Adobe just released a slew of updates across the board for their Creative Cloud apps. One of the big ones in Premiere that I’ve been looking forward to for a while is the Morph Cut transition. This transition is designed to stitch together a jump cut in an interview to mask the cut. Well, that’s the idea at least.
The only thing similar to this that existed before is Avid’s Fluid Morph in Media Composer. Fluid Morph works really, really well. So well that I downloaded the trial of Media Composer to clean up some jump cuts from Dolphin Lover, then export them back to FCPX.
But since I’m a Creative Cloud subscriber, it’d be nice to have this tool permanently in my arsenal. So I exported the same clips I ran Fluid Morph on to try out Morph Cut and compare how it handles the edits.
Check out the side by side comparison in the video above.
My impression from this test: Avid’s Fluid Morph is still hands down the better option. I’d say out of all the cuts, Adobe Morph Cut maybe did an acceptable job on a third of the edits, and they were definitely the least noticeable jump cuts.
The biggest issue is Morph Cut won’t work under 12 frames (what I found from my testing). The trick of masking the cut is to make the transition really quick – usually 6 frames in Avid works really well. When I would do a six frame transition in Premiere, I’d get this error.
When the transition is too long, the video and audio stop syncing because the transition is starting while the A side clip is still talking, giving away the effect.
Bottom line – Morph Cut works on very subtle jumps but still has a ways to go before being as reliable as Fluid Morph.
I’d say it’s been a hell of a week, but the week isn’t over yet. Last Thursday was the second and last screening of Dolphin Lover at Slamdance. Shortly after that we received an honorable mention for short documentary from the jury, which was awesome.
Clearly this thing is getting some traction that a 4 minute parody video would be produced about it. It started snowballing from there. Over the weekend all the major British tabloids picked up the story (because how could they not). Now this wasn’t original reporting – it was just a mesh from the few original sources and interviews, plus oddly some of my videos pulled from Instagram merged into an ‘exclusive’ clip. Sometimes they didn’t even cite sources (*cough* Mirror). Quotes usually stay the same, but it sometimes becomes a game of blogger telephone.
From there things just kept picking up speed. On Monday I woke up to interview requests from the UK, Australia, and some US outlets. Online the game of telephone kept moving rapidly (with some original reporting). Here’s a sampling:
A man's summer-long fling with a dolphin named Dolly is the subject of a new documentary short called Dolphin Lover http://t.co/nP5kVATNGZ
There’s still more press to come. There’s been a lot of lessons learned in viral strategy. We definitely weren’t prepared for this and have been adjusting the website, videos, YouTube channel, and other media as we go. I’m noting it down – will round it up in a future post.
Exciting news to kick off 2015. Papa Machete, the film I co-produced in Haiti, will be having its US Premiere at Sundance. Dolphin Lover, a short doc I produced, shot, and edited, will be having its World Premiere at Slamdance.
Excited to finally head out to Park City for the festivals with two projects. Though coming from an 80 degree beachy winter in Miami I’ve got a lot of cold weather gear to buy.
Papa Machete trailer below.
Dolphin Lover to come soon, but let’s just leave it with the Slamdance logline. The true story of a man with a porpoise.
Some of our latest work is now available to view online.