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[♪techno music♪] [electronic voices] DAV Tech Table. A techno revolution. [♪♪] [DAV Tech Table with Dave Helmly] [3D Stereo Editing with CS5] Welcome to DAV's Tech Table. In this series we'll discover the new workflows for 3D Stereoscopic editing in Premiere Pro CS5. Adobe has teamed up with CineForm and their award-winning Neo3D plug-in. This new 64-bit plug-in for CS5 is absolutely amazing. It offers full 3D Stereoscopic editing in Premiere Pro's Preview Monitor. Just slip on your favorite 3D glasses and just start editing. It's absolutely incredible. Imagine sitting down in front of your computer while you're editing watching all the action coming right at you. It's pretty amazing. And if you've been doing 3D editing for a while and 3D is not really thrilling you right now, you really just want to get down and learn about the different workflows and the editing, this 45-minute series should give you a lot of great tips. But for those of you that are just getting started, there's a lot of little pieces that you need to be aware of. So we're going to go ahead and talk a little bit about equipment before we get into the workflow. A couple things that you need to consider. Take a look at the list I'll put up here. These are the types of things that you want to sort of have on your shopping list before you get started with 3D editing. This is just a quick list, but these are some things that you want to think about. First of all, are you a hobbyist or a pro? Can you shoot with just a pair of cameras which I'll show you in a minute, or are you going to have a special 3D rig? Who's the audience that you're shooting for? Where will it be viewed? Is it going to be for television, maybe just Internet, or just standard computer playback where you just want to be able to view your work in 3D? What type of rig will you use? You've got to have a way to mount these cameras, hold them either on a tripod or in some sort of handheld rig, something like an Ikan rig or a Redrock micro rig, but you're going to need something to mount these cameras. Speaking of cameras, what type of cameras are you going to use? Obviously, you need at least two, so I'll show you a couple of examples that you can think about as well as some professional rigs. Let's jump right in and take a look at a couple of rigs that I put together myself. One of the first rigs I put together just really to start understanding what it takes to shoot 3D and what some of the issues are were these two flip cameras. And as you see, I've gone ahead because I learn pretty quick and I've labeled one of these Right and one of these Left because at all times you have to keep track of which camera is Right and which camera is Left. And as you see, I have these mounted on a simple Ikan mount. Ninety percent of the time you're going to want to shoot with these things on a tripod. Really any dual camera setup you're going to want to use on a tripod. Lots of weird things can happen when you start moving these things around because the sensors really just aren't geared up for that. But it gets a pretty interesting result when you shoot 3D, and it's a great way to get started just to learn it, especially if you're going to download the trial versions really just to get some fun out of this and figure out how this works. One of the next rigs I worked on and one I still use a lot today is this Canon rig that I have two identical AVCHD cameras. I've shot some pretty amazing video with this. It does have its limitations, so I should tell you. First of all, you have to make sure that you take each of the SD cards in here and label one Left and one Right because it's pretty easy to get the SD cards mixed up. I've done it a few times. And your 3D result, pretty easy to tell when you've done that. But a couple things you want to worry about. You want to worry about having each of these cameras in exactly the same mode. Start with the default mode, maybe 1920x1080 at 30p, and you want to go ahead and make sure your zoom levels are set all the way out. But when you shoot this way--and you see I've actually got it mounted on another Ikan rig, trying to mimic the space between my eyes. Again, this is still a little far out. It's as close as I could get these cameras together. That is part of the limitation, so I just don't really shoot anything that close. I shoot things from about eight feet on out, and it actually is a pretty good result, and the pictures are amazing. So I highly recommend starting with a rig like this. Each of these AVCHD cameras are under $500 apiece, and it's a great way to get started. I will tell you I was talking to my friends out at GoPro video. If you remember the GoPro cameras, they are these little cameras like this, and they've actually got a rig coming out pretty soon. Here's a look at their prototype over here, and as you can see, it's really nothing more than two of their HD cameras put together. So there's going to be a lot of these rigs out there. For those of you guys that are shooting a lot of DSLR video, you guys can play in the 3D game too. Just go find another friend that happens to have a Canon 5D, for example, or another camera exactly like yours and go ahead and shoot video. Obviously, we've got these two cameras set as close as we can together, and the lenses are still pretty far apart. So you're going to want to make sure that you're shooting your video far enough back. All of these cameras have a very similar problem. Let me go back to my original rig here. When I'm trying to shoot with this--and again, typically on a tripod-- I have to try to start and hit these two Start buttons at the same time. Or you might want to go ahead and use a remote. The issue there is trying to get these things lined up is really-- You'll drive yourself nuts. So you have to go back to the basics and just get yourself a slate like this one. This is a typical Ikan slate. When I push the buttons on the camera, I'll typically just come out here and just [slate snaps] go ahead and take a mark and I'm all set. Or you can clap your hands. Sometimes you can use a visual cue if there's a lot of things going on in your scene, but it's a lot easier just to go ahead and use a slate like that. So I highly recommend it, especially on rigs like this that you've made yourself. What's happening on the professional side? Well, I have had the opportunity to team up with Panasonic on a brand new camera that they've been working on. It's amazing. It's the AG-3DA1. I've been shooting downtown Annapolis with this camera for a couple of weeks now, and I am totally sold on it. It is a lot of fun to shoot with. In principle, it's pretty much the same as these other cameras, meaning that you've got two SD cards in the back, one left, one right--you still need to label those. But what differs with this camera is you can actually zoom in and out because you're guaranteed that you can go ahead and get to those Left Eye and Right Eye information at the same rate. With these cameras that I just showed you, you really can't zoom because you can't guarantee that you can go ahead and get that follow-through. So the pro cameras out there are really designed for that. Some other things that they've done with this camera which is totally amazing-- and again, the quality is pristine-- there's actually a Convergence button over here, and that has to do with how close your subject is to your camera and how far your eyes need to be apart, if you will. These two lenses need to be apart in order to create the best 3D effect. And they've come up with a Mix mode where you just hit the button on the camera and you can turn the dial here, which also doubles as your Iris dial. So you go ahead and turn this dial here, and you superimpose both of those images. And what's really nice is it also works as you're looking through here, so you don't always have to depend on the LCD. And they have done a great job with this camera. I think this camera is coming out pretty soon, and I think it's going to be one of the leading cameras out there, especially in the broadcast industry, where I've been getting a lot of questions on broadcast television users that are gearing up for 3D-- how to shoot these commercials and stuff. So this is really the first rig I've seen where you can just pick it up, go out, and shoot. And you really don't have to think about anything. You can just point and shoot. Obviously, on a tripod you'd get an amazing result. But packed with features, so go ahead over to their website and check out the AG-3DA1. I think you'll be highly impressed. I've got some really cool workflows for this camera I can't wait to show you because there are some specific things coming out for this camera and the Adobe CineForm workflow where it's really going to make this a breeze to use. So let's take a look at a couple other things that are going to be important, and that is the types of glasses. Let me go ahead and give you another slide over here to talk about the different types of glasses. Let's go ahead and take a look at the glasses that you might be using when you're editing. You've got a number of different choices to think about. I've showed you the list, so let's talk about some of the details. Some of the first glasses you might have been exposed to would be these red and blue glasses. Not only do you look like an idiot with some of these 1950s technology, but they really don't give you that great of an image. It's okay for aligning things, but your color gets pretty washed out. Your edges actually look pretty good with this, but they really are kind of dated, and there are some better solutions out there as far as colored glasses go. You'll see these newer design ones, and some TV shows have actually used this. Shark Week I think I used these with. They're green and magenta glasses. You still look like an idiot wearing them, but the image that's on there you actually get a pretty good image. The color retains itself okay, and the edges look pretty sharp, and it actually works out pretty good for editing anaglyph. I typically have the best luck with these amber and blue glasses for retaining color. It actually works pretty good. I got these at a trade show. They were showing Monsters vs. Aliens. They work really great for me. One of the questions I get is, "Do I really have to deal with paper glasses?" "I see these plastic glasses out there." And you're right. There's plenty of these plastic colored glasses. You'll see them on Amazon. They run about $4 or so. They actually work okay. I've also got a set of amber/blue ones here, and I've got some red/blue ones as well. I spend a lot of time playing with these different glasses. And again, they're all relatively cheap. But I have to be honest with you. The paper glasses actually give you a much better image. I started doing some research on why, and it really boils down to a pretty simple thing. These actually use a film that they use for lenses. These actually use plastic, and they have to sort of mix the plastic at the right color in order to get that exactly right, and plastic of course has different properties versus film that's been exposed and developed. So this is a much better technology as far as giving you a crisper image. So you can test that out for yourself. But for my result, I typically use paper glasses, and it's been pretty good and given me the best result. What about polarized glasses? These are the technologies that you see in the movie theater, like Avatar and Toy Story, and these are actually the glasses that I used at the last 3D movie I saw, so Real 3D glasses. My local theater is actually tossing them or just telling you to bring them home. They're not even recycling them anymore. They actually work great with monitors like this Hyundai monitor that you see up here. I've got one of these monitors, and it works great with these glasses. I have found a way to get a better image when you're dealing with passive glasses, passive technology meaning the glasses have no battery, they're not powered, and that's using a company called Microvision Optical. Not only do you get a better-looking pair of glasses-- and these run about $35 or $45 or so depending on the model that you get-- they actually have better optics in the glasses, and I get a crisper image on that Hyundai display, and there are some other passive displays. So I highly recommend these glasses or this company, and you can look at their website--'ll go ahead and put it up here for you-- where you can go ahead and check out the different glasses that they have. But be assured that the image is going to look great. What about viewing monitors like you see in the electronics stores, these new consumer 3D television sets? I went down there and picked up one, and they actually come with, or you have to buy them separate, active glasses. These are glasses that are powered, and the image looks absolutely amazing. It's just jumping right at you out of a 50-inch or 40-inch display. And the prices actually are not as high as I would have expected. They start at about $1400, maybe $1500, and go right on up. I've looked at a bunch of them, and you can pretty much use any of them with our workflow that I'm going to show you today. I'll be featuring the Panasonic VIERA series in this series that I'm showing you, and that monitor works great. But really any of the 3D monitors out there work great. The best way to view your image--and I get this question a lot, and I'll go over some of this in the workflow guide as well-- the best image that you can possibly get is to go ahead and buy a 3D monitor and a 3D pair of glasses, what they call active glasses. And the 3D Vision glasses from NVIDIA are bar none the best that I've used out there. You can put these glasses on, and while you're in Premiere Pro, as I said before, you're just editing. You have a nice-looking interface, no horizontal interlacing going on. It looks absolutely great. So you can just go ahead and start editing. Your program monitor is coming right at you. You can glance over at your second head monitor if you have two of these monitors like this Alienware display that you see over here. The editing is absolutely amazing. So for editing I highly recommend these glasses. You can actually mix the workflow. You can actually have maybe a consumer television set as your second monitor and have NVIDIA glasses paired up with an Alienware display. That's going to work great. Obviously, you'll be switching glasses back and forth. And really once you get into editing, you might not even be editing a lot in 3D. Once you know everything is set up, you pretty much just take your glasses off and edit off of the Left Eye. It's really pretty amazing. Let's go ahead and jump into Premiere Pro and take a look at this workflow. I want to mention for my Mac users out there, I did go ahead and get my hands on the early development plug-in for the Mac, and I am going to show you guys how that works. It's coming along great, and it should be shipping shortly. Summer 2010 is what they're telling us. This is currently July 2010, so hopefully it's not too far off. But I've got my hands on the plug-in, and I've been testing it daily, and it's coming along great. So you guys just hang tight, watch the workflow for Windows. It's pretty much exactly the same with what you need to deal with as far as the ins and outs of videos go, with a few interface changes which I'll share with you at the end. So let's go ahead and jump into Premiere Pro and catch the action in 3D. Once you've got Premiere Pro CS5 installed, the next step is to get the Neo3D or NeoHD plug-ins installed. If you don't have those already and you're just trying it out, head over to CineForm's site and download the tryout. What you'll see when you get there is there's three basic products for the editing 3D category. There's NeoHD which supports up to 1080, Neo4K and Neo3D. The main difference between NeoHD and the 4K and 3D products are the additional resolutions that they support as well as some additional options. The higher end products support 2K, 3K, and 4K editing and additional keyframing editing abilities as well as independent Left Eye, Right Eye adjustments, ghostbusting, and they even support dual link SDI stereo for things like real projectors that you see in the movie theaters. Click on the NeoHD and then click on Try It. Once you fill out the appropriate fields and you get your email with your download link, you should go ahead and get a copy of the Neo3D or NeoHD plug-in. Just double click on it and follow the prompts. As I mentioned in the intro video, it's extremely important to keep track of your Left Eye assets and your Right Eye assets. So let's go see how I've done this. I'm going to go ahead and jump on to my video hard drive. Here you'll see I have my project called Annapolis in 3D. I went ahead and created two additional folders, Left Eye SD Card and Right Eye SD Card. For my Left Eye SD Card I went ahead and copied the entire contents of the folder, just grabbing the root folder, which is the Private folder, and dragged it directly in to the Left Eye SD Card folder. Let's go ahead and do the same for the Right Eye. As you see, the topmost folder in this case is called a Private folder. Just drag that directly in and let it copy. The next step is to go ahead and convert your SD card footage into the award-winning CineForm codec. This gives you the quality of uncompressed 10 bit with only about 15 percent of the file size, and it also gives you the ability to add active metadata, which we're going to go ahead and cover later. The next step is pretty easy. It's converting your files into the CineForm codec. Before I do that, let me go ahead and show you what the original files look like. Let's go ahead and navigate back into my Annapolis folder and go all the way down to the Stream folder. I have a folder structure that looks like this because I'm using AVCHD. Yours might differ a bit, but the concept should be the same. I'm going to go into my Stream folder, and here you see because we're using HVCHD I've got .MTS files. This would be the same for AVCCAM and even some other formats. If you happen to be using a different camera, say a Canon 5D or even a flip camera or something like that or maybe a Nikon camera, you might see .MOV or .AVI and in many cases you'll see .MP4. None of it makes any difference other than that's where you need to point the next step. The next step is to go ahead and bring up HDLink for Windows or ReMaster if you're a Mac user. Click on the Convert tab, the Select Folder button, and go ahead and point it back down to that Stream folder and click OK. Here you should see your files listed. You want to make sure to go ahead and un-check Split Scenes for HDV conversion only. I'm not sure why it defaults to that on, but it does. So I'm going to go ahead and click Start. I'm going to go ahead and select the Right Eye folder as well and click Start. So now I'll have my Left Eye converted and then my Right Eye converted. Let's go ahead and look in that folder and see what it did. As you can see, it gave me some new files, and because I'm on the PC it ended in .AVI. Of course the Macs would end in .MOV. From here I'm just going to go ahead, and to keep myself organized I'm going to go ahead and create a new folder called Left CineForm and of course another folder called Right CineForm. Let's go ahead and move those AVI files. I'm just going to press the Control key and move these AVI files over to the Left CineForm folder. Again, I've got my original files here, and I've got my CineForm files here. This step is totally optional. It just helps me stay organized. Go ahead and do the same for the Right folder. I'm in my Right folder here, and I'm just going to go ahead and select these files here and drag them down to the Right CineForm folder. And now I'm ready for the next step. For those of you using the new Panasonic AG-3DA1, you can actually do conversion and muxing in one single step in the latest CineForm First Light update currently running under Windows. What you do is you basically go to 3D Mux before you do anything, and let's go ahead and select our Left Eye file. So I'm going to go back out to my Panasonic AVCCAM Left folder that I dragged and created, and I'm going to go to Stream, and I'm just going to come down at the bottom under File Type down here, and I'm going to tell it that I want to see Panasonic AVCHD files. You'll notice that it automatically will list those MTS files. I'll go ahead and just click the first one. And let's go ahead and do the same thing for the Right Eye. You'll notice the 3000 came up. All you do now is just go ahead and set a destination. Create a new folder called 3D Output and save that. Save. At this point you just click Auto Mux. As you'll see, it went ahead and added all of those files just like before, but the main difference being you don't have to use the HDLink application. You're doing everything you need to do, from converting the file from CineForm format and muxing it at the same time. Again, this is a great time-saver when you know you're using a camera like the Panasonic 3DA1 where I don't have to worry about frame sync. So that camera is already on the money by the way it's designed. So just a quick peek at some of the workflow changes that are happening in this fast-moving 3D editing workflow. The last step and the most important step before we jump into Adobe Premiere CS5 is to open up the First Light application and mux the two files together, meaning we're going to tie the Left Eye and the Right Eye together in one file. Go ahead and open up First Light and point it at one of your files. Let's go ahead and start with the Left Eye. Then I'll go ahead and point it to the Right Eye. In the case of using standard AVCHD cameras, you can see one of the issues, and that is that these cameras always start naming their files 0000 and then 0001 and so on. So what we want to go ahead and do is keep track of which file was Right and which file was Left. So I wanted to point this out before showing you another step that I do to prep the file. I'm going to go ahead and delete these two files, open up Adobe Bridge, and I'm going to point it to that Left folder, and I'll do the same for the Right. I'm going to shift select these three files here, and I'm going to go under Tools, Batch Rename, and I'm just going to go ahead and name those Annapolis Left, and then I'll just underscore that and then I'll give it a sequence number of two digits and click Rename. You'll see that it went ahead and renamed these files for me. Let's go back out and do the same thing for the Right folder. Now I've got my files organized, and from here you can just close Bridge. Let's go back into First Light and re-import those now with Left name and Right name. Here's Annapolis Right and Annapolis Left. Again, this is just what I do to keep myself organized. At this point you can start to see by clicking on each one of these files there's just a slight difference in the file, just a little bit of a shift. So as you recall in the intro video, I held up that Ikan slate, or you can clap your hands or use some other visual cue, but we need a way to make sure that both cameras started at the same time, which we're pretty sure you were probably one or two frames off when you're doing sort of a manual start. Another advantage of the Panasonic 3DA1 camera is you're guaranteed that both SD cards are writing at the same time. But for those of you that are just using two independent cameras like some of the rigs I showed you, by using a clapper board or a slate or clapping your hands or some other visual cue, it's really not that hard. I'm going to go ahead and fast-forward this to where I held up the slate and click Set. So I've got Left Eye, Set, and do the same thing for the Right Eye. So just right when it clips down and click the Right Eye and then Set. You'll see that the Sync Frame that we're telling it to use as a reference is 138 on the Right, and if I click on the Left it's 137. So the cameras were just one frame off, but one frame off is enough to give you a softer image. The next step is to go ahead and tie these two files together in one file. I'm going to go ahead and shift select the Left and the Right files together, and then I'm going to go to 3D Mux and hit Add to Queue, and I'm going to go ahead and hit Start Queue. It's going to go ahead and process both of those movies into one movie. And again, here's where the active metadata starts to take place. It's actually going to keep track of the Left Eye and the Right Eye information so we can change those at any time we need to. We just have the convenience of having those muxed into one file, tied into one file. And just for disk purposes so you guys know, it is making another copy of that file, and it is a bit larger than the original file. Obviously, it's got two files put together. But it has the advantage of allowing us to do separate controls for Right and Left. And depending on the version of Neo that you have, you have lots of different options. It's a fairly quick process depending on how long your video is, but CineForm has a pretty quick process to it. We're going to go ahead and close this out, and let's go ahead and re-import that. By default, it puts it in the Left folder. So to keep yourself organized, you might want to pull this out and put it in a 3D folder. But let's go ahead and import that in. Instantly you can see we have a 3D look here. I'm in what's known as an Onion Skin mode here, which is going to allow me to sort of look at this on a non-3D display so I can start to do some alignment. I have all sorts of different controls to control different parts of the conversion. I've got horizontal. If my camera mount wasn't exactly the way that I needed it, I could go ahead and adjust it this way. You have different zoom features depending on how much convergence you need to adjust. Maybe on the horizontal if you adjust this far enough one direction, you may need to sort of zoom this particular point out here so it hides some of that. And again, you can do both eyes, Left or Right Eye, depending on the version of Neo that you have. There is skew and there is some keystoning-- some of these options vary--and different types of tilt, which is available in the higher end Neo products. And of course you can reset that at any time. All of this has to do with the active metadata. Let me go down here and put this back on Left Eye and show you some of the features down here. Obviously, we can play around with the different color. I am in fact controlling both eyes, so that's what these controls are up here. I'm just choosing to view the Left Eye data rather than that Onion Skin data. But here is where you can sort of get in and correct your image before you jump into Premiere. Of course you can correct it in Premiere, but you might as well correct it at the source. And there's all sorts of other corrections here that you would expect. A lot of these are what you would see in products like Lightroom and Photoshop RAW settings, so really, really nice. If you went ahead and loaded the 3D Look-Up Tables, the LUTs that CineForm has on their website, you can get some really amazing effects that you might want to go with. This is a bleach bypass one that actually really looks pretty amazing. They've got all sorts of other settings here that you can go in and play with and save your own, reset those back to the original. So all of this has to do with the active metadata, and I'm going to get back to that when we start talking about Adobe Premiere Pro. Let's take a look at some of the different 3D viewing options you have. It really shows how flexible this software solution is with Premiere Pro. A couple things you can do. If you happen to be on a laptop or a desktop that doesn't have any 3D monitors connected to it, then you can just simply go over here and put it in an Anaglyph mode and use the colored glasses. So the traditional red/blue or red/cyan glasses work fine. The colors obviously get to be very distorted. I find that using amber/blue glasses sort of retain those colors the best, at least for me. Green/magenta does okay as well. One of the things I pointed out in the intro video is you actually get a better experience by using the cheap paper glasses that you see at a lot of the different places because those actually use a piece of film for each of the colors on the lenses so they get a much better representation of the color. You might have to adjust the color on your monitor to get the best result. You can also buy glasses on amazon.com. They've got either typical plastic sunglasses-looking kind or the paper ones. Another thing to point out when you're using Anaglyph glasses and even some of the other solutions out there if you're new to 3D is you don't want to have your head close to the monitor like you are when you're editing. When you play your video back, you actually want to step back from the monitor at least four feet, if not more, to sort of get the right view of what it's going to be looking like in its final form. So just a note. You don't want to have your head close. You'll start to see a lot of ghosting anyway with Anaglyph, but the further you go back, the better that appearance gets. Let's take a look at some of the other professional ways of looking at 3D video. So again, Anaglyph is very handy when you don't have a monitor that is capable of viewing 3D. Let's look at a couple of the other 3D options that you have out there. I'm going to go under the View menu here, and I'm going to go to OpenGL Player Preferences. What this is is this allows you to hook up your display to your NVIDIA graphics card, for example. And if you happen to have an Adobe Mercury certified card, those cards work great in this mode as well. Those are the supported Quadro cards and a few GeForce cards that we have out there. What you'll see is you'll see a couple of settings for your Internal Window and your Primary Monitor Fullscreen. Those are actually the same monitor. The Internal Window really refers to this window right here. How do you want to view that versus when you hit Alt, Enter when you go to Playback Fullscreen, you have another mode of playing that back. So again, you have a couple different ways that you might want to play with that. Also if you happen to have a second monitor connected to your system like I do, that can view 3D in a different way. This really goes to show how well CineForm thought this workflow out, and it works great with Premiere Pro as well. You have similar controls in Premiere, which you'll see. I'm going to go ahead and click on OpenGL for 2D Playback for this monitor, and I'm going to jump down over to my Secondary Display and put this in Passive 3D. What passive 3D is, for those of you that have been to the movies recently and you've seen movies like Avatar and Toy Story and those types of movies, they use Real 3D glasses. The Real 3D glasses--again Real 3D is a brand--uses a passive technology, nonpowered glasses. So using monitors like the Hyundai monitor that you see here, you can plug that in as your Secondary Display, put that on Horizontal Interlace, and when you click OK and you play that back, you'll actually get an image that will play back wearing those Real 3D glasses when you hit Play. So again, I'm looking over at my Hyundai display, and I happen to see that image looking great. One of the things that you want to note is you have to really have this set as a Secondary Display because the secondary display interlaced in this case, and you really can't use it to edit with or you'd get a headache pretty quick. This also goes to show why they have some additional settings on here. So another setting that I use is one called Standard 2D Playback, and I use this with a Panasonic VIERA display, which is a consumer 3D television set that you can buy at just about any electronics store. These are the new 3D televisions that are coming out for 3D TV, for different cable and Blu-ray, and they can actually be viewed in this workflow. All you need is a simple DVI to HDMI cable. Connect that up to your NVIDIA card, your second head, connect that to the HDMI display, and when you hit OK and Play, we're going to go ahead and put this in what we call a Side-By-Side mode. Now when the monitor detects that they are Side-By-Side mode, or you can also use Top Bottom mode, the 3D television will automatically turn itself on, or you do have a 3D button that you can hit if it doesn't sense it. And when you hit Play, you put on your active 3D glasses. These are the ones that are powered. Most of the really good ones that are out there are powered glasses. And when I hit Play here, while I'm getting split screen here, I'm actually getting full, breathtaking 3D on a 50-inch monitor. It's amazing, and one of my edit systems in my office has that on there. That's great when I want to see final result on a consumer display, and this works great in Premiere Pro, as I'll show you as well. Again, you've got the flexibility of looking at it right here while you're making all of your adjustments. One of the questions that I get a lot from customers is they'll come up to me and they'll say, "Dave, what is the best viewing option out there "for someone who wants to edit in their nonlinear editor with a 3D display?" And the best I've seen yet out there is the Alienware AW23 model. It's a full 1920x1080p monitor that works great. You pair that with an NVIDIA card, as I mentioned before, and you buy the NVIDIA 3D Vision Kit that you see pictured here, and that's going to give you full 1080p on Left and Right and just an amazing picture. And the way you can use that, it's really very flexible in the way that it works. Jump over to your Preferences, just like you did before, and you can take your Internal Window here, and you can say set that to Page Flip. I'm going to set my Fullscreen experience to Page Flip as well. By the way, if you happen to have a second Alienware display, you could set that to Page Flip so that would allow both of your monitors, everything to be viewed by your glasses, and your glasses won't jump around as they start sensing different signals. You can just edit with your glasses on. From here you just click OK, and what happens here is this particular monitor gets into a Page Flip mode. It's pretty unbelievable what the image looks like when you view it this way. If you happen to have been at any of the trade shows and you've seen us showing Premiere Pro editing in 3D or even First Light, it's pretty amazing, and it's very easy on your eyes. So again, definitely worth the money to take a look at a really nice 3D monitor. These monitors, by the way, are typically gaming monitors for games like Blizzard's World of Warcraft and things like that, but they make great editing displays. At a minimum, you might look at just buying one and using it as your preview monitor and then get a set of 3D Vision glasses and view it that way. I also highly recommend getting one of these 3D television sets like the VIERA that I mentioned as well, and that would give you both a great editing experience as well as a sort of consumer look that you might want to make sure that works. And that's pretty much the settings that you need to know. There are a couple of other things to point out just to let you know. We've got the ability to mix these, which is important because you might have NVIDIA on one and you might have your Panasonic VIERA display as your second head display. So that's great that it allows us to have different types of glasses on. And really once you get all your settings done correctly either in Premiere or in First Light, you can pretty much just edit off the Left Eye. The other settings that you have involve using SDI cards. So you can use HDSDI cards like the AJA cards that are out there, and those will put out two distinct streams of SDI either on the Right Eye for one SDI channel and the Left Eye for the other SDI channel, and those can be fed into a Real 3D projector, or Panasonic makes some displays which have dual SDI ports on them as well for 3D. So really, really flexible workflows in those higher end resolutions that are required, just to point that out. You can take it from consumer all the way to theater. From here we're ready to go jump into Premiere Pro. Let's go ahead and take a look. What you'll notice is you've got a CineForm folder here that you use for editing in 3D. You go down to the 3D folder, and you pick the setting that matches your camera. I've got a couple different settings, so I'll make a couple different sequences and show you how that works. I'm going to go ahead and just click 1080p/23.976. I'm going to go ahead and just import a bunch of 3D files into Premiere Pro. I'm going to navigate down to my Media Browser, I'll go ahead and grab a bunch of files in my Panasonic folder, and I'll just import all these files into my project. Let's jump in to go look at some of the sequenced viewing options that we have. I'm going to click on the Sequence down here. This yellow outline appears on the Sequence panel here. I'm going to go up to Sequence Settings, Playback Settings. You'll notice here it says that I'm in a CineForm RT mode. I'm going to make sure this is set to Standard 2D OpenGL for this first mode I'll show you. I'll do the same thing for my external display. My external display in this particular case will be my consumer 3D television set connected to the second port on my NVIDIA card. I'm going to go ahead and click OK here. What I have is I have this image here edge to edge on my Panasonic VIERA display. All I have to do to see that in 3D is I'm going to click down here and I'm going to go to my CineForm setting, Display Type, and I'm going to put that in a Side-By-Side mode. Now when I come over here, you'll see this in a Side-By-Side mode. My 3D television, the Panasonic VIERA, has already picked up that that's a Side-By-Side signal, and it's gone ahead and put that in 3D. So I can put on my active 3D Panasonic glasses, and it's working great. And again, that'll work pretty much on any of the consumer televisions that use these active glasses. You're just having that consumer 3D television set connected with a DVI to HDMI cable off of your NVIDIA card. Those TVs will come with glasses or have an option to buy glasses and you're all set. It works great, and I've tested it on the Mac in the version I'll show you in a second and on the PC and it works great. One of the keys is you can't sit real close to that monitor. Those monitors are meant to be viewed from about four feet on back. So it's important that when you're editing that way that you take a step back when you're viewing that. A couple other things that you can do when you're monitoring, go ahead and put this back to Left Eye or Right Eye any time you want. I should also take the time to show you you can put this in an Anaglyph mode as well. So you can see I'm in a red/blue mode here, and I'm seeing red/blue on my full screen as well where I can put my glasses on. Again, very handy when you're on a laptop or something like that and you just want to be able to check the 3D. It's not the greatest way to look at it, but it'll give you a point of reference. As I pointed out before, using amber/blue or green/magenta is going to tend to retain those colors a little bit better. I'm going to go ahead and put this back, as I did before, into Left Eye mode, and let's go back up to Sequence Settings and look at a couple of the other options. I go back to Playback Settings, and I'm going to leave my Internal Window set to Standard 2D. If you happen to have that Hyundai display that I mentioned before, you can go into Fullscreen 3D Interlace. You really only want this on the second display. You can in fact look at it here if you want to, but you don't really want to look at your editing window as an interlaced signal because it gives you a headache pretty quick. But anyway, looking at full 3D horizontal on a monitor like that Hyundai passive monitor will let you use passive glasses like the ones you have at Avatar. There's a whole industry starting on 3D glasses right now, and Microvision Optical has got these really nice NEOX lens glasses that are out there. I've actually used these in the movie theater as well, and they're fantastic and quite stylish. So lots of options coming out, and those are passive glasses. At this point you could just click OK, and your monitor will go into a Horizontal mode. Let me see if I can mimic that on the internal monitor to show you what I'm seeing on my external. You'll see this interlaced display over here. And what it'll do if you're actually looking at this on a Hyundai monitor is it would make your entire interface look like this. And again, not really that ideal for making that work, so not something I recommend for your internal monitor, only your second monitor. But it's nice to have the option. So I'll click those back. To get the best possible editing experience, I recommend using the NVIDIA 3D Vision glasses. I'm going to click on Sequence and go back into my Sequence Settings, Playback Settings, and then I can set my Internal Window if I'm using the NVIDIA glasses as my primary monitor. It works great. If I happen to have two monitors like that Alienware display I mentioned, and there's a few other ones out there--the Alienware just happens to be the best picture that I've seen so far--you could actually set both of these to that if you wanted to, or you could have one set one way and one set the other way. Another NVIDIA feature that's supported is their dual SDI option. So you can buy an SDI option for some of their cards which will allow you to enable both of the SDI ports because there's two of them on there-- one Left Eye and one Right Eye--and then go ahead and feed that into a projector type setup for a theater, or you could go ahead and set that up into a preview monitor like some of the ones that Panasonic has which have dual SDI 3D support. So it's nice that we have NVIDIA dual SDI built right into the plug-in for Premiere Pro. It's a really nice job from CineForm supporting that. So at this point those are pretty much your options for viewing your playback. Again, really, really flexible. For demo's sake, I'm going to go ahead and just put this in an Onion Skin mode so it sort of looks like I'm in 3D so we can go ahead and see Stereoscopic separation here. Let's go ahead and look at some of the other options that we have while we're editing. Let's go ahead and take a title and bring a title in. This could be a graphic or anything else you might need to use. I'll just go ahead and type out that title. And let's drag this directly on my Sequence here. How do I get this title in 3D? If you go over here and you click on your Effects, you'll notice that there's a plug-in selector over here which will show you Accelerated Effects from Adobe, 32-bit Color base, YUV, and now CineForm. So if I click on CineForm, I'll notice I've got a number of different effects that are Stereoscopic effects. The one I'm going to use now is Parallax 3D. I drag and drop this. Let's go over to my Effects Controls, and I'll flip open Parallax, and I'll go ahead and just set these. As you notice when I do that, I'm now presented with my Annapolis in 3D title in 3D. Here you want to be careful to adjust this to where it makes the most amount of sense for your viewer. I find anywhere from 10 to 15 is pretty acceptable with a pretty good look. You could probably go as high as 20 and it sort of jumps out at you, but any more than that and it really starts getting a little crazy. But it's nice that you've got these controls. What happens when I start using different types of effects? If I happen to bring a piece of video, let's drag a piece of video on top of this video, for example, and do a picture in picture. And let's just go ahead and scale this down a bit. I can just go ahead and move this down. The Parallax filter will work with just about anything you can put on the timeline. So if you needed an effect that had a picture in picture that was actually jumping out at you, the Parallax filter will work here as well. You'll see that it offsets that as well so you can sort of have this 3D view. So not only is the picture here in 3D, but the box itself is in 3D. And of course you have to be sort of careful how you use this because you could sort of overdo it fairly quickly. So let's try to create good 3D. The example I gave you is probably not one that I would use but just an example to show you that pretty much anything you put on the timeline we have a way to put a Parallax on that and give you that 3D view. And it actually looks pretty interesting when you put your glasses on. So bringing in different graphics files and things like that, you can put them in 3D. And the big news here is notice that I'm doing all of this directly on the timeline while playing in real time. It's pretty amazing that we're able to do a lot of this without having to export the file and do all these other crazy Right Eye and Left Eye different things that I've seen in some of the other solutions out there. With CineForm's 64-bit plug-in for CS5, we're able to do this all on a single timeline. Other things which I should go ahead and point out, as we're bringing in other pieces of video here-- let me go ahead and just grab another clip here-- if I want to go ahead and put a transition in between these clips, we can go ahead and do things like dissolves and other transitions, and they actually do a fairly decent job with the 3D so it doesn't really detract from the 3D. One of the things that CineForm pointed out is anything that's 32 bit will retain the 3D information. So you'll notice here under CineForm Dissolves they went ahead and added Cross Dissolve 32 bit so when you go ahead and perform this dissolve here, you retain that 3D information. This is one of the huge problems I've seen with some of the other editing systems out there is you lose all of that ability. It basically gets down to a cuts only type setup unless you're rendering Left Eye and Right Eye and other crazy workflows out there. You can also just click on 32 bit to see what other 32-bit effects comes with CS5. You see that we've got the Parallax 32 bit, we've got some other color corrections in 32 bit as well as some other effects that we have in there--horizontal flip and some other things. A lot of these different things will actually give you some pretty interesting effects as well. But I just wanted to point those out, that there's lots of different things that you can do, and I'm sure a lot of these things will change over time as people start to support the 3D workflow. But again, I just wanted to point that out. When you're ready to export this and get ready to look at some other different methods of displaying your video--and there's a couple of different ways to do that-- it's as easy as just going to File, Export, Media. You can click over here, and you can go down to CineForm AVI, CineForm MOV. The reason you have the CineForm formats here is so you retain all of that active metadata in case you need to get in and adjust the file later. This will make a final timeline render for you but still give you the ability to have all of that active metadata present for that timeline, which I think is fairly important as it looks at some of that information. So if you want to be able to pull that back into First Light and make some adjustments, you have that ability. You can also support any of these other formats here if you put them in a Side-By-Side view or Top Bottom or however your monitor wants to view that information. You can choose most of these other formats to display that. NVIDIA also comes with a stereo viewer that they offer that you can actually view these files through their viewer as well. So there's a number of different viewers out there if you're trying to do it in either passive or active. One of the things to point out if you're trying to do this in, say, an Anaglyph mode, let me come over here and show you how that works. Remember you go back to Display Type, and let's just put that in an Anaglyph mode so I can sort of see that. I'm going to use red/blue. It's a little easier to see. So as I'm looking at this information here, when I go back over here to Export, Media, let's just say that I wanted to export that out as a QuickTime file. Whatever you see in this window here is going to be the way that you're exporting. So again, if you're exporting and it looks like an Anaglyph file there, then you should be all set. And if you come over here and you put it in a Side-By-Side view, when you come back over here--I'm just going to scrub the timeline to update that-- when you see Side-By-Side, that's going to allow that television set when you play that back to detect, "Oh, there's a Side-By-Side signal here." And again, you've got the flexibility, however you want to do it. The most important thing is all of this is available in your Export Settings for a single step export. You do not have to export Right Eye, Left Eye if you don't want to. If you need to go in and export Right Eye, Left Eye, it's as easy as going over here and just saying, "Just give me the Left Eye, and go ahead and render that." Now you've got the Left Eye. And then go back in, tell it that you need the Right Eye, and now you've got the Right Eye. And hit Export or Queue or however you want to do that. Really, really flexible. We've been talking a lot about active metadata, and I've taken you pretty much through the whole process, which is getting me from the SD card into the CineForm format using HDLink or other process and then going into First Light, looking at the convergence, muxing, and then bringing it into Premiere Pro, trying to stay organized the whole way. And this whole idea of active metadata, why is that so important? If I look at this particular clip that I have here-- this clip is 30011--let's just go up and look at that. Let's say that I needed to make a change to this particular file here. I'm going to right mouse click on it and go to Source Settings. Here's the CineForm integration at work inside of Premiere Pro. So in First Light at this point I can come right over here, and let's go down and let's do something with those color LUTs that I showed you before just to make a point. So now I went ahead and sort of gave this a very dark look. I'm not going to save anything. All I have to do is go back over here to Premiere Pro, and you'll notice instantly I get that color look-up, so I can just go ahead and hit Play and in real time it's working. So let's go back in again, right mouse click, go to Source Settings, and let's change that color look-up to a hot exterior look. So now I've sort of got that hot look. I go back over to Premiere Pro, into my Sequence, hit Play, and there it is, updated in real time. There's even my effect here. So this is amazing because this means that at any time I can go back in and view this with the changes from First Light right into Premiere Pro. I can go in and adjust all these different things. I can go back in and reset this color information here. I can even go back in, and if I just were to change some of the keystone here, I'm going to go ahead, as I mentioned before, and I'll put this in an Onion Skin mode here, and I'm just going to sort of make a point and I'm going to change. So when I go back into Premiere Pro, you're going to notice that all of that changed inside of Premiere Pro. This is amazing integration. If you have the Tangent Wave unit that you see pictured here, this is going to allow you actually while you're playing your video to go ahead and move any of the controls, adjust any of the controls, on the Tangent Wave and be able to manipulate that while this window is playing, so simultaneously move any of the track balls and the knobs which are tied to Settings. CineForm has got most of the major ones covered, and you don't have to keep flipping back over to First Light and then back over to Premiere. Everything will happen within the Premiere Pro window. This is great surface control tied in to First Light and Premiere Pro via the Tangent Wave, and I highly recommend it. That's the primary way that I sort of play around with my color and adjust a lot of my convergence information when I need to. So I wanted to go back in and give you guys an example of some additional integration that we're using inside First Light and Premiere Pro, again, all running in 64 bit. Well, that's a quick look at Premiere Pro editing in 3D. Be on the lookout for some additional information coming out soon. I'm going to go ahead and jump over onto the Macintosh and let the Macintosh users get a chance to see what their interface would look like when that ships a little later on. It's supposed to be released, the plug-in from CineForm, summer 2010. Here's a quick look at how the applications work on the Mac in their present state. Again, some of this is still beta at this particular point in time but due to be released soon. The difference is the HDLink application on the Mac is called ReMaster. So basically, the same idea. You go ahead and import your files and you convert them to CineForm format just by hitting the Convert button. The Mac application is actually a little bit simpler. So once we're done with that, then go ahead and bring that into First Light on the Mac. We're going to import those files. So I've got one for Left Eye and I've got one for Right Eye. Here you want to go ahead and let's just switch this back to Left. It looks like I was in a different view before. So to switch this, the Mac has different modes for viewing up at the top, where we'll just go ahead and put it on Left Eye view. We want to go ahead and just look for where that clapper board is. And just like we did before, but a little bit different on the Mac, I'm going to go ahead and mark that Left. And then you'll notice it says Left up here. And let's just do the same for the Right. We'll go ahead and mark that Right. Now the two files are aligned perfectly together. You're going to shift select both of those, and on the Mac you basically say Export it as a Stereo file. And it's nice because it does it in one step. You can pick either time code for the Left and the Right, how you want it to start. I'll just go ahead and leave it here and say Save. I'll use an MOV. You'll notice it does it all in the application, so this version of First Light does it a little bit different than the PC. But again, all the settings are basically the same. So now that I've got both Right Eye, Left Eye, if I come over here and I choose something like a Side-By-Side, I can see that the file is indeed in sync. There's the two files that I just put together, and I can go ahead and check those. Those look pretty good. And from here I can go ahead and do the Onion Skin and start to look at my convergence. And then here's your 3D controls, as I showed you before. So the menus and the buttons are basically the same; they're just organized a little bit different on the Mac. Let's jump over to Premiere Pro and take a look at a clip that I have on the timeline. This is going to work pretty much exactly the same. You'll notice it's given it to me in an Onion Skin because this mode up here is a global setting. So if I shift this over to Left Eye, you'll notice it updates to Left Eye. Or if I come over here and say show me the Anaglyph glasses here, then I can come over here and see my Anaglyph preview however I want to view that. So again, when I view my Anaglyph like on my Mac laptop, I'll typically view that in an amber/blue setting. To go ahead and view this in some of the other modes that I showed you, I'm going to go ahead and just get this out of Anaglyph mode, and I'll just stick it in Side-By-Side mode. I'm going to go under Sequence Settings, Playback Settings, and I'm going to go ahead and put that in a Standard 2D mode for my Internal Window, which is fine, Standard 2D mode for my external. And when I do this, I'm seeing Side-By-Side, just like you see here, on my second display which in this case is connected to my 3D television set. And that works fine on the Mac coming out of the DVI port into an HDMI 1.4 port on my 3D television set. It looks great. So it's a great way for the Mac users to get a very quick and simple monitoring solution using an off-the-shelf standard 3D television set from their electronics store. A couple other modes that you have, just to point them out, you can set your external monitor to Horizontal Interlaced 3D. Again, you can use the Hyundai display that I mentioned before to give you a passive monitor viewing experience that you can use with any of those Real 3D compatible glasses like the ones you see at the movie theaters. A lot of the movie theaters now are just giving those out and not recycling them. Or you can use those Microvision glasses that I mentioned before with the NEOX lens on them. Those things work great as well. You can also see that they've got some other support here that they're hoping to support on the Mac. Again, this is an early build, so nothing to announce, but we'd like to see Page Flip come to the Mac for active displays like the Alienware display I talked about earlier, which would be fantastic. It's currently not available, the primary reason being that Apple has to allow that driver on their system. It has to do with lower level APIs that talk to the graphics cards, and Apple controls the graphics driver for those cards, and that's an option that Apple has to allow. So if you want to write Apple, I hear Steve Jobs is actually returning emails these days. Go ahead and ask him if we can get NVIDIA 3D Vision support for the Mac. It would be great for the World of Warcraft players too. Also you'll see that there's NVIDIA Dual SDI support, which would be great. We'd love to see that support come out as well. And pretty much all the other features work exactly the same way from the Effects to the Export that I showed you on the PC. So once these drivers are officially released and available to the public on the Mac, I'll go ahead and record another session for the Mac users. Thanks for tuning in.
