At NAB 2017, FilmConvert have shown off their upcoming camera matching software, CineMatch. Whilst still only a proof of concept, FilmConvert are hoping CineMatch will become a must-have tool for filmmakers in the future. The colour variations that result from how different cameras post-process raw image data are sometimes stark. Shooting with a mix of cameras will more often than not lead to a large chunk of time being dedicated to colour matching in post. What FilmConvert are working on is software that will take a lot of that work away, making camera matching as easy as just a few clicks of your mouse. FilmConvert say they have taken all the knowledge they have built up from profiling cameras for their film stock emulation software and applied it to CineMatch. This allows the software to intelligently correct for each camera’s subtle (and sometimes not-so-subtle) differences, and harmonise colours across your rushes. By simply selecting the make and model of cameras from a few drop down menus, CineMatch will get your multiple cameras in the right ball park in a matter of seconds. Users are then given bespoke controls to make final tweaks, which are tuned to respond in different ways, depending on which cameras you’re matching. The version they showed us during NAB had only a basic UI, but beta testing with real-world users will be beginning shortly. FilmConvert hope to have a final shipping version at the tail end of 2017, although there is no word on pricing yet. Watch this space for updates and more information. How much could you see investing in a product like CineMatch? Let us know in the comments below!

The 2017.1 Adobe Premiere Pro CC update left many Panasonic GH5 shooters in the dust of incompatibility. We sat down with Adobe Senior Director of Product Management this week at NAB to discuss the remedy, and when we could expect GH5 and Premiere Pro to play nice together again.   On the 19th of April, cinema5D reported an incompatibility issue between the latest iteration of Adobe Premiere with the GH5’s 10-bit files: when imported into Premiere, the video files did not register, and were rather read as audio files only. Not only was this a bitter disappointment for those who were drawn to the GH5 for its advanced video features, it also proved to be a major hiccup for those who updated in the middle of a project without prior knowledge of the impediment. Shortly after the release of the article, Bill Roberts responded by commenting: “The camera in question was just released in March. Panasonic did a custom 10bit implementation that we did not have time to fully qualify for this release, hence – it’s currently not supported. We WILL support it in an update.” It is important to note that not all GH5 files behaved this way, with 8-bit files importing without a hitch. As per the interview above, Mr. Roberts relayed the update that will support the GH5 10-bit files will be coming in June. It will be a little while longer, but by summer the 10-bit files from the GH5 and Premiere Pro should function correctly. Were you affected by the Adobe Premiere update GH5 10-bit incompatibility? Let us know in the comments!

This is kind of a breaking news since we’ve just discovered a very serious issue with the latest 2017.1 update for Adobe Premiere Pro CC in conjunction with 10-bit files from the Panasonic GH5 camera! EDIT: Here is an official response by Adobe’s Bill Roberts taken from his comment below: “The camera in question was just released in March. Panasonic did a custom 10bit implementation that we did not have time to fully qualify for this release, hence – it’s currently not supported. We WILL support it in an update”.   Premiere Pro vs. GH5 It seems that the latest update for Premiere Pro CC has a major flaw when handling 10-bit video files from the Panasonic GH5. Since the previous version (2017) wasn’t exactly performing at its best where GH5 files were concerned, we were eager to see if this issue had been resolved with the latest 2017.1 update which is available as of now. Unfortunately, the issue doesn’t seem to be resolved at all. It’s even worse: Premiere Pro will handle the 10-bit files imported straight from the GH5 as simple audio files. No video whatsoever. Alternatively, the files work flawlessly in VLC player. The issue, however, only applies to 10-bit files, with Premiere importing and handling 8-bit files as intended. Also, the playback performance seems to have increased with these 8-bit files. Adobe, where is the video? As you can see in the screenshot above, an imported 10-bit video clip shows up as an audio track. No video there… After a bit of research, I found several Reddit topics on this matter. There’s an ongoing discussion on the previous (2017) version of Premiere Pro and its performance with GH5 video files. And there is another topic about the exact same issue I’m reporting on right here right now. I would strongly advice to not perform the update until the issue has been revised by Adobe. Let’s hope they will fix this quickly! Head over to Adobe for the full press release regarding this update, and those for After Effects and Audition. That’s it for now. Over and out. UPDATE: below is the official Adobe answer to the problem. (Thank you Jose).

As post-production workflows get further streamlined by advances in editing software, the demand for a more fluid process of finishing a video and uploading it to a platform is high. Vimeo has addressed this need with a new extension panel for Adobe Premiere Pro CC, allowing for a faster upload process and review pages for PRO and Business members. Waiting for a sequence to encode, then uploading it to Vimeo and waiting for conversion is a pain, especially if you’ve got clients waiting to see previews of work or a deadline to meet. For Adobe users who enjoy the flexibility of Dynamic Link between apps, this new integration is a sigh of relief to further simplify the post production workflow. For Vimeo free and Plus members, you get the functionality of uploading videos directly from within of Adobe Premiere Pro CC, with a choice of resolutions and codecs, and privacy options for the video to be made public immediately, or private for further reviewing. PRO and Business members get an additional tool for reviewing videos within a video review page, which allows for timecode based comments from other users, similar to Wipster. This is very useful for the sometimes lengthy back and forth with clients wanting edits, so including this feature should speed up the reviewing and finishing time in post. This is great news for Premiere Pro CC users who have missed out on Vimeo’s integration (and YouTube as well) that has been present in FCPX for a number of years. In the past, the desktop Vimeo app for Windows was not as useful as users wished it to be, and although there are export format choices built into Premiere Pro CC and Media Encoder CC, a direct link to Vimeo for Adobe apps never existed. To download the plug-in panel, follow this Vimeo link. Have you needed this tool from Vimeo to speed up your workflow? Also, if you’ve been using the panel already, let us know your thoughts in the comments!

Editing quickly is not, in itself, a measure of professionalism. However, being efficient allows you to rapidly rough out ideas, increasing your chances of crafting the best story. In this tutorial, I want to show you a simple technique for editing cutaways into your timeline – a technique that will speed up your editing and ultimately allow you more time for finessing. 3-Point Editing The most common technique for editing cutaways is simply dragging a suitable piece of b-roll down on to the timeline, and then moving it and trimming it until it looks about right. Wouldn’t it be better, though, if you thought about where you wanted the cutaway to happen, how long you wanted it to last, what specific part of the b-roll content you wanted to show, and placed it in the timeline, all in one smooth operation? 3-point editing allows you to do exactly that! Firstly, place your playhead in the timeline where you want to cut away from your main sequence. Press ‘I’ to add an in-point to your sequence, and then play through to where you want to cut back from your cutaway, pressing ‘O’ to mark an out-point on that frame. Next, go to your source material and find the frame in your b-roll where the thing you want to show your audience starts – press ‘I’ to mark it. In FCP X, you can go ahead and press ‘Q’ to edit the cutaway above your primary storyline.   In Premiere, initially you’ll need to patch your track controls, by simply clicking on the desired tracks to toggle them on or off. The most likely scenario would be to have v1 patched to V2 and A1/A2 off (unless you want to mix in your sync sound for atmos). Once this is done, a quick press of ‘.’ will overwrite your source clip in to your timeline, above your main sequence media on V1. As FCP X doesn’t have tracks, it doesn’t need a patch panel. However, if you want to augment which elements of your source clip come down, you can use Shift-1 (Video and Audio), Shift-2 (Video Only) or Shift-3 (Audio Only) prior to using ‘Q’ to perform the edit.     Back-Timed 3-Point Edits When editing cutaways, it is often desirable to decide on the frame where the content you want to show finishes, rather than where it starts. If you set an out-point in your Source monitor, pressing ’.’ will overwrite your b-roll clip down into the timeline from the out point backwards. This is called a back-timed 3-point edit. In FCP X, once you’ve set your desired out-point in the Browser, simply press ‘Shift-Q’ to perform a back-timed edit.  In Premiere, you can actually set both an in and an out-point in the Source monitor (effectively creating a four-point edit) which will result in the option to either ignore one of the marks (a bit pointless) or, more usefully, perform a fit to fill edit. A fit to fill edit will speed up/down your source material to make it fit in between your sequence in and out points. This can be incredibly useful if you have a cutaway you want to use, that perfectly supports your narrative, but it’s just too short, or just too long. You’ll be surprised at what you can get away with! The Breath So that’s how to quickly add cutaways, but what about where to add them? It’s not enough to just chuck them down and not consider the way they interact with what’s going on underneath them. For example, if a cutaway started (or ended) half way through a word in an interview, it would feel abrupt. The reason for this is that it feels like someone interjecting when you’ve not finished your sentence. The cutaway becomes a rude intrusion and distracts the viewer unnecessarily. If you can possibly manage it, the best place to cut to (or from) a cutaway is during a brief pause in the dialogue. Because we all have to take a breath before we start to talk, there is a natural rhythm to speech punctuated by these pauses for breath that we are all subconsciously tuned in to. Understanding how to take advantage of pauses in dialogue is a powerful trick, both in everyday communication and, of course, in editing. Next time you’re talking to someone, deliberately leave a long pause (1 or 2 seconds) at the end of a sentence. You should find the other person does one of two things, either a non-verbal response (a nod, for example), to give confirmation to you that what you are saying is interesting and please do carry on, or they will interject at that point and make their own contribution to the conversation. Another good test is to talk to someone who’s distracted doing something else and then just stop talking half way through a sentence. You will find that they will stop what they are doing and look directly at you, which is something you may remember your teacher doing in class at school! Finally, the pause is also very powerfully used by politicians during speeches. They use long pauses as a means of book-ending important sound bites, the pause essentially telling the audience that what they just said, or are about to say, is very important. Once you realise the power of the breath, you realise that positioning video cuts in these pauses is a very effective way of hiding them. Additionally, cutting back to an interviewee after a pause is an effective way of highlighting key parts of their dialogue. If you look carefully in the accompanying video to this article, you’ll notice there are several gaps, or slugs, that I have inserted in my primary storyline (V1, if you prefer), in order to create pace and highlight certain sound bites. One final tip – if someone is talking quickly, and not stopping for breath much, the next best place to hide a video cut would be just before or just after a connective word like ‘or’, ‘and’, ‘but’. These words tell us they are about to connect a new point to the discussion. In a real conversation, hearing these trigger words would be another place where someone might try and interject in order to get their point heard before the other person steers the conversation in a new direction. I hope you find both these tips for editing cutaways useful in your own work – please do use the comments below to tell us about your editing experiences.

I recently reviewed the new DJI Inspire 2 drone extensively and did thorough tests in our lab. In this workflow tutorial on how to master drone footage, I will show you how to convert Inspire 2 X5S or DJI Inspire 1 X5R files in order to get the best results from your Inspire footage. Get our Inspire LUT and Inspire Raw to Log conversion presets HERE. Why Convert Inspire 2 Raw Files? I spent a few days filming with the Inspire 2 drone to create a drone film so I could gain some hands-on experience for my review. During the editing process, I quickly noticed that when filming in Raw mode ( = 5.2K resolution), and similar to the DJI Inspire 1 Raw drone, the DJI Inspire 2 X5S produces .dng sequences that I somehow needed to transcode in order to edit and apply LUTs. The problem for me was that I could never get anywhere near neutral colors by simply sliding the color settings in Adobe Camera Raw, or even by using DaVinci Resolve’s “Blackmagic Film Gamma”. I had the same problem with the Inspire 1. Furthermore, to edit properly I needed some kind of proxy footage, so early transcoding was inevitable. Of course, professional colorists can use the Raw files and tweak the colors until they are right to them, but that is not my style – I’m used to neutral Log gamma video files that I can apply LUTs to and color easily and efficiently, preferably directly in my editing app. So, in conclusion, my requirements were to: Convert Inspire 2 Raw (Or Inspire 1 for that matter) to a well-preserving video format in order to edit and colorize later (without having to go back to Raw). Match and get a neutral Gamma on all my video files, ideally right while transcoding, so I can apply LUTs and grade easily. In the test lab, the colors coming from the X5S and X5R (Inspire) cameras appeared to be off by quite a bit in comparison to an Arri ALEXA, so on top of making a workflow tutorial video I also decided to create several presets and LUTs to get closer to Alexa Log C. Inspire Raw to Log Conversion During my test lab analysis, I found that the best workflow for .dng Raw from the drones to be as follows. Note that this workflow works both for the DJI Inspire 2 with the X5S camera as well as the DJI Inspire 1 with the X5R camera. Also note that this workflow method is for Mac users only right now, although if you work with Windows you can probably adapt it. 1. Convert Inspire 2 Raw to Log in DaVinci Resolve Camera Raw Settings in Blackmagic Design DaVinci Resolve Notes about the DaVcini Resolve conversion • Faster than the After Effects method described further down. • Does not remove lens defects like chromatic aberration, vignetting and distortion. • Gives you a generic flat gamma. (Unless you use the DaVinci LUTs) • In my experience, it blows out the highlights a bit. Open DaVinci Resolve (free download). Browse to your Inspire Raw shots. Drag your folder(s) to the media pool. Change your project settings to the resolution of your shots. (Gear wheel at the bottom right –> Timeline Resolution) Go to the “Edit” tab and drag your shots into the timeline. Go to the “Color” tab and select each shot. Then change: Decode Using: “Clip”; Color Space: “Blackmagic Design”; Gamma: “Blackmagic Design Film”; Tick the “Highlight Recovery” box. (optional) Use our DaVinci 3D LUTs to get closer to the Alexa Colors. Then export your files in the “Deliver” tab. To batch convert all clips, select “Individual Clips” and “File” –> “Source Name”. Click “Add to Render Queue” and then “Start Render” to convert Inspire 2 Raw or convert Inspire 1 Raw files. Using the cinema5D DJI Inspire Raw to LOG Conversion LUTs With my conversion LUTs you can get closer to the Arri Alexa Colors and Gamma. To install them: Launch DaVinci Resolve. Start a new project or open an existing one and click on the settings icon in the lower right corner. Click on the “Color Management” tab. Click on “Open LUT Folder”. The LUT folder will open in a finder window. Copy the LUT .cube file(s) into the LUT folder. When copying has finished, click the “Update Lists” button in the DaVinci Resolve settings window. And to use them: Follow the instructions laid out earlier and apply the “Blackmagic Design Film” Gamma. Before exporting, right click each clip thumbnail and select “3D LUT” –> “C5D_Inspire-1-RAW-to-LOG” or “C5D_Inspire-2-RAW-to-LOG”. 2. Convert Inspire 2 Raw to Log in After Effects Converting Raw to Log in After Effects using the conversion presets. [Update March 31st 2017] With DJI’s new firmware for the Inspire 2, there is now an option to select “D-LOG” gamma while shooting in RAW mode. Please note that this option has little to no effect on your RAW files, but it will lock your exposure to ISO 500. If you can shoot at ISO 500, which is a good place to expose RAW correctly, then use the “D-LOG” option while recording RAW. Otherwise, if you want to be more flexible, leaving the “D-LOG” option off while recording RAW is recommended. Notes about the After Effects conversion • Removes color noise from your footage. • Removes chromatic aberrations, vignetting and distortion from your shots by using the embedded Raw lens data. • The Olympus 25mm lens data is currently faulty, so any footage shot with this lens will not look great. Let’s hope DJI will fix this. • This conversion takes a very long time. Expect your computer to run for at least a day for 30 minutes of footage. Open Adobe After Effects CC. Drag and drop your folder(s) containing the Raw .cdng sequences into the After Effects “Project” tab. The Camera Raw App will open. (optional) Go to the Presets tab (second from the right) and select one of the cinema5D RAW to LOG presets. For each shot (folder with .cdng sequences) you import, the Camera Raw App will open individually. Once all your shots have been imported into After Effects, you can drag them to the “Render Queue” tab at the bottom. Select your desired target codec under “Output Module” in the “Render Queue” tab. Select your desired file destination under “Output To”. Click “Render” in the “Render Queue” tab to convert Inspire 2 Raw or convert Inspire 1 Raw files. For the best possible quality, select the Apple ProRes 4444 or 4444 XQ codec. To save space, go for Apple ProRes 422 HQ. Using the cinema5D DJI Inspire RAW to LOG Conversion LUTs With my conversion presets you can get closer to the Arri Alexa Colors and Gamma. To install them: Navigate to your “Library” folder in Mac OS X. If it is hidden you can reveal your library folder by going to your home folder and then selecting “View” –> “Show View Options” and ticking the “Show Library Folder” checkbox. Navigate to “/Library/Application Support/Adobe/CameraRAW/Settings/”. Place all the .xmp files inside this directory. Restart After Effects. And to use them: Follow the instructions laid out earlier. To use the presets, go to the “Presets Tab” (second from the right) in the Camera Raw window of each clip and select one of the presets. “Inspire-*-RAW-to-LOG_0” is the standard preset. “+1” means pushing the shot if it was underexposed. “-1” means pulling the shot if it was overexposed. For shots with overexposed portions of the image you can also choose the “HL” or “HS” presets. “HS” saves your highlights, “HL” blows your highlights and makes the rolloff more smooth. Note that the presets inside the parenthesis “(…)” are NOT always recommended, as they may produce a “flicker effect” in rare occasions. Inspire Raw to LOG presets If you intend to get awesome shots, I’m sure you will benefit from my presets. I’ve spent a lot of time and effort to get them right, which is why we are not offering them for free. The package also includes the C5D instaLUT B1010 (.cube file) for Log footage (ARRI Alexa and Inspire RAW to LOG) and DaVinci presets for fast conversion of Raw and D-Log footage. This is the best way I found to convert Inspire 2 Raw files to a better format. Disclaimer The presets don’t turn your shots into 100% Arri Alexa Log C footage. They were created by hand and they were intended to get your colors and gamma into the ballpark of Alexa Gamma, so third party LUTs can be used more easily and D-Log and Raw can be matched more easily. That said, for me they are a big help and I hope you enjoy them too. GET THEM HERE As I mentioned in my video, the After Effects workflow gives you the best possible quality and I use it all the time, but DaVinci Resolve converts quicker and the files are also very usable in case you need your files fast. If you shot your video in 4K (UHD) on the Inspire 2 you should use Apple ProRes and D-LOG and you won’t have to convert Inspire 2 Raw files at all. I have tested and explained this in my review. 3. Convert Inspire 2 D-Log to Log in DaVinci Resolve Converting D-Log to Log in DaVinci Resolve with the conversion LUTs With my conversion LUTs you can also convert your D-Log footage (recorded in Apple ProRes) to get closer to the Arri Log C look as explained earlier. Note These only work for the Inspire 2 which records in high quality at 4K resolution with the Apple ProRes codec. It is not recommended to use them on the Inspire 1 or any other DJI drone available right now, as the quality and bitrate of those is not high enough to work properly in such a flat Log Gamma. To install them: follow the instructions laid out under point “1.”. To use them: Open DaVinci Resolve (free download). Browse to your Inspire D-Log shots. Drag your shot(s) to the media pool. Change your project settings to the resolution of your shots. (Gear wheel at the bottom right –> Timeline Resolution) Go to the “Edit” tab and drag your shots into the timeline. Go to the “Color” tab and select all shots. Right click each (or all) clip thumbnails and select “3D LUT” –> “C5D_Inspire-2-RAW-to-LOG” or “C5D_Inspire-2-RAW-to-LOG”. Then export your files in the “Deliver” tab. To batch convert all clips, select “Individual Clips” and “File” –> “Source Name”. Click “Add to Render Queue” and then “Start Render”. 4. Convert Inspire 2 Raw to D-Log in After Effects Here is one more conversion preset as a bonus that I haven’t mentioned in my video. It is called “(Inspire-RAW-to-DJI-LOG)”, part of my cinema5D Raw to Log conversion package. You can select it in the presets tab during the After Effects Camera Raw conversion that I explained in point “2.” This allows you to convert Inspire 2 Raw shots into a gamma that is closer to the D-Log look that you get with AppleProRes recordings on the Inspire 2. It should make it easier to match your footage if D-Log is your target gamma. 5. Direct Workflow in Premiere Pro CC Step 1, 2 and 3 There is also a very simple way to use the D-LOG to Log LUT in Premiere Pro CC directly. The LUT contained in the Raw to Log package converts D-LOG to Log and it can be applied in the Lumetri Color Panel. The benefit of this method is that you do not have to convert your files, but you can work on them natively. The downside is that you cannot apply this to RAW, but only to D-LOG footage, shot on the DJI Inspire 2 with the X5S camera. Go to the Lumetri Color Panel in Premiere Pro CC. Under “Basic Correction”, choose the C5D_Inspire-2-D-LOG-to-LOG.cube LUT as “Input LUT”. Choose your look under the “Creative” tab in the Lumetri Color panel. Choose any .cube file of your liking that works with Alexa Log C. Conclusion That’s it. I hope this workflow tutorial on how to convert Inspire 2 Raw files or Inspire 1 Raw files into Log was useful for you, even if you don’t use my presets and LUTs. I tried to make this tutorial informative for everyone, but I must admit that I see my presets as an integral part of my own workflow to get my footage to where I need it to be. If you have any questions don’t hesitate to let me know in the comments, and please post links to your work where you used the presets successfully!

In this talent feature we’re looking at the work of filmmaker Raphael Rogers, who shot an inspiring short film about melting glaciers in Alaska and gives us some useful tips on filming in cold environments. The choice of story elements, the human perspective, filming angles and choice of music caught our attention. (Intro by Sebastian Wöber) A couple of months and on a whim.. we decided to go and experience Alaska. Being the people that we are we always bring our camera gear on trips. You never know what you’ll find in the wild lands of an alien place. Plane tickets this time of year were incredibly cheap, something like $300 roundtrip from LA to Anchorage. That was for a reason. Almost nothing was open as far as tourist expeditions go. And… it was cold. We are filmmakers that live in LA. We do all kinds of productions, from sci-fi shorts to music videos and commercials. Check out Aura’s other work here: www.weareaura.net Filming in Cold Environments – Preparation Preparing ourselves meant many layers of thermals and enough snacks that we could hike a glacier for hours and trudge through mud, water, snow and ice. Also batteries… lots and lots of batteries. You should know that most batteries loose capacity in the cold, so you should also make sure you store them in a way to keep them warm. As a general rule, if your body can take it, most of the time your camera can take it. I’ll go into the details of the gear below and how we made it work, but I learned that if you’re smart about how you use your gear and where you place it, it will work perfectly. The Gear & the Challenges We shot mainly with a Sony A7S II as well as a Sony a6300 on a Beholder DS1 Stabilizer. For drone work we shot with a DJI Phantom 4. Pro tip: We also own the ikan EC1 Beholder – soooooo much better. The A7S and the a6300 never went down in the cold. No issues with batteries or anything of the like. There were a few times with the Phantom when it wouldn’t launch and gave me warnings that the battery was too cold. To fix this I would hold the battery up to the car heater and then launch it after a minute or so. Another tip would be to tuck the batteries inside your coat next to your skin while hiking. Pro tip: For drones, if you’re serious about filming in cold environments, you can get a drone battery heater for the DJI Phantom 3 series. There’s also a DJI inspire 1 battery heater and the new DJI Inspire 2 has self-heating batteries out of the box. Unfortunately there’s no heater for the Phantom 4. Pro tip 2: Do not heat batteries beyond 104°F (40°C) as they might break. The most challenging part of filming in Alaska at this time of year turned out to be the rain rather than the cold. My Phantom handled it fine (not recommended!) but we were all soaked by the time it returned home. And I was constantly wiping the lens! What we learned Honestly, I would take the ikan EC1 Beholder gimbal to get more stabilized shots. I would also rent real crampons when hiking on the glaciers! So slippery. A lot of this was run and gun so being prepared for it was a guessing game. I think we guessed fairly well even though we had to deal with the weather. Post-production was all done in Adobe Premiere, including coloring in Lumetri! I’m a fan of the ease of having it all in one place. Our rock star editor killed it. It was definitely a process figuring out how to handle the issue of climate change without twisting the story in any way. We just wanted to tell a real first person story and I think we accomplished that. The genesis of this film happened on a random road in Seward Alaska and was quite a piece of luck or fate or whatever you want to call it. We didn’t know Rick before we went but it turns out it’s pretty easy to ask someone to tell their story. Most people want to. I hope you enjoy the piece! Do you have experience and more tips on filming in cold environments. Let us know in the comments. Featured video created by: Raphael Rogers, Paul Rennick and Kristin Gerhart

After tutorials about seeing the basic elements of music (Music Month episode 1) and one about applying this knowledge practically to your own films (Music Month episode 2), we are happy to present you the final episode of our Music Month video tutorial series cooperation with Filmstro. The Filmstro Premiere Pro Panel Filmstro Premiere Pro Panel Filmstro has already announced the Premiere Pro panel of their software, and we are the first ones to give it a go. In my opinion, this takes the concept of Filmstro – having licensed tracks that you can alter easily to fit your film – to the next level. With their new Premiere Pro plugin, which will be released soon, you are able to have the entire Filmstro library and the full functionality of the software from within your NLE, meaning you can adjust your edit and the music as much as you need to. This is a big step from the standalone Filmstro app which requires you to export and import a movie file every time you want to get scoring. Now, you can do it directly in your timeline. I gave it a go and shared my thoughts. Check out the video above! Film Scoring Competition! Please head over to Filmstro.com for details on how to enter the competition. Using the Filmstro app, you will be able to score one of 5 pieces of sample footage. The submissions will be reviewed by a jury and the best submissions will win the following prizes: RØDE Boompole Pro, SM4-R, NTG4+ and Newsshooter Kit Zhiyun-Tech Crane-M Camera Stabiliser Gimbal Zacuto $650 Gift voucher 10 FilmConvert licenses 4 x $250 bundles from Mister Horse 10 Filmstro For-Profit Licenses All the details on the Filmstro page!