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A Buzz About PluralEyes
By Sarah Wise
Published on Monday, November 5th, 2012

Brian C. Janes at Buzine tells Red Giant how ‘PluralEyes is not an option but a requirement’.

If you’re looking for the very latest in film, music, arts and entertainment coverage, Hollywood-based Buzzine gives you all of this and much more. Founded in 1996 as a print magazine, it was recently purchased by the Elfman family and is evolving into a multimedia media network for the very best in culture and entertainment content. On a daily basis the staff at Buzzine create new, exclusive and original interviews, reviews, columns and galleries for global distribution.

Not only do their contributors live in the studio, on the red carpet and behind the velvet rope to get the very hottest exclusives, their style of editing is on a par with the actual films, music and entertainment that they feature. And with scores of new movies, TV shows and albums being released every week in the US alone, the staff and editors at Buzzine have their work cut out to find and feature the best. We caught up with Brian C. Janes, Buzzine’s Director of Production, to find out a bit more about their studios and workflow.

Red Giant: Buzzine.com is a lively looking site and I imagine you have a pretty high turnover of interviews, can you tell us how many videos you produce in a month?

Brian C Janes: Buzzine currently produces weekly original on-camera music and film interviews, so about to 8-10 regular videos per month, plus one-offs and other specials.

RG: Can you tell us about your production suite, how many systems do you have running?

BCJ: We work on multiple edit suites running Final Cut Pro 7 on Intel 15″ MacBook Pros and MacPros and we’re currently evaluating alternative editing applications, but we haven’t made a final decision yet and are holding steady with what we already know works for our immediate needs.

RG:  How many production hours go into each video and how much time do you spend on audio syncing and color correction?

BCJ: When we’re shooting a sitdown interview, we tend to have an average of 30-60 minutes with the talent. We usually bring our own lights to a shoot, capture video on two Canon 5d Mark IIs and audio via wireless lavalieres into a Zoom H4N. Between setup, interview and tear down, we can be in and out of a location in about 90 minutes with a crew of 2, and a bit quicker with a crew of 3.

In terms of editing, Buzzine’s film junket interviews, with total run times between 4 and 6 minutes, require 5 to 10 hours to complete. The one-on-one music interviews run between 6 and 8 minutes and average 10 to 15 hours in post.

RG: How long have you been using PluralEyes, how many productions has it been used for?

BCJ: I’ve been using PluralEyes since May 2011 and have used it on more than 70 productions.

RG: What’s your favorite aspect about using PluralEyes (is there a particular challenge it helps you overcome or a particular feature you couldn’t live without?)

BCJ: My favorite aspect about using PluralEyes is the time it saves me in syncing audio. I realize this is an obvious and primary feature of PluralEyes, but having spent a couple of years manually syncing audio to video clips, and then experiencing the automation of PluralEyes, it’s quite dreamy. There have been occasions where I forget to properly set the audio input levels for reference audio on the cameras and have to revert back to manual sync, but when everything is captured correctly on the shoot, I can plan on setting up my timeline, enabling PluralEyes, and letting it do what it does in the background while I focus on being creative and productive.

RG: I noticed the interview sections for the film releases have a film like quality themselves; do you use any VFX software that helps the sequences blend so well?

BCJ: I’ve been using Magic Bullet Looks since the beginning of 2012 for color correction on all of our interview videos. I believe Looks plays a large part in giving the video footage the film-like quality you’re seeing. And inserting movie and trailer clips into the piece only serves to enhance that quality.

Prior to my awareness of the Magic Bullet Suite, I would look at work by other shooter/editors on YouTube that were using similar gear to ours and wondered how their footage appeared to be more polished than mine. No matter how much I tried tweaking the basic color correction settings in Final Cut, I just couldn’t seem to get the polished feel that I wanted. With Magic Bullet Looks, a whole new world of options opened up to me.

I was a still photographer before I started working with video, so the concept of adding filters and adjusting color settings for a photo was already familiar, but I just wasn’t yet aware of the tools that would enable me to do similar adjustments on video until I found Looks. Now, I can easily create a mood for the interview footage, whether by using a template available in the software, or by creating my own from scratch – which is something I’ve been doing more and more often in recent edits.

RG: Could you talk us through your workflow with PluralEyes and Magic Bullet Suite, for your specific needs?

BCJ: Once we have an interview in the can, I batch convert the footage to ProRes and then load it into FCP. I also load the audio into FCP and drop each camera angle and audio file onto its own track in a sequence. I engage PluralEyes to sync everything up. If the reference audio is sufficiently reliable, I usually don’t have to adjust the sync, but once in awhile the reference audio isn’t reliable (e.g. a windy day, variable audio input levels, camera mic disabled, etc.). On rare occasions, I’ll still manually line up some video clips with audio files. Years of working with audio recording software and waveforms has enabled me to accomplish this step in a very short amount of time. If I only ever had 1 video clip and 1 audio file to line up, I’d probably still do it manually, but any time there are multiple video clips, I now know I’ll save time by using PluralEyes.

Once everything is synced up, I create multi-clips for the two camera angles. This is the least efficient part of my pre-editing workflow as it remains a manual process, but it’s the method that I’ve found works the best for our overall production needs and quality. I’ve seen the recommended workaround demonstrated by the PluralEyes team, and while that has its uses in some situations, I haven’t found it to be directly applicable to our workflow.

I edit the piece together without adding any effects in order to maintain a manageable level of performance from the MacBook Pro. If I begin adding effects right away, playback becomes too choppy and editing slowly grinds to a halt.

Once the piece is edited, I go back through with an eye on final polish. I consider the assets included in the piece, the vibe of the artist being interviewed (Is it Rap? Rock? Folk?) along with the shoot location and then build an overall feel for the interview footage using Magic Bullet Looks.

After color correction, I confer with my producer over Skype or email to review, receive notes, and then complete the edit; I render the timeline, export the video, and upload it to Buzzine’s video server, at which point it’s ready to publish.

RG: You’re using both PluralEyes and Red Giant’s Magic Bullet Suite, what are your thoughts on Red Giant’s acquisition of Singular technology?

BCJ: Red Giant’s acquisition of Singular Technology further positions Red Giant as the one-stop solution for all of an editor’s post-production needs. PluralEyes makes it easy to get started with dual-system or multi-cam editing, and Magic Bullet Suite makes it easy to apply polish and bring the whole piece together as a high-quality and beautiful presentation.

RG: What advice would you give to anyone considering buying PluralEyes along with Magic Bullet Suite?

BCJ: For anyone shooting dual-system audio or shooting any setup in which syncing based on audio will be necessary, PluralEyes is not an option but a requirement. I’ve recommended PluralEyes to numerous editors ranging from amateurs to professionals.

And when it comes to creating a polished and professional look for your videos, Magic Bullet Suite is the place to be.  I was pleased to find that the interface is set up in a way that allows beginners to apply presets with great results and a minimal learning curve, while more experienced or adventurous users can either modify presets or spend time building their own looks from scratch.

So there you have it, it’s clear that PluralEyes saves valuable synching time and helps Buzzine get their interviews online in the fastest possible time. And it’s not just Buzzine who’ve recently seen the benefits: PluralEyes was used to sync the audio on Red Giant’s Webby Award winning film Plot Device and Red Giant’s own Director of Communities Aharon Rabinowitz said ‘I could not believe that literally in seconds it did all the syncing for me. It was incredible. It’s just awesome and totally fits in with things that Red Giant are doing with editors who are doing color correction and they’re also syncing audio a lot.’

For more about Buzzine check out their sites at www.buzzine.com and www.buzzinebollywood.com and see www.redgiant.com for PluralEyes and Magic Bullet Suite product info.


PluralEyes updates for FCPX 10.0.6
By Andrew Cheyne
Published on Tuesday, October 30th, 2012


With the release of FCPX 10.0.6, there was a change in the handling of multicam clips that caused a compatibility issue between PluralEyes and FCPX. We quickly identified the problem and have released new versions of both PluralEyes 3.0 and PluralEyes for Final Cut Pro. Both updates can be downloaded here. While we were busy putting this fix together, we also identified an issue with AVCHD support in our Windows version of PluralEyes for Premiere Pro and have released fix for that today as well, which can be downloaded here.

As we posted earlier, we are aware of the issues with both Magic Bullet Looks 2.0 and Magic Bullet Mojo and the FCPX 10.0.6 update. We are working with Apple to determine the root cause and will provide you with a fix as soon as we have it! Some bugs are obvious and easy, and some require a bit more investigation – we’re doing what we can to get this one resolved!

More to come,

Andrew Cheyne – Director of Engineering @ Red Giant


Red Giant + CrumplePop = 2 new products: Retrograde & Carousel
By Aharon Rabinowitz
Published on Monday, October 29th, 2012

In a previous post we told you that we were partnering up with CrumplePop to create new tools for FinalCut Pro X. Now, we are super proud to present Red Giant Retrograde for FCPX – Co-produced with CrumplePop:

This was truly a team effort that has produced the most realistic 16MM and 8MM film look you’ll find anywhere. Real analog source material was used to create the unique film textures in Retrograde.  By creating laser scans of old, commonly used film stocks, we were able to capture the actual grain patterns, color profiles, and exposure flaws in old Kodak and Fuji film.  When you apply Retrograde to your clip in Final Cut Pro X, what you are seeing is actual film texture – a look that is impossible to create from scratch digitally.  The robotic-looking contrast and color space of digital video disappears, and the milky, faded, and bizarrely punchy look of old 8mm and 16mm film emerges. The 10 presets in Retrograde are completely customizable, but the film looks are ready to go as-is.

BUY IT NOW for just $49 HERE at CrumplePop’s website.

Carousel, our other Red Giant + CrumplePop creation  is another fun product for giving your footage a vintage, plastic camera look, very different from the effect in Retrograde.

Carousel captures the classic look of color cross-processing, film fading, and vignettes. Authenticity was key in development. Each look was created using film prints from a toy camera and 120 film, with care taken to preserve the color profile and unique flaws in the prints that came back from the lab. On top of that, Carousel features optically-captured light leaks to complete the unique feel of using a vintage plastic camera.

Buy Carousel now for just $49 HERE at CrumplePop’s website.

The why of Red Giant + CrumplePop

There are two questions you may be asking about our relationship with CrumplePop : “Why partner at all?” and “Why are the products only available for FCPX?”

Red Giant has been making plugins for ten years and are experts at developing products for After Effects, Premiere Pro, Final Cut Pro 6/7, Avid and Sony.  However, all our products don’t support every host, we pick and choose based on many factors, some business, some technology but all decisions are made to ensure we provide the best possible product and customer support experience possible.  The bottom line is, we can’t do it all well, so we make decisions we feel make sense for the overall quality Red Giant can deliver.

The release of Final Cut X really rocked our industry – it was both scary and exciting.  Because of the lower price point and the ease of use, it opened the door for millions of new editors. It also created new challenges for developers who want to cater to these new editors.

Red Giant is dedicated to making the best products and user experience possible, and this always starts with the best resources in the world.  As some of you may know, the plugin workflow and architecture for Final Cut X is a little different than in other host applications, such as After Effects or Final Cut Pro 7.   As we began discovering the different possibilities, we met the folks from CrumplePop, who have a really deep understanding of, and commitment to, the Final Cut X platform.  We use the word “partnership” because we believe that by mixing the best of what both Red Giant and CrumplePop do, we can deliver some amazing stuff,  in a  standard 1 + 1 = 3 equation. Watch this video to learn more about how we work together to create cool stuff:

When we make a product for After Effects, if the technology makes sense for the Final Cut Pro, Premiere Pro or Avid editor, it’s relatively easy to “port” that product to the other hosts.  However this is not the case for FCPX plugins, the architectures are completely different and not transferable in the same way.  We want everyone to know this is the beginning of this new product relationship and we have bigger plans in the works.  We would love to hear your opinion the subject and want to be as up front as possible about this project.

That said – while we’re working with CrumplePop to make these fun and beautiful products, we also have many other products for FCPX, including:

In addition, we have 6 Guru Presets that work in Looks (which means they work in FCPX, if you have Looks). Learn more about Guru Presets HERE.


Windows 8 is Out and We Are Compatible
By Aharon Rabinowitz
Published on Friday, October 26th, 2012

Windows 8 is out and we’re compatible.  There is one issue you may run into when you begin to install Red Giant products.  The first time you launch one of the Red Giant installers you’ll get a “SmartScreen” warning.  It will say “Windows Protected Your PC” at the top of this box.

When you encounter this dialogue screen, just go ahead and click “more info”, than click “run anyway”.

Everything should install as normal and our Red Giant products have been tested to be Windows 8 compatible.


UPDATE: Trapcode Suite 12.1 – Fixes and New Features
By Aharon Rabinowitz
Published on Thursday, October 25th, 2012

Hey folks – Happy Thursday! What better way to celebrate a perfectly good day of the week by giving you an awesome update to the Trapcode Suite – Now version 12.1.

This is a combination of both a maintenance update that includes bug fixes for the installer, for Form 2.0.4 and Particular 2.2.0 – And it also has a few new customer-requested features in the Particular update. We even have some new tutorials to cover the new features, as well as a new series of Particular 2 Getting Started tutorials from Harry Frank.

Anyone owning Trapcode Suite 12, Particular 2 and/or Form 2 can download the installer and get these updates and fixes for FREE! Get the Trapcode Suite installer HERE.

What’s new in Trapcode Suite 12.1:

Suite Installer Updates

  • This Suite 12.1 installer includes a fix to the issue of Form and Particular not properly installing in CS4 on Windows 32bit.
  • Installer registration fixes to Mir.

Particular 2.2.0

New Features:

  • New Default “Still” mode in Layer Emitter Sampling to be used if a still image is used as a Layer Emitter.
  • Newly Renamed Transform World controls as to differentiate them from the Emitter controls. Useful for writing expressions unique to this control.
  • There is a new “Lights Unique Seeds” control in Emission Extras to allow unique random seeds for each light emitter in scenes with multiple lights emitting particles.Random Seed needs to be set to 65536 or higher for this to work.
  • Unique Light Seeds also affects Streaklet random seed so that different lights get different Streaklet appearance.
  • A new “Particle Amount” feature under Rending allows you to quickly change the amount of particles shown for previewing when Particles/sec is keyframed.
  • The maximum visible particles has been raised to 20million.
  • New Layer Emitter mode RGB-XYZ Velocity that allows particles to get their velocity from the RGB of the Layer Emitter.
  • The “Affect position” control in Turbulence in the Physics controls now goes into negative numbers for a greater range of control.

Bug Fixes:

  • Fixed a bug with Layer Grid Emitter, properly kills particles if alpha is zero so it can be used with Aux (modes Particle Birth Time and Still).

Form 2.0.4

  • Fixed a bug that made Form crash on Mac when Time Remapped using two consecutive keyframes with the same value.

New Tutorials:

Free Presets

  • Ok – they aren’t all new, but there’s a ton (hundreds!) of FREE Trapcode Particular presets on our free site for sharing presets and templates – Red Giant People.


Final Cut Pro X 10.0.6 – Get it now!
By Aharon Rabinowitz
Published on Tuesday, October 23rd, 2012

Hey folks – you probably caught the fact that Apple posted a ridiculously feature-rich update to Final Cut Pro X. It includes things like:

  • XML 1.2 featuring metadata import and export for richer integration with third-party apps
  • RED camera support with native REDCODE RAW editing and optional background transcode to Apple ProRes
  • MXF plug-in support that allows you to work natively with MXF files from import through delivery using third-party plug-ins
  • Dual viewers, each with a video scope display, let you compare shots to match action and color
  • Enhanced Audio workflows
  • Lots more.

We know what you’re thinking – you want it NOW!!!! But you also might be wondering if Red Giant FCPX plug-ins are compatible with the latest version of Final Cut Pro.

Well… They already are, and you don’t have to do a thing.

Rest assured – You can update FCPX with confidence. We worked closely with Apple as we tested our products for compatibility. Those products include:

IMPORTANT UPDATE: Due to some last minute changes in XML formatting for FCPX 10.0.6 that we did not catch right away, if you update to 10.0.6, you will encounter issues while using PluralEyes.  Our engineers are hard at work to get an out to you as soon as possible that solves this problem.  We’ll let you know as soon as the fix is ready. We are currently testing and re-evaluating other performance issues with Magic Bullet Looks in Final Cut Pro X  and will post updates when we have more information from our Engineering Team.

Get the FCPX update HERE.


Monster Roll – Dan Blank Makes His Pitch
By Aharon Rabinowitz
Published on Monday, October 22nd, 2012

Our good friend, director Dan Blank, is making a film pitch to Hollywood. But instead of using a script or storyboards, he’s gone all-out with a Proof-of-Concept trailer that brings classic martial arts films together with today’s CGI and color correction sensibilities. Check out the awesome promo for Monster Roll:

Dan is a power user of Red Giant products – from keying, to compositing, to color correction to visual effects. Check out the VFX + Color Correction reel here, and see some our products in action (plus Dan’s serious VFX chops):

You can check out more Monster Roll stuff at the official site.

Also, check out this Red Room Blog article about more of Dan’s work HERE.


Escaping the Everyday
By Nawal Alaoui
Published on Thursday, October 11th, 2012

Hi, it’s Nawal from Red Giant’s Portland office. You may recognize my name if you have contacted our Support team in the past.  I’ve escaped the Support grind and moved onto Quality Assurance… But what about escaping the QA grind?  Fortunately there are always the weekends and summer months where I look forward to releasing some creative energy.

Part of being a true Oregonian involves turning off your digital devices and living in a tent for most of the summer.  When I am not reporting bugs, testing installers and working on top secret software projects, I am occupying myself with the great outdoors.  A trip to Crater Lake, working at the Oregon Country Fair and several jaunts to the Oregon Coast filled up most of my summer.  Sometimes it involves living off the grid, deprived of phone service and toilets, while other adventures can incorporate the unimaginable merging of nature, technology and art.  Someone once thought of the genius idea of bringing their computer outside, which later evolved to bringing an entire video production team outdoors.  This paved the way for the highlight of my summer, a weekend of camping and video editing in the woods.

In early August I found myself on the dusty grounds of Pendarvis Farm outside Portland Oregon, home of Pickathon, an annual Indie Roots Music Festival.  I worked on the film crew which is the largest volunteer film crew in the nation (maybe even the world?).

I had never been part of any team remotely like this before so it was quite the adventure.  Being on the post production team was a challenge at first–learning FCPX and getting into the swing of things, but the weekend turned out to be quite the success.  It was a delight to work with the senior editor, Lance, who apparently was no stranger to Red Giant as he won our Magic Bullet Suite for a film competition in the past, and knew Stu Maschwitz (small world!), the Magic Bullet creative director.

While the weekend event was happening, there was live video feed broadcast over the website. It was my job to create some of the content. I worked on short intro videos for each band as well as minute long clips that showcase the festival.  This ranged from pieces on the food vendors to camping and comedy sketches. One of my favorites was a clip showing how people were trying to beat the heat.  During the weekend we experienced a couple days that were well above 100 degrees. It was so hot we didn’t know what to do with ourselves (says the girl editing video in an air conditioned trailer) but really, people were literally dousing themselves with water to stay cool.  Here’s the clip:

YouTube Preview Image

The camping film industry may be relatively new, but it is sure to stick around indefinitely.  I mean, really, who can’t get down with a weekend of cameras, computers, dirt, sweat and warm beer?


PluralEyes 3 is Here! Audio/Video Sync in Seconds!
By Aharon Rabinowitz
Published on Thursday, September 27th, 2012

Hey folks – today we’ve released PluralEyes 3. If you’ve already used previous versions, then you know how fricktastically awesome it is. If you’ve never used PluralEyes, here’s the elevator pitch:

(BTW – You can check out our film Form 17 HERE, and an expanded behind the scenes video HERE.)

The long and short of it is this: For videographers and filmmakers with audio and multi-camera recordings, PluralEyes revolutionizes the workflow of films, weddings, events, music videos, commercials and documentaries. The new PluralEyes 3 takes the tedium out of syncing audio and video footage, accomplishing in seconds what used to take hours or days.

Though it’s version #3, this is Red Giant’s first release of PluralEyes, since we acquired the technology. Today’s release is Mac-only, but Windows support is coming soon.

Here’s what’s new in PluralEyes 3:

  • Serious Speed Boost - Syncs in seconds. Version 3 is 20x faster than Plural Eyes 2. Seriously.
  • New UI and Timeline – Have more confidence with a timeline and visual feedback. Users can identify problems before they happen, and watch the sync occur in real time. But don’t blink, because it will happen FAST!
  • Test and tweak -  New quality control options like Two-Up View and Snap to Sync, along with a visual timeline.
  • Get sync functionality in one place - Red Giant’s integration of DualEyes functionality has created a standalone PluralEyes application, taking audio/video syncing out of the NLEs and into its own consolidated work environment. The new standalone application supports a broad range of filmmaking workflows including native DSLR, along with other cameras, file formats and codecs. More info HERE.
  • All Hosts and OS’s for One Price - Previously, you purchased PluralEyes by host app. But… As a part of our Red Pledge, when you purchase PluralEyes 3, you get it for ALL host applications supported by PE3 – not just one. And PE3 supports a lot of apps! Users get exactly what they need with one simplified purchase.

And of course the big question… What’s it going to cost you? You know, I’m glad you asked.

Pricing and Availability

  • New $199 (includes ALL supported host apps)
  • Upgrade $79 – for ANY previous PluralEyes or DualEyes customer
  • As a part of our Red Pledge Guarantee, customers who bought PluralEyes 3 AFTER 3/17/2012 will get a FREE UPGRADE to PluralEyes 3. A coupon code will be emailed to you shortly.
  • Mac only. Support for Windows and other host applications is  coming  – PluralEyes 3 owners will  get a free update, when released.

Want More info? Check out these links:


PluralEyes 2 and DualEyes 2 Update
By Aharon Rabinowitz
Published on Thursday, September 20th, 2012

Hey folks – if you own a license of PluralEyes 2 or Dual Eyes 2, you may have woken up to find out that your license has expired. Rest assured, PluralEyes 2 still works, but you need to download the latest installer HERE. You will also need to convert your singular Software License Key to a Red Giant License key. Here’s how. It’s easy and will take just a few moments. Here are some FAQ’s to help you out:

So what exactly just went down?

You might not think too much about this, but acquiring and integrating technology always has complications, and they’re never the same. It’s amazing how many details go into what seems, to the outside world,  like a simple thing. Licensing is one of them.

Singular Software used a licensing service that checked your license every time you started up PluralEyes – it was a good system that has worked for many years, but it’s not the one we use.

I know what you’re thinking: If it was a good system, why on earth did we make the switch? Couldn’t we leave well enough alone?

No, we couldn’t – that licensing service was due to lapse – something  that would leave existing PluralEyes users without a working license of their software. Since we don’t control the service, there was nothing we could do about it. And that’s not the Red Giant way.

Seeing the problem, our crack team of engineers (which includes RG and Singular’s engineers, now under one banner) burned the midnight oil to make sure that PluralEyes users did not get stuck without the software they’ve come to depend on. We managed to get all of the existing licenses into our licensing system in record time.

Believe me when I say this – this effort was no small thing. Different technologies do not easily mix, but the team worked hard to make sure years of Singular customers (and now our new ones) were not left in the cold. And while it means you have to download a new version of the software, it also means you have what you need to get the job done.

Just another of the many reason’s I’m proud to work at Red Giant, where customers really do come first.


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