How to Unlock Adobe Premiere’s exclusive CUDA acceleration for any NVIDIA card

How to Unlock Premiere CS5.5 and use your NVIDIA video card with CUDA acceleration

Although my beloved NLE Vegas has been using R3D native for years now, there have been some incredible leaps made by Adobe as of late. CUDA acceleration within Premiere CS 5.5 allows the software to utilize the GPU processing power from your video card. This means editing 4k/5k material is faster than ever, and doing things like adding effects and grading is applied in realtime – without a hitch. The only thing standing in between you and taking advantage of the acceleration? Adobe has essentially “short-listed” a few higher powered video cards that will take advantage of CUDA GPU. If you don’t own one of them, then you will have to run CUDA in software mode only, which means you will have to take a serious performance hit.

Until now.

Read on for a step by step how to for “hacking” or “unlocking” Premiere, and get the most use out of your video card. Before you decide to Unlock Premiere for CUDA acceleration – a few caveats to be aware of:

  • Will only work for NVIDIA cards
  • Your card should have at least 1GB memory
  • Also must have DDR3 or DDR5 memory (DDR2 clashes with the Mercury Engine)
  • Works better on Intel chipsets
  • You will need to repeat this process each time Adobe patches Premiere

 

There are a ton of video cards out there, these are most of the recent offerings from Nvidia. If you are on the fence about trying to run CUDA acceleration with your current card, check out the list below for some extra insight – created by the guys at Studio One Productions.
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RED Studios Hollywood Open House – Wednesday February 29th

RED Studios in Hollywood

Those of you who live here in Los Angeles should make note of the ‘RED Open House’ this coming Wednesday night. They’re planning various screenings on their proprietary 4K Red Ray home theater setup, as well as other goodies. From the press release:

RED OPEN HOUSE is a rare and not to be missed event hosted by RED Digital Cinema at RED Studios Hollywood .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 hang out with other industry professionals. Special presentations to the community will be made by insiders at RED, as well as a screening of new trailers and footage in 4K and 3D.

Wednesday February 29th, 5-10pm
RED Studios Hollywood
846 North Cahuenga Blvd
Los Angeles, CA 90038

Register here

I am planning on going, so if you decide to drop by make sure you say hello.

Shoot It. Share It. Panasonic’s AF100 Competition

The AF100 competition from Panasonic, dubbed Shoot it Share It

The AF100 competition from Panasonic, dubbed Shoot it Share It

This is a good opportunity for anybody who’s shot something on the AF100 within the last year – the Shoot It Share It competition is in full swing with prizes ranging from matte boxes to monitors up for grabs. I grew up idolizing cameras like the DVX100, which was essentially the de facto camera for shooting 24 frames per second on mini-DV tape. The AF100 is just a tool, but it’s a camera that comes from a long lineage of ‘game changing’ cameras that really set the pace of what we have come to expect from the pro-sumer market.  So, if you’ve shot any completed projects with the AF100 in the last year, you should submit now. The catch – the deadline is March 7th, so submit now.

From Camera through Post – Scarlet-X workflow tutorial

Scarlet-X RAW R3D workflow pipeline

A quick Scarlet-X workflow tutorial

Check out this quick tutorial on an example workflow on the Scarlet-X. It is designed to maintain the native-RAW data for as long as possible throughout the pipeline. This is definitely not an “end all be all” post workflow, but it is a good primer for those of you looking for some direction on a simple, straightforward approach.

Check it out below: Read more

TUTORIAL: Camera Projection in NukeX

Camera Projection Tutorial Timelapse for NukeX

A Timelapse Camera Projection Tutorial for Nuke

The time has come, I have decided to put together a tutorial. It was spurred on by this post, in reference to a timelapse shot being animated with a camera in post. The funny thing is that I’ve used this specific technique on my reel opener a few years back. In this tutorial I will be supplying you with the same source footage I’m using as well as the started and finished Nuke scripts. Contextually speaking, I think it’s really helpful to follow along actively – that means downloading the footage I’m using and doing the work yourself at the same time.

This is the first tutorial I’ve done for the blog, and I plan to do many more so please leave comments or messages to let me know what you think. It was done on the fly, so there are plenty of “ums” and “ahs”, and a few times I even get stumped on things. However, this tutorial will teach you both the basics as well as the mentality behind doing 3D projection timelapse setups. Even if you aren’t a compositor, as a visual filmmaker it’s good to know that you have these options in your proverbial bag of tricks and knowing what’s entailed so when you’re shooting in the field you’ll know how to shoot for post.

If you’d like to download the footage and project files I’ve used, get them at the bottom of this post. 

So without further ado, the tutorial: Read more

Vimeo Awards Deadline is Looming

The vimeo awards festival deadline is February 20th

The Vimeo Awards Festival deadline is February 20th - get your submissions in now

It’s already February, 2012. Incredible how time flies – it’s already near the deadline submission for the Vimeo Awards. Get your entries in by February 20th and you’ll be in the running for a $25,000 grand prize, in addition to the $5,000 prize for category winners. Speaking of categories, there are plenty to choose from – quoted from the website:

Submissions to the 2012 Vimeo Festival + Awards are now open.

Celebrating the best in online video, the 2012 Vimeo Festival + Awards are jam-packed with new judges, new categories, and new monies — $5,000 grants for category winners and one $25,000 grand prize.

Scarlet-X V-Mount (on a budget)

Scarlet-X V-Mount battery setup

Scarlet-X V-mount battery setup - on a budget

Matt Johnson posted a thread over on the REDuser forums in regards to his solution to powering the Scarlet sans Sidehandle / Wooden Camera components. From the thread:

 

The excellent Cinemaoxide V-Mount Plate Adapter $169
RED XLR to Lemo Cable $120
Generic E-bay V-Mount plate $49
AXRTEC V-Mount 89WH battery $129 (which now appears to be $229 that I go to buy some more … wtf)

I originally got the XLR cable because I needed the RED Lemo to make a custom power cable for my helicopter. So I did that, and put a molex connector on it. So I just had to put a matching molex on the v-plate. No problemo. Total cost including the 1 V-mount battery = $467

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KineRAW aka the Chinese RED

The $8,000 S35 RAW digital cinema camera

The $8,000 S35 RAW digital cinema camera

There have been posts circulating on DVXuser for a while talking about alternatives to the ALEXA and RED cameras. There seem to be two names that keep cropping up – Ikonoskop and KineRaw. Today we talk about the latter. It’s a camera that shoots RAW Cineform to non-proprietary 2.5 inch SSDs, or direct to HDD. That is a winner for me, as a Scarlet-X owner, I find it frustrating to be forced to use overpriced proprietary media. Yes, I’m looking at you RED.

Here’s a quick primer, from their site:

KineRAW-S35 is a Super35mm sized CMOS sensor camera with outstanding low light performance for HD use as well as for making DCP for projection in modern digital movie theatres where signal to noise ratio under difficult lighting conditions is very important. The useful EI/ISO range is quite wide rangefor normal noise levels and higher for somewhat higher noise levels. The sensor gives a wide dynamic range allowing shooting of contrast ratios that previous video cameras in its price range could have had real difficulty holding onto with its level of finished image quality.

A bullet point run-down of the details on the KineRAW S35:

  • Super 35mm sized CMOS sensor
  • Dual raw recording, uncompressed 12bit linear cinemaDNG (800Mbps) or 10bit log90GoPro Cineform RAW (100Mbps), uses regular 2.5 inch SSD or HDD (shoot and dump)
  • DCI 2K 1-24fps, 1080p 1-30fps, 720p 1-60fps. (Not yet finalised)
  • Interchangeable lens mount, supports PL (standard), Canon EF, Nikon F, OCT-19

The footage I’ve seen looks very filmic/analog to my eye, it could be a winner. Check it out: Read more

Cinestyle Testing (5DMKII)

Screengrab from 5DMKII color profile cinestyle testIt’s often a question of fighting the native codec when it comes to the 5D. The issue isn’t that the camera doesn’t produce visual images (it does, and I use it all the time) but that the camera mangles the footage right before the files are written to CF cards. Maintaining what little data you can in an H264 is something of an art, and there have been various color curve settings in camera that help to save the image, if only a little. My personal favorite is the technicolor Cinestyle profile  and it just so happens that this test features the Cinestyle profile. The tests were shot by Mike Kobal, one with cinestyle ungraded and one with a grade applied after. Without further ado, feast your eyeballs: Read more

HOLLYSHORTS now accepting submissions

Film festival Hollyshorts is accepting submissions through June

Film festival Hollyshorts is accepting submissions through June

This is a quick reminder for those of you who, like myself, find it incredibly difficult to stay abreast of when festival deadlines are looming. Today, that festival is Hollyshorts. Their call for entries was opened on February 10th and closes June 1st. Read more