dive deeper into each component of CS6 Production Premium. Discover how you can easily migrate to Adobe Premiere Pro® from another editor; optimize your hardware for peak performance, gain color correction tips & tricks, and more.
4th October, 2012, Thursday, 11 am to 12 noon
Streamline Production tasks with Adobe Prelude and Adobe Premiere Pro CS6

In this session, an Adobe Expert would cover how to streamline production tasks by using Adobe Prelude for ingesting and logging. You will see exciting new features in Adobe Premiere Pro CS6-the powerful non-linear editing system that sits at the heart of Adobe CS6 Production Premium, connecting all of your media as it flows in and out of post-production. See how Adobe Premiere Pro CS6 combines incredible performance with a sleek revamped UI, and a host of powerful new creative features, including Warp Stabilizer for stabilizing footage, dynamic timeline trimming, expanded multicam editing, adjustment layers, and more for a fluid editing workflow.

18th October, 2012, Thursday, 11 am to 12 noon
Adding Graphics and Animation using Adobe Illustrator CS6, Adobe Photoshop CS6 and Adobe After Effects CS6

This session would cover how to leverage dynamic link for smooth integration with After Effects for adding motion graphics or visual effects to clips. The session would also cover how to integrate Adobe Photoshop CS6 and Adobe Illustrator CS6 with Adobe Premiere Pro as well.

8th November, 2012, Thursday, 11 am to 12 noon
Audio fixes, color grading & finishing using Adobe Audition CS6 and Adobe SpeedGrade CS6

In this final session of the series, an Adobe Expert would cover to how to fix audio in Adobe Audition CS6 and finish the film in Adobe SpeedGrade CS6.














Register Here 

(Webinar access details shall be shared post registration)

CS6 Roadshow in Chennai


To Register please click here

Creative Suite 6 Event
Date: 25 Sept 2012 (Tuesday)
Time: 10am – 5:30pm
(The event starts at 10:30am)
Venue Hotel Hilton, Chennai



Time Topics
10.00 am – 10.30 am Registration
10.30 am – 10.45 am Welcome & Keynote
10.45 am – 12.45 pm Improving Workflow via Core Content Creation Technology: More than just breakthrough features, Adobe InDesign CS6, Adobe Illustrator CS6 and Adobe Photoshop CS6 unleashes the latest workflows for designers looking to pushing the boundaries be it publishing, print, tablet, iPad or interactive.
12.45 pm – 1.30 pm Lunch Break
1.30 pm – 3.00 pm Adapting to the Latest Interactive Media Landscape and Technology: Get ready for a real game changer. With Adobe® Dreamweaver® CS6, Adobe® Fireworks® CS6, Adobe® Flash® Professional CS6 on your side, you have everything you need to unleash the full potential of the latest HTML5/CSS3 standards and frameworks, including jQuery Mobile, PhoneGap, and WebKit. Discover how easy it is to create adaptive layouts that adjust to different screen aspect ratios, create HTML5 animations and interactions or build apps for iOS, Android, BlackBerry, webOS and Symbian.
3.00 pm to 3.15 pm Tea Break
3.15 pm – 4.45 pm Discovering the Full Potential of CS6 Production Premium: Join this session to learn about all the new features in Adobe Production Premium CS6, the complete solution at the heart of any production workflow for video professionals. Packed with major updates to help bring high-quality productions to any screen, you’ll learn about new updates to familiar tools including powerful new versions of Adobe Premiere® Pro, After Effects®, Audition®, Adobe Story Plus, Media Encoder and Photoshop Extended, along with two new tools, SpeedGrade CS6 for professional color grading, and Prelude CS6, the world’s most elegant solution for the processes of ingest, logging and transcoding – essential tasks in a modern file-based workflow.
4.45 pm – 5.15 pm Product Shootout
5.15 pm – 5.30 pm Q&A + Closing

John Cleese on Creativity

Blackmagic Cinema Camera Demo

Blackmagic Cinema Camera demo at Sydney Institute Film Academy (SIFA). The latest digital cinema technology. Blackmagic Cinema Camera features an amazing 2.5K image sensor with a wide 13 stops of dynamic range for a true digital film camera.

Adobe Creative Suite 6 Production Premium Webinar recording

As promised, here are the links to the Adobe Creative Suite 6 Production Premium Webinar recording :-


Session 1 : Making the Move to Adobe Premiere Pro CS6:

Session 2: Motion Graphics Workflow:

Session3: A Suite Workflow:

REDucation Chennai OpenHouse – July 18th



Wednesday, July 18th at 6pm
Prasad Film & TV Academy

RED OPEN HOUSE is a rare and not to be missed event hosted by RED. The night will be filled with opportunities for attendees to view new RED centric products, learn RED best practices, hear latest buzz in filmmaking and mix and mingle with other industry professionals. Special presentations to the community will be made by insiders at RED, as well as a screening of the latest EPIC footage.


I will be showcasing the RED workflow in Premiere Pro CS6.

See you there.


For registration and other details please follow the link below :-

List of Free Plugins for Premiere Pro

Here’s the list of  free downloadable plugins for Premiere Pro (Mac / Win)  :-

Premiere Pro Title File Creator

Use this utility to create multiple title files from a single template title file and a text file of title text.

Creative Impatience 

Feathered Crop :-

Vignette                :-

Red Giant Software 

Magic Bullet LUT Buddy 1.0 :-

Magic Bullet Quick Looks Free :-

Magic Bullet Colorista Free  :-


HQ Transitions :-

Core Melt (Mac only)

5 free plugins that will really help some FCP editors that have swapped over feel a little more at home.

Advantages of Active Text for Premiere Pro editors

  1. Pre-animated Templates, no keyframes required, automatically adjust themselves to the lengths of your clip
  2. Duplicate a title just by copy / pasting on the timeline, no need to enter the title editor.
  3. Familiar workflow for those that have changed from other editors

CoverFlux 2 (Mac Only)

We have all seen the gorgeous scrolling image carousel that iTunes and Finder uses. CoverFlux reproduces that slideshow effect for still images, producing movies & project files for Final Cut Pro 7, FCPX, Motion, Final Cut Express, Adobe Premiere CS6 & After Effects. (OSX)

FX Factory Manifesto (Mac Only) (Pr + Ae)

Free static title and tile roll/crawl generators.

FX Factory Pan and Zoom (Mac Only)  (Pr + Ae)

Create the photo animation style made popular by Ken Burns.

FX Factory Star Titler (Mac Only)  (Pr + Ae)

Simulate opening titles from the 1977 Star Wars movie.

FX Factory Barcode (Mac Only) (Pr + Ae)

Simulate EAN-13 barcodes.

FX Factory Data Pop Free ( Mac Only) (Pr + Ae)

Free Infographic titles

FX Factory CoverFlux( Mac Only) (Pr + Ae)

A Coverflow-style slideshow generator.

FX Factory PiPinator Free ( Mac Only) (Pr + Ae)

Simple-to-use picture-in-picture effect.

FX Factory Random Text ( Mac Only) (Pr + Ae) 

Random text generator.

Jarle’s Free Presets for Premiere Pro  (MAC / WIN)  :-

Ill keep updating this as I come across more plugins.

Please feel free to include more in the comments section below.

REDCINE-X PRO: Saving Looks To Camera

REDCINE-X PRO: Saving Looks To Camera from RED Digital Cinema on Vimeo.

This tutorial demonstrates how to create a customized look in REDCINE-X PRO and save it to camera. By saving your look from REDCINE-X PRO to your REDMAG 1.8″ SSD, custom grading can then be viewed in real-time with live footage on the camera’s preview screen. If at any point you want to change your look, REDCODE RAW files allow you to revert back without compromising image quality.

Total length: 2 minutes.

Download REDCINE-X PRO here:

How does a CCD work?

Bill takes apart a digital camera and explains how its captures images using a CCD (charge coupled device). He also shares how a single CCD is used with a color filter array to create colored images. This video is based on a chapter from the EngineerGuy team’s latest book Eight Amazing Engineering Stories

Adobe Creative Suite 6 Production Premium Webinar Series

Hi Everyone,

I am conducting a series of free online training series for the latest release of our video products (Production Premium CS6).

Please feel free to join in on any of the following dates.

(Webinar access details shall be shared post registration)

12th July 2012, Thursday, 11 am to 12 Noon
Making the Move to Adobe Premiere Pro CS6

In this session learn how to master the new Adobe Premiere Pro CS6 timeline. This fast-paced session teaches you all of the core editing skills as well as advanced options like markers, subclips, time-remapping, multi-camera editing and more. Also learn how to trim with the powerful new tools in Adobe Premiere Pro CS6. Use Dynamic Trim as well as other new trimming controls to find the rhythm of your edit and finesse your story’s pacing.

19th July 2012, Thursday, 11 am to 12 Noon
Motion Graphics Workflow with Adobe Creative Suite 6

The release of Adobe After Effects CS6 holds exciting new features for the motion graphics designer, visual effects artist, and video editor. This session will expose you to all that’s new so you can jump in and get things done. Learn what’s new in Photoshop CS6 with a particular emphasis on tools that benefit the motion graphic artists and video editor. Take advantage of new blurring and color correction options as well as support for enhanced text layout and 3D objects

26th July 2012, Thursday, 11 am to 12 Noon
A Suite Workflow: Speeding up your workflow using Adobe Premiere Pro CS6 & other suite components

Learn how you can use the rest of the components in Production Premium to enhance your motion graphics workflow. Use Adobe Premiere Pro CS6 to edit your footage, Audition to sweeten your sound, Illustrator for vector sources and Adobe Media Encoder for background rendering. Take color correction and grading to a new level with SpeedGrade CS6. Learn techniques used by professional colorists to enhance the quality and look of your projects. If you are part of a mid-to-large sized company, learn how to increase your production output in this informative session.

Register Now>

CS6 Launch Details for Delhi & Bangalore

Creative Suite 6 Roadshow

Date: 3rd July 2012 (Tuesday)
Venue: Hotel Eros, Nehru Place
Time: 10:00am to 5.30pm

Date: 5th July 2012 (Thursday)
Venue: Hotel ITC Gardenia
Time: 10:00am to 5.30pm
Click here to Register Online





Tel: +91 9313597474

Speedgrade CS6 Online Workflow with Red Epic and Scarlet – by 5k Insight


A quick look at using R3D files from the Epic/Scarlet cameras online in Premiere Pro and Speedgrade CS6.

Adobe Creative Suite 6 Roadshow India

It’s the launch everyone has been waiting for. Join our Adobe Creative Evangelists as they give you an inside tour of the new Adobe® Creative Suite® 6 and Adobe Creative Cloud™. As part of the launch roadshow across nine key cities in Asia Pacific, the creative evangelists will showcase exciting new features that cover every aspect of your creative vision. Be part of this momentous event, and harness the potential to shape your creative future.

Event Highlights
Adobe Creative Evangelists will unveil breakthrough features on Core Content Creation, Adobe Photoshop®, Interactive Media, Digital Video and more. Plus they will also share vital tips and tricks and best practices on digital imaging, print, interactive and motion designs among other things.

Learn powerful and effective new techniques to help re-define your edge in cross-media projects from print to online, mobile and video.

Creative Suite 6 Roadshow
. .
Date: 19 June 2012 (Tuesday)

Time: 10am – 5:30pm
(The event starts at 10:30am)
Venue: The Jamshed Bhabha Theatre
National Centre for the
Performing Arts, NCPA Marg,
Nariman Point Mumbai

Click Here to Register

Clean Up in After Effects CS6 and Photoshop

hi Guys,
Heres a quick tutorial on cleaning up video using After Effects CS6 and Photoshop CS6.

Shameless Plug 3

Adobe Creative Suite CS6

Hey folks!
We had announced Creative Suite CS6 last week at a press conference in Delhi. There are a lot of exciting new features in this release especially in Production Premium CS6 wherein we have announced the inclusion of 2 new products (Prelude & Speedgrade).

I am working on some video tutorials on the same and will post them here as soon as they are done. Incase you cant wait till then, then do have a look at the new and improved page.

So stay tuned!🙂

Here are some pictures from our press launch in Delhi.

We had invited speakers from the industry.

Aseem Bajaj (Award winning Cinematographer)

Kushal Ruia (Creative Head – ACK Animation Studio) (Second from the right in the picture below)

C B Arun Kumar (Academic Director FX School)]

For more pictures please have a look at Naina’s Blog here :-

Chameleon vs Spider at Taronga Zoo

On a recent trip to Sydney while at the Taronga Zoo, I shot this video of a Chameleon hunting a spider. Just happened to be at the right place and at the right time.

I had to slow down the speed a bit in Premiere Pro as this guy was super quick!

Anyways, here goes :-


Conan O’Brien’s editors on Premiere Pro

Hey Guys,

Incase you guys had missed it earlier, the editors over at Conan O’Brien had put together a video after the release of Final Cut Pro X.

These guys are really funny🙂

Here’s that video:-


Just recently they put up another video, but this time its about Premiere Pro, check it out :-

Accelerate your RED workflow with Adobe Premiere Pro CS5.5

Thurs, February 23, 2012, 10:00-11:00am PST

Adobe and RED have collaborated to bring a truly native, color-rich, 4K tapeless workflow to Adobe Premiere Pro CS5.5. Join us for a webinar on February 23, 10:00am-11:00am PT/1-2pm ET to learn how you can enable a robust workflow for editing, grading, and delivering native R3D footage in real time using Premiere Pro. See Wes Howell from Adobe and Ted Schilowitz from RED step through the RED editing workflow in Premiere Pro.

 Register now

Workshop on HDSLR Film-Making

Turning the HDSLR into a film-making tool

By Nandan Saxena and Kavita Bahl

5 February, 11am @ the Experimental Theatre, NCPA, Mumbai.









HDSLR film-making:
Hybrid digital SLR film-making is a game-changer. This quantum leap in the quality of image-capture opens new vistas for Independent film-makers. The hitherto difficult to achieve film-look is now within the reach of even those without deep pockets. And this has applications in the world of fiction, wild-life film-making and documentaries. Of course, it is not easy to use a camera made to shoot stills for film-making. We need to record audio like they do in films, we need to light up differently and sometimes use a rig designed to make this camera compatible with run & gun style shot-taking. This comes with some training and practice. The workshop we propose to hold shall give the audience a window to the world of HDSLR film-making, and give some basic training on how to make it work. We are practitioners using the Canon EOS 5D MkII and the EOS 60D for our documentaries. The workshop is not meant to discuss theory and details of frame rates, line interpolation or film emulsion properties v/s the DSLR image. We are people who can show others what can be done in a small budget and how to make beautiful images from a small little camera. Nakul Sood from Embrace video shall join us for the workshop, with his gear and tackle.


About Nandan Saxena & Kavita Bahl
Nandan Saxena & Kavita Bahl work in the genres of documentary and poetry films. Their oeuvre spans the domains of ecology, livelihoods, development and human rights. After their Masters in English Literature from the University of Delhi, they did a diploma in journalism. Thereafter, Kavita worked for ‘ The Indian Express’ for seven years and Nandan worked for the audio-visual media, doing News and Current affairs programming, in what
they call their previous life. They turned a new leaf in 1996, as independent film-makers. Their films explore man’s relationship with his environment through many windows- cultural, political and anthropobotanical. Their voluntary initiative ‘Via-Media’ is an effort to catalyse change by taking positive stories to receptive minds, and to build the capacity of citizens groups and movements. They take workshops to initiate inquisitive minds into film-making and photography. They are visiting faculty in the Department of Culture and Media Studies, Central University of Rajasthan. They anchored a Trade-show on HDSLR film-making with Canon-India and Embrace Video during the Vatavaran Environment and Wildlife Film-festival at New Delhi in December 2011. Nandan is also an avid photographer. In 2009, he had a 30-day solo exhibition of his photographs at India Habitat Centre, New Delhi.


Nakul Sood is a cameraperson and filmmaker, who has developed solutions that allow us to use the DSLR camera for film-making. As an entrepreneur, he used ideas he developed in the process of making films. His company- Embrace Video manufactures Audio and Video Equipment for Film and Video production, offering affordable solutions for independent film-makers.
Embrace Video manufactures over 50 unique products including DSLR kits, Track Dollys, Jib Arms, Sliders, Follow Focus units, Microphones, Steadicams, Modified Audio recorders etc.

Who needs a Mac Pro anymore?

Here’s a quick look at some Thunderbolt solutions that Dave Helmly’s been testing in his lab. In this video, you’ll see an Apple MacBook Air 13″ running Windows 7 64bit via Boot Camp with an activeThunderbolt port connected to Sonnet Chassis with a RED Rocket installed delivering full 4K playback on Ultra Lightweight notebook.


Its been awhile since Apple updated its Mac Pro range of workstations and it  is presently the only Mac without the new Thunderbolt port that Apple and Intel introduced earlier last year.

And as per this post, “Apple has certainly placed an emphasis on their notebook line, reflecting the ongoing trends towards mobile computing. Apple’s notebook sales have steadily become a larger percentage of their total Mac sales. ”













The question is, now with thunderbolt on Macbook Pros’ and MacBook Air’s who would buy a Mac Pro anyway?

Final Cut Pro X vs Adobe Warp Stabilizer (After Effects)

Adobe India Facebook Photography Contest

Adobe Webinar Recording Nov’11

Hi Guys,

Me and Vyshak ( had conducted  online webinars on Adobe’s Design, Web and Video products.

The links to the recording are below :-

Design Products – (Guru Vaidya) (Photoshop, Illustrator, InDesign)

Session 1 – Recording

Web Products – (Vyshak Venugopalan)

Session 2- Recording

Video Products – (Guru Vaidya) (Premiere Pro, After Effects, Media Encoder)

Session 3 – Recording


Adobe Mumbai Roadshow Nov’11

For those of you who missed my presentation in Mumbai last month, here’s a recording of that show :-

“Against the grain” Hudson Stop Motion Video

Having tried stop motion animation before and realizing the amount of time and patience required has lead me to have a lot of respect for such artists. Here’s a music video i had stumbled upon a few days ago. I think its quite awesome! Check it out!

The new music video for ‘Against The Grain’ from emerging Melbourne indie-folk artist Hudson sees him collaborate with film maker/animator/VJ Dropbear (aka Jonathan Chong), producing a vibrant and colourful clip based around a mainstay from our humble artistic efforts throughout childhood – coloured pencils.

Canon EOS C300 and C300 PL

Many of you might have heard about Canon releasing new cameras, the Canon EOS C300 and the Canon EOS C300 PL.

The powerful EOS C300 and EOS C300 PL cameras, centered on Canon’s unique Super 35mm CMOS sensor, revolutionary Canon’s DIGIC DV III Image Processor, and 50Mbps 4:2:2 codec writing out to dual CF cards. Compact and lightweight, modular in design, compatible with Canon’s new EF Cinema lenses and legendary line of EF lenses, as well as third-party accessories, the EOS C300 and EOS C300 PL are reliable in the studio and rugged on location – no matter how far your assignment or imagination takes you.

  • Two models: One with a Canon EF mount, the other PL
  • 8.3 megapixel 2160–3840 Super-35 CMOS sensor (4K resolution) with Digic DV III processor—enough pixels for 4:4:4 RGB
  • Canon XF codec (50Mbps 4:2:2 1080p30 MPEG2 MXF), records to two Compact Flash card slots
  • Canon “C-Log” gamma
  • SDI out
  • Presets and menus similar to Canon XF series
  • Exposure and focus control are completely manual—no AE or AF
  • Sold as a system, including LCD monitor/XLR audio unit, side grip, top handle, battery & charger
  • Availability: Jan. 2012
  • Street price: approximately $16,000 USD (Canon mount version)

And the BEST part is, you can start editing the footage from this camera in Premiere Pro CS5.5 NATIVELY..thats right, no transcoding, encoding or rewrapping of the footage. Just slap it on to the timeline and start working🙂

Vincent Laforet had shot a film with it called “Mobius” and had used Premeire Pro to edit.

Link for Vincent’s film below :-

Link to Vincent’s Blog here

Vashi Nedomansky was the editor of this film and these are his comments from this forum :-

“Hey everyone…I’m Vashi Nedomansky and I was the editor of MOBIUS for Vinent. Just to clarify Jean Dodge’s comment…100% of the footage was the C300. No 5D or any other DSLR footage. I was at Paramount Pictures the last 3 days and MOBIUS looked amazing on their 60 foot screen along side the 3 other films shot with the C300 that Canon screened. We shot 18 hours of footage over 3 days in the desert on the shoot…and I cut it on Adobe Premiere CS 5.5 with an older Mac Pro tower, twin 24” Apple monitors and off a 2TB FW 800 drive. Two things to comment about the edit…I had NO crashes or lags cutting the XF footage over the 12 day edit run. Also…the XF codec was much more responsive and very snappy compared to 5D h.264 footage while in the timeline…a great convenience as an editor. What was really, truly amazing was that when you zoom in 300% or 400% and analyze the pixel structure of the C300 XF footage…usually what is square or rectangular in shape…was actually round and organic in form at high magnification…more in tune to film grain then hard-edged pixel clumps we have been used to. After cutting almost every codec out there….it was quite shocking to discover this and explains, to me at least, why it looks so organic in real time playback or magnified further then any useful purpose would pose.

I was lucky enough to cut The Last 3 Minutes on Final Cut Pro 7 transcoding the 5D h.264 files to Pro Res for Shane Hurlbut a couple years ago and I must say the updated, native codec edit of the superior XF codec was a real time saver and supremely enjoyable process in Premiere. Hope some of this helps….”

New Digital SLR Camera with 4K Movie Function (Under Development)

Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided.

Cinema EOS System: Product Overview

Product category


Mount type

EF Cinema Lenses CN-E14.5–60mm T2.6 L S

EF mount

CN-E14.5–60mm T2.6 L SP

PL mount

CN-E30–300mm T2.95–3.7 L S

EF mount

CN-E30–300mm T2.95–3.7 L SP

PL mount

CN-E24mm T1.5 L F

EF mount

CN-E50mm T1.3 L F

EF mount

CN-E85mm T1.3 L F

EF mount

Digital Cinema Cameras EOS C300

EF mount


PL mount

Digital SLR Camera (under development) TBD

EF mount

For more information and to view online demonstration footage of the new products please visit:

Pricing and availability

The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000. The Canon EOS C300 PL (PL mount) digital cinema camera is scheduled to be available in late March 2012 for an estimated list price of $20,000.

4k Edit in Premiere Pro CS5.5

Hi Guys,

Here’s a video by Tom Lowe who talks about the performance of Premiere Pro CS5.5 while working with 4k clips.

Tom is well known for shooting time lapses and you can find more information about his work here:

Broadcast India ’11

Thanks so much for coming down to the Adobe stall at Broadcast India’11.


2D to 3D Stereo Conversion

For those interested in 2d to 3d Stereo Conversion, AETUTS has a very useful tutorial on their site which explains the entire process using Mocha , After Effects and Freeform Pro.

Here is the link to the tutorial Click Here

The FreeForm Pro plugin is much faster in performance than the one that ships with After Effects and it renders at 20x the speed too.

I have been using the demo version for presentations at roadshows and I have experienced the remarkable difference in performance.

You can find more information on FreeForm here Click here

For a limited time only, the folks over at Mettle are offering all their plugins at a 25% off, those interested can visit the link below :- 

Adobe Digital Video Event (Chennai)








Adobe Digital Video Event in Chennai

Please find the details below :

Date : 12th Oct ’11

Time: 6.30PM onwards

Venue : Hotel Green Park, Chennai

This session would cover:
•  Editing workflows in Adobe Premiere Pro CS5.5
•  Stereoscopic conversion with Adobe After Effects CS5.5
•  Motion graphics tips & tricks.

For Registrations Click Here 


VizRT and Premiere Pro Integration

Thomas Nelson demonstrates the Viz NLE plug-in – a plug-in for editing suites such as Avid, Quantel, Final Cut, and Premiere Pro. The plug-in can either be linked to Viz Trio, or an Viz Content Pilot Active X-plug-in. It works in the same way regardless for which editing suite you’re working with. Viz NLE gives you the opportunity to re-use your existing Vizrt graphics when editing, instead or creating new ones.


Design for Impact! Live virtual event

Join the buzz as the best and brightest in the digital design world come together for a once-off live virtual event.

Don’t miss this unique opportunity to hear about the latest technologies, techniques, tips and ideas that will transform your creative. You’ll hear from design heroes who are shaping and revolutionizing our industry across all mediums – imaging, typography, layout, interactive design and motion design.

With case studies exploring ground-breaking campaigns to inspire you and master classes to give you the tips and tricks to work faster and even more skillfully, this virtual event may just be the best 3 hours you spend all year.

Learn from these international speakers:

•  Laetitia Jean Franco, Founder & Executive Creative Director from
JEDI Productions, a renowned fashion imaging studio
headquartered in Paris, France.

•  Enric Godes and Bruno Selles, the two creative minds at Vasava,
Barcelona-based studio specializing in next generation interactive

•  Hussin Khan from Rhythm & Hues Studios, a multiple Academy
Award winning film production studio will talk about visual effects
and computer animation.

•  Paul Burnett, an Adobe Evangelist focusing on Flash and the Open
Web, has more than 18 years of experience in the web and
multimedia industries.

•  Michael Stoddart, an Adobe Evangelist for Creative Solutions and a
front man for Creative Suite 5.5 charge in the Asia Pacific region.

•  Karle Soule’, an Adobe Evangelist for Adobe’s video tools, has
extensive experience with video production including graphic
production, live switcher, editing and 3D animation.

Click here for more details on registrations Register Now

29 ways to stay creative!

A brilliant video by TO-FU





Adobe acquires IRIDAS Technology

Exciting times in the Video world!!

“Adobe Systems Incorporated today announced at the IBC 2011 Conference and Exhibition that it has acquired certain assets of privately held IRIDAS, a leader in high-performance tools for digital color grading and enhancement of professional film and video content, including stereoscopic technology.

Color grading is an essential component of finalizing professional film and television content and is becoming an increasingly important part of modern content creation with the advent and rapid growth of High Dynamic Range (HDR) video.

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.”

Editors are going to LOVE this!!

Source :

Creating 3D graphics for Premiere Pro

Hi Folks,

In this tutorial we will be creating a 3D logo in Photoshop, animating it in After Effects and bringing it into Premiere Pro.

RED Epic Post Workflow


So as per RED, this is the answer to the professional’s wildest dreams and exists as the most sophisticated and capable camera ever engineered and built. It has the most advanced processor of its type in the world, enabling it to capture up to 120 frames per sec, each frame at full 14MP resolution. Its engineered to be a Digital Still and Motion Camera. It provides a native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film.

For more information check out

Peter Jackson purchased 30 for these for filming “The Hobbit” in 3D.

   Post Production 

Adobe Premiere Pro Cs5.5, Adobe After Effects CS5.5 and Adobe Media Encoder CS5.5 can accept native footage from this camera. You would need to download an update from here  (

   New Features

  •  – The ability to rotate and flip footage based on the camera orientation flag in R3D metadata
  •  – R3D Source Settings dialog now supports Echo port in Premiere Pro
  •  – Increased size of RED R3D Source Settings dialog on larger monitors
  •  – HDR Track selection and HDR Blend support
Vincent Laforet has recorded a video showcasing this in action within Premiere Pro and After Effects :-

It’s been awhile!

Hi Visitors,

Its been awhile since ive updated this blog, we were on the road again for the remaining roadshows for CS5.5. We were in Colombo, Sri Lanka last week for the CS5.5 launch there and will be in Pune and Kolkata next.

Here are the details for Pune and Kolkata :-

Pune : 2nd Aug 9.00 AM – 6.00 PM Venue : Sun-n-Sand 262, Bund Garden Road, Pune – 411 001.

Kolkata : 4th Aug 9.00AM – 6.00 PM, Venue : Hotel Hindusthan International, 235/1 A J C Bose Road, Kolkata – 700 020


See you around!!🙂

I am working on some tutorials for Photoshop and Premiere Pro which will be uploaded here next week.

Dark side of the lens

Here’s an amazing film by Mickey Smith.


Why edit Canon 5d, 7d footage in Premiere Pro?

A lot of folks have asked me this and hence the following explanation by Adobe’s Mike Kanfer should help debunk this conundrum.

“Yes, H.264 is definitely not considered a finishing codec, but to be clear, Premiere Pro does not use it in that way. The H.264 is read natively by Premiere and once it is decoded into the app. it “resides” internally in a 32 bit float extended color space that is unmatched for color fidelity and dynamic range. Your tests at Laser Pacific have proven that. There is no need to transcode to Pro Res, although if one prefers to work with that type of intermediate, the Adobe workflow can handle it just fine…ProRes is a great intermediate codec, but depending on the original content, some information might be lost compared to how Premiere Pro decodes the same file. For a full explanation, please refer the poster to my longer explanation below:

Adobe CS5 reads the H.264 files natively into Premiere Pro and After Effects at the highest possible quality. Our color gamut and dynamic range for tonal detail from shadow to highlight is unsurpassed. There is even support for over-brights beyond 100% in After Effects. i.e. in plain English, we squeeze more out of these files than anything else out there! Shane Hurlbut’s filmout tests at Laser Pacific have verified that our interpretation of the H.264 is the smoothest and most filmic representation available. The magic comes from the use of proprietary interpretation algorithms and I might also mention that we bypass QuickTime for this process, which avoids the whole gamma conundrum. Once the file is living inside our apps on the timeline or project, we deal with the image information at the 32 bit float level. Now that is not saying we can make an 8 bit H.264 DSLR video capture look like perfectly shot IMAX footage scanned at 16 bits, but what we do offer up is the ability to edit, apply effects and color corrections within our apps. at an unprecedented level of quality. So edit, do your VFX and color correction in Premiere Pro and After Effects with confidence that you are getting the best results. Now for the next step…we have all the typical options for exporting these files, so if they have to be passed on to another vendor for DI or another system, use the best option that suits you. For Shane’s bootcamp, we exported edited Premiere Pro projects to industry standard uncompressed 10 bit DPX files, which were then color corrected by a Quantel Pablo and projected on a huge screen. They looked absolutely amazing. Cineform is also an amazingly good compressed or uncompressed intermediate codec that rivals Pro Res and DNX and works great with CS5 on both Mac and PC. If you have Final Cut Pro on your MAC, you can choose to export all the various flavors of Pro Res through our Media Encoder, if that works better for you. Then, and only then in the process would you want to choose it as an output option. Converting your files to Pro Res beforehand for use in Adobe CS5 works great, but will not take full advantage of all the image processing that we offer by working natively in H.264. What you NEVER want to do though is to output H.264 as an intermediate. As the blogger mentions, yes…it would be like re-compressing an already compressed format…like saving a JPEG as a JPEG again. One caveat here is for the PC folks…Adobe can’t directly output Pro Res through the Media Encoder on Windows for obvious reasons (Final Cut is only for MAC), and that is where the Pro Res codec is supplied. So if you are on a PC, I recommend that you use uncompressed 10 bit DPX output as an intermediate (now available in Premiere Pro’s 5.0.2 free update which includes timecode support), a Cineform workflow, or use AJA’s KiPRO in conjunction with Adobe CS5 to layoff your finished timeline to Pro Res through this amazing and affordable device.”

Source :

Physics Engine in After Effects!

Official presentation of Motion Boutique Newton for After Effects at the Adobe Creative Week in Paris, 11 May 2011.

Discover the first physics engine for After Effects.
Simple to use and fast to execute, Newton is the must-have animation plug-in.
Newton interprets each 2D layer as a rigid body in a real environment. Once simulation is completed, animation is recreated in After Effects with standard keyframes.

Main Features:
. robust and fast
. simple and intuitive user interface with OpenGL preview
. gravity, collisions, friction,…
. support of masks and shapes
. handles different sorts of bodies: static, dynamic, kinematic,…

for more information visit

Making of a DSLR feature film.

Talking to CB Arun Kumar, Academic Director, FX School about the post production for a Ram Gopal Verma film “Dongala Mutha”. He explains how Premiere Pro and After Effects had an integral role in the post production of the film and allowed them to meet an impossible deadline.

Tim Minchin’s Storm the Animated Movie

Official animated movie of Tim Minchin’s 9-minute beat poem Storm. Written and performed by Tim Minchin. Directed and animated by DC Turner. Flash and After Effects were used for the animation.

DSLR’s – the future of Cinema

I had recently shot a case study with folks over at FX School who had worked on a feature film with one of Bollywood‘s leading film director Ram Gopal Verma. The film was shot using Canon 5D M2’s and was edited in Premiere Pro and After Effects was used for the Vfx. I will post the link to the case study here once completed.

DSLR‘s have started to make a prominent dent in the chassis of the technologically fast pacing video and film industry. I mean lets face it, they are relatively cheaper, easy to use and portable. Yeah, sure there are concerns with audio, rolling shutter effect and over heating issues but then these are just the first generation of many to come. The next generation will most probably tackle most of these issues. Infact whats amazing is that some videographers decided to take the reins in their own hands and have come out with custom firmwares and workarounds to deal with these concerns. Like the magic lantern firmware below :-

You can download and install this firmware from the following link :

Be careful though and read through the install process before doing this yourself. You could damage your camera. I managed to get this working on my 550D without any hassles. There are some bugs in it but I would rather make peace with them than not use it at all.

One of Bollywoods leading post studio in Bombay has also seen an elevation in the adoption of DSLR’s for film. I was told that almost 35% of the work awarded to them is shot using DSLR’s and this has grown from being ziltch last year.

Technicolor‘s color scientists and engineers spent the last 12 months developing CineStyle along with Canon. As per Technicolor this development is to respond to the industry demand from cinematographers for enhanced flexibility in capturing images with Canon cameras.

CineStyle provides better dynamic range of the captured content. So I think its akin to the log files that are generated when a film is scanned but in this case the files are already digital. The extra dynamic range would allow for a lot of latitude while color grading shots or compositing cg elements against live action.

For someone like Technicolor to invest that kind of time and money into this gives your an idea of how seriously they are looking at DSLR post production.

Heres a NAB video showcasing Technicolor’s Joshua Pines explaining the new Cinestyle developed for Canon HDDSLR’s.

Those interested in CineStyle can download it from here 

The only ones threatened by this whole digital conduit are the film distributors who could be expelled due to the popularization of digital projections. Film as a medium for distribution will be  passe’.

At the end of it all lets face it, the audience could care less if the film was shot using a $800 dslr camera or a $111000 Arriflex, what really matters to them is the story and the entertainment value!

Final Cut Pro to Premiere Pro

Roundtrip projects between Adobe Premiere Pro and Final Cut Pro without conversion or re-rendering, preserving commonly used effects and transitions. Bring the creative benefits of Adobe tools to any post-production workflow.

Heres some more info from the Premiere Pro help :-

Import an XML file from Final Cut Pro

  1. Export an XML file from Final Cut Pro. For more information, see Final Cut Pro Help.
  2. In Final Cut Pro, close the source project.
  3. In Premiere Pro, select File >Import.
  4. Browse to the XML file, and click Open.

Final Cut Pro clip data

Clip data in the Description, Scene, ShotTake, and LogNote fields in Final Cut Pro appear in the clip metadata fields with the same names in Premiere Pro.

Final Cut Pro effects and transitions

Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects. Additionally, Premiere Pro converts some Final Cut Pro effects and transitions according to the following tables:

Conversion of Final Cut Pro video effects

Final Cut Pro effect

Premiere Pro effect

Crop Crop
Eight-Point Garbage Matte Eight-Point Garbage Matte
Four-Point Garbage Matte Four-Point Garbage Matte
Gaussian Blur (provided the channel selection in Final Cut Pro is Alpha+RGB.) Gaussian Blur
Luma Key Luma Key
Three-Way Color Corrector Three-Way Color Corrector

Conversion of Final Cut Pro video transitions

Final Cut Pro transition

Premiere Pro transition

Dip To White Dip To White
Dip to [color] Dip To Black
Edge Wipe transitions Wipe, with the wipe direction rounded to the closest of the eight Premiere Pro supported directions.
Other video transitions Cross Dissolve

Conversion of Final Cut Pro audio effects

Final Cut Pro audio effect

Premiere Pro audio effect

Audio gain values and keyframes Audio clip volume values and keyframes
Audio pan values and keyframes Track pan values and keyframes
Low Pass Filter Lowpass
High Pass Filter Highpass
Band Pass Filter Bandpass

Conversion of Final Cut Pro audio transitions

Final Cut Pro audio transition

Premiere Pro audio transition

Cross Fade (0 dB) Constant Gain
Cross Fade (+3 dB) Constant Power
Other transitions Constant Power

Final Cut Pro composite modes

Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects. Premiere Pro converts Final Cut Pro composite modes according to the following table:

Final Cut Pro mode

Premiere Pro mode

Normal Normal
Add Linear Dodge (Add)
Subtract Not supported
Difference Difference
Multiply Multiply
Screen Screen
Overlay Overlay
Hard Light Hard Light
Soft Light Soft Light
Darken Darken
Lighten Lighten
Travel Matte Alpha Not supported
Travel Matte Luma Not supported


Joost van der Hoeven provides a video tutorial showcasing this in action here
For more information on this, you can check this link 

CS 5.5 with Thunderbolt Tech (NAB)

Thunderbolt technology is Apple’s and Intel’s collaborative effort to create an incredibly fast input/output technology. This technology makes its first appearance in the new MacBook Pro’s.

PCI Express is the technology that links all the high-performance components in a Mac. And it’s built into Thunderbolt. Which means you can connect external devices like RAID arrays and video capture solutions directly to MacBook Pro — and get PCI Express performance. That’s a first for notebooks. Thunderbolt also provides 10 watts of power to peripherals, so you can tackle workstation-class projects on the go. With PCI Express technology, you can use existing USB and FireWire peripherals — even connect to Gigabit Ethernet and Fibre Channel networks — using simple adapters.

And because Thunderbolt is based on DisplayPort technology, the video standard for high-resolution displays, any Mini DisplayPort display plugs right into the Thunderbolt port. To connect a DisplayPort, DVI, HDMI, or VGA display, just use an existing adapter.

So what does this mean for Premiere Pro and After Effects?

A performance boost that can make your head explode! Its blazingly fast!

Check out Dave Helmly showcasing this in action at the Adobe booth at NAB.

Adobe India Event Calender

Hi People,

We have planned a bunch of events for India this year. These events will cover production techniques for Print, Web and Video professionals.

Please find the schedule below :-



Date   : Tuesday, 12th April, 2011

Time   : 9.00 am – 5 pm

Venue : The Lalit Ashok Hotel

Kumara Krupa High Grounds

Bengaluru, Karnataka – 560001



Date    : Friday, 15th April, 2011

Time   : 9.00 am – 5.00 pm

Venue : Hotel Hilton Chennai

124/1 J.N.Salai, Ekkatuthangal

Chennai, Tamil Nadu – 600032



Date : Tuesday, 19th April, 2011

Time : 9.00 am – 5.00 pm

Venue : The Park Hotel

22 RajBhavan Road,

Somajiguda, Hyderabad,

Andhra Pradesh – 500082



Date : Wednesday, 20th April, 2011

Time : 9.00 am – 5.00pm

Venue : Hotel Le Meridien

Janpath, New Delhi – 110001


Will post the dates for the remaining cities once they have been finalized.

See you at the event!🙂


HP EliteBook 8740w Review

Recently HP set me up with an EliteBook 8740w and I have been using this mobile workstation for showcasing Adobe Production Premium CS5.

The config is as follows :-

Intel Core i7 Q740

8 GB RAM Nvidia

Quadro 5000M

The rest of the bells and whistles can be found here

As per HP ,  “Industrial, business rugged construction features a full magnesium alloy chassis, magnesium/aluminum display enclosure,metal alloy hinges, gun metal finish; designed to meet the military standard Mil-Std-810G for vibration, dust, humidity,altitude, and high and low temperature operation” which works great for me as I live in Noida😉 .

The sturdy exterior would help if you are constantly traveling maybe to certain shoot locations or are living out of a suitcase (like me). Its about 3.7 kg in weight which i think is light for its category of mobile workstations.

The screen is a 17in LED backlit WXGA with anti glare, but i think the best part of the screen is that its a “DreamColor”. If you work for a broadcaster, vfx artist, designer or an animator then this is a total lifesaver as this screen allows color reproduction from eight bits on the already impressive original design to 10 bits on this model, upping the potential color gamut from millions to over a billion shades. (Typical laptop displays are often limited to “just” 262,000 colors.)

Find more information on DreamColor here

The screen also works well when used under direct sunlight and has the best viewing angle I have ever seen on a laptop.

My model did come with a 2-megapixel Webcam which is great for online meetings and Adobe Connect sessions.

Its also got a full-size keyboard with a dedicated numeric pad. There are dedicated keys for volume, wifi, a calculator, internet, touchpad controls and other function. These are light up and are on a touch sensitive strip above the keyboard. My Dad thought it looked like one of the panels you would find in an aircraft cockpit🙂

The Quadro 5000M card does support Premiere Pro CS5’s Mercury playback engine and hence one can expect realtime playback when working with multiple layers of native tapeless footage (eg, avchd, avcintra, xdcam, RED (R3d) , dslr etc). Even Neo3D which is a plugin for editing stereoscopic footage in Premiere Pro CS5 works quite well on this machine.

AfterEffects CS5 too can leverage on the 8 cores in the CPU for multi processing (provided the option is turned on in the preferences) and hence RAM previews and rendering are blazingly fast.

Overall, I think if you are a photographer, video editor, vfx supervisor, compositor or an animator and are looking for a mobile workstation then I would recommend the HP EliteBook 8740w.

For more information :-

Premiere Pro CS5 delivers with ATI cards too!!

Apple recently unveiled their new range of products including the new MacBook Pro’s. These laptops dont ship with Nvidia cards anymore instead they come with ATI cards installed. You can find more information on these new macs here

Last year Adobe introduced Premiere Pro CS5 with Mercury Playback and Rendering Engine which leverages Nvidia’s CUDA technology to provide realtime playback and rendering. Mercury Engine just like mercury is quite flexible and volatile in adapting to various systems. This includes the new MacBook Pro’s too!

Check out our very own Dave Helmly’s video below as he showcases the blazingly fast performance of Premiere Pro CS5 with RED and HD footages using the new MacBook Pro.

Flash Zombies attack in 3D!!!

Some time back Adobe Labs released and early 3D API’s for Flash and Air. This preview release is designed for evaluation purposes only.
“Molehill” is the code name for a new set of low-level, GPU-accelerated 3D APIs that will enable advanced 3D experiences across screens through the Adobe® Flash® Platform runtimes. These new low-level APIs will provide advanced 3D and 3D engine developers the flexibility to leverage GPU hardware acceleration for significant performance gains. Today, Adobe Flash Player 10.1, renders thousands of non z-buffered triangles at approximately 30 Hz. With the new 3D APIs, developers can expect hundreds of thousands of z-buffered triangles to be rendered at HD resolution in full screen at around 60 Hz. Using the new 3D APIs in Flash Player and AIR will make it possible to deliver sophisticated 3D experiences across almost every computer and device connected to the Internet.

The 3D capabilities enabled by the new APIs will also be available to the broader developer community through popular ActionScript® 3D frameworks, such as Alternativa3D, Away3d, CopperCube, Flare3D, Minko, Sophie3D or Yogurt3D.

For more information on the Molehill API you can check out Thibault Imbert’s post here

If you want to play this game (Zombie Tycoon) and check it out for yourself , you will need to get the Flash Player Incubator Installer from here :-

Once you have it installed the game itself can be found here :-

So go ahead get your zombie army to bring down civilization🙂

Or if you are more of a car racing fan and drink machine oil for breakfast then you could try out Max racer from Alternativa Platform here :-

Its even got P2P multiplayer!

Heres a clip from the game :

Heres some FAQ’s on the Flash incubator program :-

Heres a demo showcasing the Zombie game :

Back home!

Hey BlogVisitor,
After a week long trip to San Jose I am BACK! Its good to be back too. There are a lot of roadshows lined up for the rest of the year so stay tuned we might just show up in your city.
We are doing a CS5 show for Print, Web and Video at Kochi this Friday 4th. Am also planning on recording some more tutorials and will be posting them up here soonish.

I have noticed the absence of usergroups here in India for either editing or compositing. User groups provide an excellent platform for knowledge sharing and networking. If you do agree with me and would like to start or just be a part of one then please do send me a mail at gvaidya at adobe dot com.

So feel free to browse around and do let me know if you have any suggestions or complaints about this blog. I would love to hear from YOU!

Guru V

Adobe Premiere Pro CS5 Webinar

Adobe Premiere Pro Icon

Image via Wikipedia

hi Peeps,

I will be presenting tomorrow for Premiere Pro CS5 online webinar. I know its last minute but if you would like to join in (its free :-)) please register at the link below :-

In this session, you will learn how to craft stories more efficiently. Benefit from unparalleled integration with Adobe® After Effects® and Photoshop® software, edit virtually anything thanks to broad native tapeless and DSLR camera support, and enjoy industry-leading 64-bit performance.

Premiere Pro CS5 Event Hyderabad

Thank you guys so much for coming over to our event.

(Click on the pic below for a larger size)

Introduction to DSLR Cameras — Philip Bloom

Philip Bloom ( and Andrea Allen (Vimeo) have put together a bunch of videos that pretty much cover all the basics for shooting video with a dslr.

I wish i had seen these before!

Step 1 Research


Step 2 Getting the camera ready to shoot


Step 3 Choosing a lens


Step 4 DSLR Accessories


Step 5 Shooting a Video with a DSLR


Step 6 Recording sound for DSLR’s


Step 7 Shooting a timelapse with a DSLR


Step 8 Nightlife Shooting with a DSLR


Launching Mint on the decade app

Hear what the editor of India’s second largest daily business newspaper thinks about the future of digital publishing, the launch of the paper’s first iPad app, and the impact of tablets on India’s newspaper industry.


“Save Petrol”

Heres the film submitted by the Adobe Youth Voices (AYV) sites at the 16th All India Children’s Educational Audio Video Festival as part of NCERT’s Golden Jubilee Festival 2011, has been awarded the Best Puppetry Video. 

The video ‘Save Petrol’ made by students of Jamia Middle School (Delhi) was given the award in the Puppetry category.

Adobe Youth Voices is the Adobe Foundation’s signature philanthropy initiative empowering young people to Create with Purpose. Youth use digital tools to express themselves about issues important to them.

Vfx in Premiere Pro










On Thursday, December 16th, Emmy, Hugo, and Telly Award-winning director Tim Kolb demonstrated the comprehensive VFX power of Boris Continuum Complete 7 AE in Adobe Premiere Pro.

Webinar attendees experienced:

• Simulated in-camera effects such as BCC Lens Blur and BCC Motion Blur
• Image retouching techniques with BCC Smooth Tone
• Matching Grain in composites
• Recreating Film Process on footage
• Designing sophisticated transitions with BCC Lens Blur and BCC Swish Pan

Comments from Webinar Attendees
“Very good info. I learned that many of my needs can be fulfilled with Boris Continuum Complete. I will buy soon!”

“Love the webinars… keep them coming!”

“Awesome! Really worth the time.”

“I currently use several Boris Continuum Units. I’m eventually going to get the entire Boris Continuum Complete plug-in suite. Great stuff!”

“Very well done!”

“I thought Boris Continuum Complete was just a snappy name for a VFX product. Turns out each effect is complete in itself with tons of parameters.”

“Really responsive moderator… Thank you!”

You can view this webinar recording by clicking on the link below :-

Stabilizing shots with Mocha for After Effects CS5

I put together a quick tutorial here on how to use Mocha for After Effects CS5 to stabilize shots. Even though there are quite a number of ways to do this (like everything else in Vfx), i think Mocha for AE can be yet another tool to accomplish this task. I intentionally used this shot which was a huge trouble maker in the past (theres one in every film).

Hope this helps

The expressions used in the video can be found below :-

for Rotation:-

rotation * -1

and for Scale :-

x = 10000/scale[0];
y = 10000/scale[1];
[ x, y ];

Two Lucky Peacocks

So every since i got my hands on a dslr Ive been on a time lapse shooting spree. One early morning while setting up my camera near my window to shoot some cloud flyby’s i noticed some silhouettes in the corner of the viewfinder. At first i thought they were construction workers but when i inspected closely and got them in focus I saw some peacocks and pea hens on the terrace.

I had never seen them there before. I quickly pulled out my zoom lens attached it to the camera and shot the clip below.

Ever since that day (3rd week Jan’11) ive been trying to catch another glimpse of them but my efforts have been futile.

After Effects Performance tips

I was thinking of making one of these myself but i think Gyorfi Szilard explains it well in his video.

It showcases how to get the best performance out of After Effects especially when working on mammoth comps with a “challenging” system.

Additionally, you can find more tips in the links below :-

Performance tips :-

If you are using a Wacom tablet then there used to be a driver conflict, the following thread can provide a fix

3D glasses … who needs em?

There have been quite a few complaints of headaches with regards to 3D Stereo glasses by regular users.Especially the active ones take a look at this

. So Jonathan Post Experiment ( has put together a demo online which exhibits the possibility of viewing 3D Stereo with active shutter technology BUT WITHOUT GLASSES! Hold on though…before you fall off your chair in excitement you should take a look at this :-


There you go the choice is yours, you can either bear the headaches or plug those electrodes and spaz your eyelids to glory!!🙂

What do you say?

Dashwood Cinema Solutions — “Stereo3D Toolbox”

Thanks to the folks over at Dashwood Cinema Solutions for providing me with an evaluation copy of Stereo3D Toolbox plugin for After Effects. Ive been working with this plugin since the past 2 weeks and think its quite apt for Stereo work.

Stereo3D Toolbox is also available as a plugin for Final Cut Pro and Motion.

Heres a screen shot of the plugin within After Effects

The Stereo3D Clip Coupler is used to mux two streams of stereo video. The Clip Coupler plug-in, as with all the plug-ins in the Stereo3D suite, can be applied to an already pre-existing multiplexed stereo pair (left & right video files married together) that is any number of 3D formats (side-by-side, over-under, etc) as well as be applied to a single left or right eye file and then be coupled with the correct adjacent left or right video clip.

Stereo 3D Geometry provides a more comprehensive way to edit and manipulate all measures of Stereoscopic depth & geometric disparities. It allows for percentage-based corrections, which is crucial when working with proxies of full-resolution 2k & 4k footage as all corrections made will still have the same stereoscopic effects on the native footage. Any disparities in camera alignment at the point of acquisition can be corrected with the Geometry plug-in down to a sub-pixel level and be outputted and viewed in a wide variety of formats.

Stereo3D Ghost Toaster can be used to remove “ghosting” which is caused when there is leak of the left image into right eye and the right image leaks into the left. When this occurs the viewer will see a faint double image around objects within the scene. This occurs most often in high contrast areas of the picture and will create retinal rivalry, as there are severe disparities and asymmetries between the images.

Stereo3D Image Balance can be used to adjust color, white balance and exposure.

Stereo3D Monitor Scaler included with Stereo3D Toolbox “LE” and full version allows you to use desktop and legacy monitors that may not have the same pixel dimensions as your source footage.
For example, the Hyundai IT 22″ 3D monitor (W220S) has pixel dimensions of 1680×1050.  In order to show 1920×1080 material on it in 3D we must scale down the outputs but maintain perfect line-by-line precision using the Stereo3D Monitor Scaler filter.

Stereo3D Text Generator can be used to generate 3d Stereo text.

Stereo3D Virtual Floating Windows :- Virtual Floating Windows (VFW) is a fairly recent and strong stereoscopic tool used in the postproduction process. Keeping a 3D scene within constraints the screen plane to preserve and maintain the viewing window can be a very difficult and a limiting task. If stereoscopic window violations are not addressed then they will disrupt the viewer’s 3D viewing experience. By “floating the window”, the screen plane can be shaped and formed, pushed and pulled in and out of 3D space in every direction.Virtual Floating Windows are achieved adding black masks on the sides of the either the left or right images. Masking the sides changes the apparent depth position of the screen but does not affect the distance and depth placement of objects within the scene. Virtual Floating Windows are a great way to mask stereoscopic window violations, when a subject enters the scene in negative parallax (off the screen, towards the audience). By bringing the perceived location of the screen in front of subject, the violation no longer occurs, as it is acceptable to enter a scene from behind the window, in positive parallax.

Stereo3D Z-Depth Map is designed for converting 2D+Z-Depth Map CGI renders to stereoscopic 3D. The Depth Map filter can also be used to create custom rotoscoped depth maps in After Effects or Motion for 2D to 3D dimensionalization processes.

Heres a video that shocases the Z-Depth Map filter in action :-

A feature overview video

Download the trial from the following link :-

For those new to 3D Stereoscopy, theres a nice article by Tim Dashwood called ” A Beginner’s Guide to Shooting Stereoscopic 3D” that can be found at the following link :-

Ask a CS Pro Sessions —> the motherload!!

Those of you who missed these series of “Ask a CS Pro” sessions can take a look at them by clicking on the links below.

Tips and techniques “straight from the horses mouth”  ;-)

CS5 Features with Greg Rewis, Terry White and Jason Levine (Session held on 5/21/2010)

Getting Started with Premiere Pro CS5 with Filmmaker Dave Basulto (Session held 7/01/10)

Creating Multiscreen Content with Flash Pro with Paul Trani (Session held 7/23/10)

Photoshop CS5 Features with Bryan O’Neil Hughes (Session held 8/20/10)

Accelerating the Review Process with CS Review with Patti Sokol (Session held 8/27/10)

InDesign CS5: Beyond the Top Ten Features with David Blatner (Session held 9/10/10)

HTML5 & CSS3 in Dreamweaver CS5 with David Powers (Session held 9/24/10)

Premiere Pro & Photoshop CS5 Extended for DSLR video shooting with Richard Harrington (Session held 10/01/10)

Produce, Publish and Promote a Video Podcast with Creative Suite 5 with Mike McHugh of Creative Sweet TV (Session held 10/08/10)

Ask a CS Pro: Flash Catalyst with Tanya Heins (Session held 10/15/10)

Ask a CS Pro: Fireworks CS5 for Designers & Developers with David M. Hogue (Session held 10/20/10)

Ask a CS Pro: From Adobe® InDesign® to the Apple iBookstore with Anne-Marie Concepcion (Session held 10/29/10)


“Once upon a warrior” trailer


Dynamic Link is no longer a one way street

A lot of users had asked me if there was something new with Dynamic Link in CS5. I wasnt aware of this “fix” until recently.

As per Todd Kopriva :-

“In Creative Suite 4, Dynamic Link was a one-way street. If you used Dynamic Link to send information from, say, After Effects to Adobe Premiere Pro, you couldn’t later use Dynamic Link to send information from Adobe Premiere Pro to After Effects. You had to restart the applications to reset the direction and use Dynamic Link going the other direction.

In Creative Suite 5, that limitation is gone. This is a huge improvement. But most people didn’t notice, because we didn’t trumpet this in our lists of new features. The only way that you would’ve known is if you noticed that the note in the CS4 documentation about the limitation had vanished from the CS5 documentation.”

Here’s info on the same :-

Free Photoshop Lightroom 3 with Adobe Design Premium CS5!

Video Event in Mumbai (23rd Dec)

I will be down in Mumbai on the 23rd of this month for a video event showcasing the true awesomeness of Production Premium CS5.

Do come down to the J W Marriot hotel to say hi😉

Please find the details below :-

Premiere Pro CS5 vs Final Cut Pro Shootout

This is the first Premiere Pro vs Final Cut Pro shootout held at the LA Post Production Group Meetup ( ). The contestants were given 9 tasks to complete in 15 min. Premiere Pro CS5 was completed long before Final Cut Pro. Enjoy!

Chris Fenwick’s Ask a CS Pro Session (Premiere Pro CS5 vs Final Cut Pro)

For those of you all who missed Chris Fenwick‘s Ask a CS Pro session then please find the link to the recorded Connect session below :-

Chris talks about his history with Final Cut Pro and the reasons why he switched to Premiere Pro CS5. Very insightful views from a users perspective.

After Effects Stereoscopic workflow

Those of you who had attended my stereoscopic session in Chennai and are looking for the scripts i had used for the presentation can find the link for the same below:-​download/​

After checking out the different solutions out there I felt Chris Keller’s technique was the easiest.

Here’s a video that showcases the implementation of his scripts in After Effects.



Shameless Plug 3

Heres an article from Animation Xpress on my Stereoscopic workflow demo at Chennai

3D Stereoscopic editing in Premiere Pro CS5

Since many of you had requested for clarity on stereoscopic editing in Premiere Pro Cs5, heres 7 videos by Dave Helmley which explains the process brilliantly.



Custom camera rigs, eyeware, monitors and tv’s


Muxing footages with Cineform‘s Neo 3D


Advantages of using FirstLight (Neo3D)


Editing muxed footage in Premiere Pro CS5


Additional Neo3D filters within Premiere Pro Cs5


Cineforms Neo3D MAC workflow




iPods as remote controllers in Hotel Rooms!

On a recent trip to Indore, for the last leg of the CS5 Roadshow we were staying at The Sayaji which was also the venue for our event. We were quite amazed to see ipods (touch) with iRemote installed in every room. So in all geekiness i shot this video showcasing this device at work🙂

“The Social Network” uses Production Premium CS5

Here’s a link to a video that showcases how David Fincher (“Seven”, “The Curious Case of Benjamin Button”, Zodiac”) used Production Premium CS5 for his latest film “The Social Network”

Adobe Creative Suite 5 Production Premium: Customer stories.

The Syndicate at NAB

I know this is quite an old video taken at NAB in 2008, but i think its really cool how a VFX studio scales its deliverables using Adobe’s array of solutions for video, web and print. Ben Grossmann from The Syndicate talks about the making of a commercial and a Martin Scorsese short.

Greenscreen and Bluescreen checklist

A set for The Spiderwick Chronicles (2008)

Image via Wikipedia







Tips on shooting GreenScreen and BlueScreen shots by Vfx supervisor Jonas Hummelstrand.

Check it out here

Switch to Premiere Pro

A veteran FCP user Chris Fenwick had recently switched over to Premiere Pro CS5 and is blogging his learnings.

First he listed his reasons for switching over. Heres a conveniently selected😉 excerpt from his blog (  :-

I said that FCP 7 was my bell weather. If it let me down I was seriously gonna think about changing… It let me down in a MAJOR way and i stuck around for another year. But now, after spending a few weeks with Premiere Pro CS5… (don’t leave that part off.. CS5) I got to tell you, I think this thing has legs and if I get a chance to run some ideas up a few flagpoles and have a bit of a say… that would be wonderful.

So, you guys do what you want. I’m sure there will be versions of FCP coming out for a while… (I would bet I could predict the next release within a 45 day window but I won’t tell you as to not incriminate anyone.) But I’m thinking about MORE than today, I’m also thinking about tomorrow.”

He has also started posting various (updated regularly) tutorials on Premiere Pro CS5 :-

3 things unique in Premiere Pro
3 things Premiere Pro can do
3 things Premiere cant do (which he hopes will be fixed in the future)

He has also created a sort of Premiere Pro 101 for FCP users that are new to Premiere Pro :-

Chris is just one of several FCP users who have switched over to Premiere Pro.
I guess the most obvious question that comes to mind is “ What are you waiting for?”

OpenEXR workflow (Maya and After Effects)

As promised earlier, heres the tutorial on an OpenEXR workflow with Maya and After Effects.

The links mentioned in the tutorial are listed below :-

Thank you Brendan from fnordware for writing this plugin and sharing this tip🙂

Hidden secret in After Effects!

I just stumbled upon this today and I think its pretty cool.

I tried this in After Effects CS5 but am sure this will work in the previous versions too.

Try this :-

With After Effects open press ALT/Option(MAC) and click on About After Effects.

You will notice a new comp  listing all the team members!

(click image to enlarge)

Adding effects to multiple clips in Premiere Pro CS5

Here’s quick tutorial on adding effects to multiple clips at once in Premiere Pro CS5.


Speaking of video, heres something I put together on a recent time off at a friends farm house near Bombay.

We were hoping to shoot a short but some of the “actors” (friends who had nothing better to do over the weekend) didnt turn up! (guess they did have something better to do afterall).

Anyways, I took some random shots of the river side property with my new Canon 550D T2i Rebel and put them together in Premiere Pro CS5

I will segway back to the AE tut I had promised earlier in my next post🙂

BBC switches to Adobe Premiere Pro CS5

The BBC is switching to Premiere Pro CS5 software, through which the corporation is improving workflow efficiency, creating a tapeless environment and reducing costs. The corporation is now implementing an additional 2,000 seats of Adobe Premiere Pro CS5 software as the company’s primary tool for desktop nonlinear editing. The broadcaster’s expanded use of Adobe Premiere Pro CS5 software highlights the growing momentum for Adobe Creative Suite 5 Production Premium across the broadcast industry.

“The BBC is recognized around the world as a producer of high-quality programming and news that can be trusted,” said Jim Guerard, vice president and general manager of Dynamic Media at Adobe. “By moving to Adobe Premiere Pro CS5 software, the BBC will be able to boost efficiency by working with software that is integrated with their core systems, and supports rich metadata for content repurposing that can result in new revenue streams.”

The broadcaster has adopted Adobe Premiere Pro CS5 software to increase productivity and efficiency, reduce costs and streamline the process for repurposing content for delivery to multiple channels through a fully digital workflow. The new Adobe Mercury Playback Engine in Adobe Premiere Pro CS5 software allows field-based users at the broadcaster to open projects faster, edit high-definition sequences in real time, and play back projects without rendering. Adobe Premiere Pro CS5 software, along with Adobe Photoshop Extended and Adobe After Effects, is now a native 64-bit application on both Mac and Windows, enabling the organization to get the most out of its hardware investments.

From ingest to encoding, Adobe Premiere Pro CS5 software provides industry leading support for metadata, making assets easier to find and enabling the corporation to derive more value from content distributed across channels. Additionally, Adobe Premiere Pro CS5 software also offers an open architecture that makes it possible to integrate with core systems such as newsroom control systems.

Thanks Ganeshraj for the tip!


Roto Tips from Imagineer Systems

Even though After Effects CS5 introduced the awesome time-saving Roto Brush, there would still be shots that would need manual roto work. Even the spline tools in Mocha for AE (ships free with AE CS5) can sometimes fail with some shots. The only thing left to do would be to put on the miners cap, gear up with a pen tool and get to work. So if you do find yourself in such a situation and are new to the art of rotoscoping then the following points from Imagineer Systems could be useful. Thanks to for the tip.

1) There is no such thing as a perfect matte. Rotoscoping is an art form that takes into account the background image, the movement of the object, and the new elements to be composited in the background.

2) Try to start your shape at its most complex point in time, where it will need the most control points.

3) Break a complex shape into multiple simple shapes. If you are rotoscoping a humanoid form and an arm becomes visible, consider rotoscoping the arm as its own element, rather than adding extra points on the body that will serve no purpose when the arm is obscured.

4) Imagine you are the animator who created the shot. What would your dope sheet look like? No matter the medium, whether CG, live action or otherwise, most movements are rarely linear. They normally move in arcs; they normally accelerate in and out of stopped positions. Try and understand the mechanics behind how things are moving in your shot. This will help you to minimize keyframes.

5) Watch and study the shot before you start working. Where are the changes in directions? These will normally have keyframes. Where are the starts and stops? Are there camera moves that can be stabilized to make your work easier?

6) Don’t be afraid to trash your work and start over. Beginning roto artists often make the mistake of trying to fix a flawed approach by adding more and more keyframes. Experienced roto artists learn to quickly identify an inferior approach and are unashamed to trash their work and start over, often many, many times. It is very difficult to get a good matte without a conscious effort to keep the keyframes to a minimum.

AE Macbook Pro Shortcuts for the NumPad deprived!

Unibody MacBook Pro

Image via Wikipedia


If any of you like me, were forced to use a Macbook Pro at work (rolls eyes) and work with After Effetcs then you might be happy to know that the deficiency of a Num Pad aint all that bad. After Effects has alternative shortcuts for the num pad deprived!🙂

function shortcut using numeric keypad new shortcut
RAM preview 0 (zero on numeric keypad) Control+0 (zero on main keyboard)
Shift+RAM preview Shift+0 (zero on numeric keypad) Shift+Control+0 (zero on main keyboard)
Preview only audio from the current time . (decimal on the numeric keypad) Control+. (period on main keyboard)
Preview only audio in work area Option+. (decimal on numeric keypad) Control+Option+. (period on main keyboard)
Preview N frames Option+0 (zero on numeric keypad) Control+Option+0 (zero on main keyboard)
Add marker at current time (layer marker if layer selected, composition marker otherwise) * (multiply on numeric keypad) Control+8 (on main keyboard)
Add marker at current time (layer marker if layer selected, composition marker otherwise) and open marker dialog box Option+* (multiply on numeric keypad) Option+Control+8 (on main keyboard)

You can find more detailed information on the same here.

some more suggestions by SammyT

Next Frame: fn + up arrow
Previous Frame: fn + down arrow
End of Composition: fn + right arrow
Beginning of Composition: fn + left arrow



Let there be Dynamic Range (OpenEXR)

What is OpenEXR?

First a lil history lesson:-
Once upon a time in a galaxy far far away there were some VFX artists who lived in the ILMSPHERE planet. They were quite unhappy because of the limitations of 8bit and 10bit formats especially when storing high dynamic range images captured from HDR devices. They did have 32bit floating points TIFFs but they came at the cost of disk space and memory.
And so as the saying goes “necessity is the mother of invention” or as an old green dwarf with large ears had once said “Always in motion is the future”.
OpenEXR was born!

OpenEXR features :-
– support for both 32bit and 16-bit floating point
– arbitrary number of channels, each with a different data type
– supports several lossless compression methods
– can be annotated with an arbitrary number of attributes
– is able to support stereoscopic workflow

Some more detailed information can be found here (

Now lets come to why am i ranting about this.
After Effects CS5 ships with OpenEXR allowing for import of OpenEXR files directly (without the need of any plugins).

Even Photoshop allows OpenEXR import.

Stu Maschwitz talks of this workflow here (must read)

I will be posting a video later on using OpenEXR with After Effects CS5 and Maya.

Till then “May the force be with you”

Screenwriting Tips

A very nice collection of screenwriting tips.

Whoohoo…3D Matchmoving in After Effects!

The guys over at The Foundry have released a new 3D tracking plugin for After Effects CS5. I think its the same 3d tracking technology which was introduced in NUKEX.
Heres a link to the foundry site


Mocha & After Effects Tutorial

Heres a tutorial i made recently on Mocha and After Effects.

Do let me know what you think!

If you have any issues with the clarity of the video, you could click on the HD button and view it in Vimeo in fullscreen.
Please feel free to comment🙂

Top 10 Must have plugins for After Effects

Check this link out from Toolfarm…

Shameless Plug 2 :-)

Heres an article about my presentation on Pixar’s RenderMan! This too was eons ago!

Shameless Plug :-)

A long time ago me and a bunch of friends had worked on a commercial for Britannia.

We completed the commercial in 2 weeks (part time), and so Animation Xpress wanted to do a story on the same.

Heres the link to that story

Workflow Guides for several High End Cameras and Formats in Premiere Pro CS5 and After Effects CS5

Heres a link to the Adobe site page in which you can find several workflow guides for Premiere Pro CS5 and After Effects CS5

You can find workflow guides for Canon, Sony, RED and Panasonic cameras.

Premiere Pro CS5 Mercury Playback Engine

Heres a video that showcases the Mercury Playback Engine in all its glory. Its pretty sweet!!

Siggraph 2010 VIDEOS of Les Ekker, creative director and VFX supervisor at Zoic Studios

A collection of SIGGRAPH 2010 videos..heres some of Les Ekker (Zioc Studios).

Zbrush and Maya Tutorial

This one i had written for A lot of artists wanted to know how to combine various Zbrush painted textures in Maya. Theres also a rather embarrassing picture of me😉

I hope this is useful!

Substitute Geometry in Maya

Heres the link to an old tutorial I had written for This was when Maya had just introduced Substitute Geometry. We had just finished a job for “Channel V” at the time and had used this technique to help save time. Now there are much better things to handle stuff like this!

Old 3d portfolio

While checking to see if my blog shows up on google I stumbled upon my 3d portfolio at

I was surprised to see it still there as i havent renewed my membership at cgsociety for years now.

Anyways, for those interested…heres the link :-

One of the reasons I refused to renew the service was because they had a problem with video playback.

The worst part is that they still havent fixed it!

Maximum dimensions in Premiere Pro CS5

A lot of you who wanted to know about the limitations in Premiere Pro CS5. Heres an excerpt the adobe blog ( :-

[Thanks for today’s post go to Steve Hoeg, who did the hard parts.]There have been quite a few questions lately on various forums about what the maximum image (frame) size is that Premiere Pro CS5 can handle.This confusion is understandable, since there are actually several different limits depending on exactly which kind of image frame you’re talking about, and there were changes to the numbers for Premiere Pro CS5.

sequence size:

The maximum sequence frame size in pixels is 10,240×8,192 (widthxheight). If you attempt to set one of the Frame Size dimensions higher than this limit in the Sequence Settings dialog box, Premiere Pro will reset the value to the maximum.

still image and movie size:

The maximum frame size that can be imported for still images and movies is 256 megapixels, with a maximum dimension of 32,768 pixels in either direction.

For example, an image that is 16,000×16,000 pixels is OK, as is one that is 32,000×8,000, but an image that is 35,000×10,000 pixels can’t be used.

CUDA acceleration:

Whether a frame can be processed by the CUDA hardware acceleration portion of the Mercury Playback Engine depends on the size of the frame compared to the amount of GPU memory.

To be processed by the CUDA hardware acceleration, a frame requires ((widthxheight)/16,384) megabytes.

If that value exceeds the available memory, Premiere Pro will use the CPU only for rendering of the current segment.

This means that some images will not use CUDA acceleration on some cards but will on others.

For example, one image size from a Canon T2i is 5184×3456. Doing the math, this requires 1,094MB, which just exceeds the 1GB available on the Quadro FX 3800, but is still within the 1.5GB of the Quadro FX 4800.

Canon 5D Mark II for a Levis Viral!

Canon 5D Mark 2

DSLR’ s have become ever so popular with documentary filmmakers and ad film makers. Heres an interesting viral shot with a Canon 5D Mark II for Levis. Quite Clever!

Live audio mixing in Premiere Pro CS5

A very nice tutorial at layers magazine on mixing audio live in Premiere Pro CS5.

Do check it out!

System Setup for Premiere Pro CS5

For those of you who were curious about what kind of a system would suffice Premiere Pro CS5’s needs :-

There are even diagrams for the same!