Holiday Deal: 40% off Red Giant plug-ins

The Red Giant Annual Blowout Sale returns on December 6th, 2016. ?Everything in the Red Giant serious toy store is 40% off for 24 hours only. This includes full licenses, upgrades and academic store products for Adobe After Effects CC and Adobe Premiere Pro CC, Apple Final Cut Pro, and more.

Here’s their “slick” ad:

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To redeem the 40% discount, you just apply the coupon code found on the Red Giant website on the day of the sale. There’s a ton of tutorials and other info available; you can learn more about Red Giant products at their Support page.

Highlights of the sale include:

Magic Bullet Suite 13: $540 (usually $899)
This NEW version is a major upgrade to Red Giant’s tools for professional color correction, finishing and film looks. Just released in October, every single tool in the Magic Bullet Suite has received major updates and is now GPU-accelerated. And for the first time ever, Magic Bullet Suite delivers real-time color correction thanks to OpenCL support in Adobe Premiere Pro CC. Dive deeper at, for example:

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Trapcode Suite 13.1: $600 (usually $999)
Contains exciting tools for creating motion graphics, and visual effects in Adobe After Effects CC, Trapcode Suite 13.1 was recently updated to includes new features in Trapcode Form, Tao and Sound Keys, new presets for Trapcode Mir and Tao, as well as bug fixes for Particular, Form, Mir, Tao, and Lux. You can dive deeper on several products at; an example:

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PluralEyes 4.1: $120 (usually $199)
Updated earlier this year, PluralEyes 4.1 now features EDIUS Pro support, a new music video workflow, support for GoPro spanning media, and the ability to batch delete multiple clips at once, making this premiere audio/video sync tool even better. No, really, it’s very fast and flexible if the Premiere Pro and other NLE tools are annoying you.

Universe 2.0 – Annual Subscription: $60 (usually $99)
Red Giant’s collection of GPU-accelerated plug-ins for editors and motion graphics artists, Universe 2.0 features more than 60 tools that run in Adobe Premiere Pro CC, Adobe After Effects CC, Apple Final Cut Pro X, Apple Motion, Blackmagic DaVinci Resolve, HitFilm and Sony Vegas. With a strong focus on motion graphics, Universe 2.0 is packed with tools for simulating HUD components, logo motion, animated line graphics, holographs, camera shake, and more.


Additional examples of savings include:

o Trapcode Particular 2.6: $240 (usually $399)
o Magic Bullet Looks: $240 (usually $399)
o Keying Suite: $480 (usually $799)
o Magic Bullet Denoiser III: $120 (usually $199)

Academic buyers should pre-qualify as an academic buyer BEFORE the sale!

Libec TH-X: your new entry level tripod


Rather than a simple successor of the TH-650HD, the TH-X from Libec is an evolved tripod system on a whole new level, with a price you can not resist: $239.

Lightweight, rigid, and high quality are characteristics of the new TH-X, presented by Libec as your next Smart Tripod Companion for all your photo or video projects, including home videos, documentaries, corporate assignments, weddings & events, nature, sports and journalist newsgathering. With a payload of 4kg / 9.0lb and a weight of 3.1kg/6.9lb, the TH-X can accept anything from a DSLR to a professional video camera and is easy to carry around. It even comes with a newly designed user friendly tripod case with shoulder strap and front pockets.

Libec TH-X: your new entry level tripod

Libec says that with improved operability, stability, and rigidity of the TH-X makes this the best tripod system that the company has designed in this range. Two features that users might appreciate include the dual head structure and the snap on/off plate, which increase versatility and ease of use.

The dual head structure, which is lightweight, with 1kg/2.2lb including pan handle, makes it easy to use the head on multiple platforms, an essential aspect for many professional. This means the system, with its flat base/65mm bowl is compatible with 65mm bowl tripods/flat base tripods, monopods, sliders, skater dollies, and other equipment with 3/8 inch screws.

Libec TH-X: your new entry level tripod

The one touch attachment & quick release plate, compatible with Sachtler and Manfrotto heads (although not compatible with Libec ALLEX, RS, or other Libec heads), is another feature users appreciate to have on a tripod.

Newly designed tripod legs and leg locks with greater rigidity and payload capacity are also a characteristic of the TH-X, which is also 200g/.44lbs lighter than TH-650HD, formally the lightest tripod system in the Libec tripod system lineup. The tripod also offers two rosettes on the head, which allow additional Libec pan handles and AS-7K accessory support arm.

The Libec TH-X will be available mid-December, in limited quantities. So, if you want yours for Christmas, maybe you should order now! Follow the link to the tripod’s page for more details.

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Eizo: first monitor with USB Type-C

Eizo: first monitor with USB Type-C

With USB Type-C, a single cable transmits video, audio, and USB signals and also distributes power, an ideal solution to reduce the mess of cables around your computer desk. The FlexScan EV2780 monitor introduces the terminal in Eizo’s family of monitors.

The new monitor from the Eizo Corporation is not a revolutionary product. In fact, it’s a 27-inch screen which uses a LED-backlit IPS (in-plane switching) LCD panel with a native resolution of 2560 x 1440 and 178? viewing angles. The typical brightness is 350 cd/m2 and the contrast ratio is 1000:1.

A built-in sensor called Auto EcoView automatically adjusts the screen’s brightness in accordance with the ambient brightness to trim power usage while reducing eye fatigue. A preset mode called “Paper” mode reduces blue light for more comfortable viewing.

Newly-developed EIZO proprietary software called Screen InStyle lets users assign a preset mode to applications and adjust the circadian dimming and power settings. The settings can be applied to all monitors in a multi-monitor setup eliminating the need to adjust each monitor manually. A server app for Screen InStyle allows an administrator to control the settings of all EV2780 units in an installation from a central location. This is especially helpful for enterprises that want to ensure all units are adjusted properly and the power-save settings are activated.

Externally this is an evolution of the FlexScan family. The cabinet is essentially bezel-less with a frame that is just 1 mm in width. This minimalist design combined with a fully-flat surface makes for seamless viewing. The cabinet is available in black or white with cable colors to match. The monitor comes with an ergonomic stand with 155 mm height adjustment, 40? tilt (5? down, 35? up), 344? swivel 90? pivot for portrait mode.

Eizo: first monitor with USB Type-C

Other features available include one DisplayPort and one HDMI input terminal, dual one-watt internal speaker and a headphone jack. An overdrive circuit with 5 ms gray-to-gray response time gives smooth display of moving images. The monitor offers flicker-free viewing at all brightness levels and sRGB, Movie, Paper, and two user-adjustable preset modes. In terms of energy, it needs 23 watts of power during typical use, with zero watts of power consumed when the main power switch is off.

What really makes this monitor news is the presence of the USB Type-C terminal, which means that a single cable transmits video, audio, and USB signals and supports a super speed transfer rate of up to 5 Gbps between the FlexScan EV2780 and connected devices. In addition, the FlexScan EV2780 can supply up to 30 watts of power for recharging notebook PCs and other devices via one USB Type-C cable, eliminating the need for separate power cables.

The flexibility of a USB Type-C terminal makes the FlexScan EV2780 versatile for both conventional offices as well as the increasing number of “free address” offices where employees move around – usually with their notebook PCs – to collaborate with other employees as needed rather than work from an assigned space. It’s, obviously, besides a sign of the future in terms of monitor connections, also a good solution for anyone else looking for way to get rid of multiple cables, a promise that comes with the use of USB Type- C terminals. Now let’s hope that Eizo introduces the technology in their ColorEdge series of monitors, for imaging professionals.

The all-flash Synology FlashStation FS3017

All flash for the new Synology FlashStation FS3017

Capable of handling over 200,000 IOPS in 4k random writing with RDMA technology enabled, the FS3017 is perfect for video post-production, while offering a raw capacity of 90TB.

While flash-storage is notoriously expensive, it seems to be the direction the market is moving towards. The FS3017 also has one advantage: it accepts both high-end SAS SSD and the more mainstream SATA SSD, so users can conrol their investment, while using a system that is designed to be future-proof. The FlashStation FS3017 is is perfect for big data analysis, video post-production, virtualisation, and handling any demanding database application that requires high IOPS and low latency at the same time.

FS3017 won Synology another Best Choice Award from the 2016 Computex, maintaining the company’s six-year winning streak, just a few months after topping TechTarget’s Quality Awards survey for NAS systems.

FS3017 features dual Intel Xeon 6-core processors, 64GB DDR4 ECC RDIMM (expandable up to 512GB), dual built-in 10GBase-T ports, and supports optional 10GbE / 25GbE / 40GbE NICs, guaranteeing stable performance in multitasking and data throughput. In addition, you can leverage iSCSI over RDMA technology to enhance iSCSI performance by up to 80% with an optional purchase of supported NIC on FS3017.

All flash for the new Synology FlashStation FS3017

“With Synology’s new signature feature RAID F1, we unevenly distribute parity bits across all SSDs to prevent RAID crashes,” says Vice President Vic Hsu, “when the oldest SSD handling the most write-intensive operations wears out, users simply replace it with a new disk without interrupting the RAID.”

FS3017 runs on Synology’s award-winning NAS operating system DSM, with built-in Snapshot Replication which creates 65,000 backup copies to offsite servers, and an inclusive virtualisation solution that incorporates VMware, Citrix, Hyper-V, and OpenStack integration. With Windows ACL, Windows AD and LDAP integration support, plus various application privileges, the FS3017 will soon become, according to Synology, the go-to choice for large-scale businesses.

VR and 360 Video Workshop In The Nashville Area

When CBS’s 60minutes added 360 video capture for one of their stories I knew we were solidly on the path for everyone to shoot 360 videos… some day. I still have to ask myself are 360 videos a fad? Is it tech just for tech sake and how does it add to the story? If you are wondering, like I am, and you live in the Nashville area then check out The Nashville Filmmaker’s Guild (NFG) workshop coming up Tuesday 11/29. The NFG and Abel Cine are teaming up for a 1/2 day, hands-on, workshop featuring the Nokia OZO 360 camera. Tickets for the workshop will cost $95 for non-members and $75 for guild members. The event will take place at Studio615 and go from 11:00am to 4:00pm.

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Virtual Reality (VR) and 360 Video capture have exploded onto the media platform scene as a viable and effective tool for media creation. With distribution platforms such as YouTube and Facebook as well as mobile device support and gaming console support, VR/360 is positioned for rapid growth.

360 VR Topics include:

  • VR Cameras and available Rigs
  • Introduction to Nokia Ozo and peripheral equipment
  • VR Storytelling and Application
  • Nokia Ozo processes from setup to capture
  • VR demo shoot
  • Footage acquisition and stitching
  • Headset viewing
  • Q&A


The Instructor

360Megan Donnelly joined the AbelCine team in 2015 as the first Camera Technology Specialist based out of the company’s Chicago location. Prior to joining AbelCine, Megan was the Technical Manager at Fletcher Camera and Lenses / CineVerse in Chicago, where she provided technical and workflow support for multiple features and television series. She also developed the curriculum for the International Cinematographer’s Guild Digital Loader Workshops, which she taught nationwide.Megan is an accomplished Director of Photography for commercials, music videos, and narratives. One of her television pilots was a finalist in the New York Television Festival in 2013, while another television pilot won the Chicago Television Pilot Competition in 2014. Most recently one of her commercials won a Midwest Emmy in 2014. View her work at Originally from Mesa, Arizona, Megan Donnelly graduated summa cum laude from the University of Arizona with a Bachelor of Fine Arts degree in Media Arts with a concentration in Cinematography.

Stella Pro 10,000c LED

Stella Pro 10,000c, by Light & Motion, is shipping. This is a very small, powerful, and weatherproof LED. If you are a news shooter or someone who has to light a shot in all types of weather then you might want to take a look at the Stella Pro 10,000c . Weighing in at only 1.7 pounds, the shockproof and weatherproof light should fit right into a run and gun shooter’s light kit without taking up too much space. Think of the light as 10,000 lumens in the palm of your hand… or on the top of your camera.


“If you compare the output of the Stella Pro 10,000c with a traditional HMI light, you’re looking at a setup that would be four times as big,” said Jeff Lazell, Brand Marketing Manager for Light & Motion. “10,000 lumens from a light that fits in the palm of your hand is unheard of, and with that in mind, we’re confident that users will be immediately drawn to the power, performance, and portability of this system.”

The Stella Pro 10,000C

The 10,000c is like it was engineered to be a run and gun shooter’s go-to preferred light. The LED is compatible with a full range of snap-on modifiers and mounts which may not take up much space in a light kit. AC or DC power can keep the light shining, which includes a P-Tap power source, and the 10,000c features a built-in variable speed fan for cooling which engages when the light output exceeds 8,000 lumens. So, when you have the light close to a subject you can operate it without any distracting fan noise screwing up your audio. Like all Stella spLED lights, the Stella Pro 10,000c offers a smooth, evenly dispersed, flicker-free 120-degree native beam that’s balanced at 5,000K across all power settings.

While the 10,000c is not a “cheap” light it definitely looks to be worth the money if you’re trying to light a live shot in the rain. The 10,000c goes for $1,999. The Stella Pro 10,000c also includes a 50-degree focus optic, press-on barn doors, a c-mount stand, and a power supply.


About Light & Motion

What started out as a company exclusively producing underwater scuba lights turned into a full-fledged LED light source. Light & Motion make some of the most compact easy-to-use lights in the industry. Whether that industry is cinema, eng, photography, or scuba diving. They are one of the few lighting brands to design and build their products in the USA and the only brand to certify their products to the more rigorous FL-1 Standard instead of the CRI standard. All Light & Motion products, including the Stella Pro 10,000c, comes with a 2-yeard enhanced guarantee. To find out more go to

Stella Pro 10,000c Features

  • High Output “Chip on Board” LED
  • Certified TLCI 93, CRI 90, CCT 5000 Kelvin
  • Output up to 20,580 Lux at 1 Meter
  • AC/DC supply allows light to run off of D-Tap and various external power sources
  • Sophisticated flicker-free firmware design
  • Regulated lumen output – does not fade during use
  • Continuous dimming with control ring
  • Integrated variable-speed fan with low decibel levels automatically turns on low when light output exceeds 5500 lumens and turns on high when output exceeds 8000 lumens
  • Controlled focus from 120? down to 50? & 25?
  • Broad range of accessories including Profoto and Chimera adaptability*
  • OLED Digital Display for precise readout
  • Runs off AC or 24V DC supply


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A small and light 4K laser projector

A small and light 4K laser projector

With the new REALiS 4K600STZ Pro AV LCOS projector Canon aims to combine image quality, advanced features and a low total cost of ownership.

Let’s make one thing clear. With a suggested list price of $77,990 the REALiS 4K600STZ Pro AV LCOS projector is not something you buy on a whim. It’s also not the kind of projector you buy to have at home. This product is for a wide range of markets and applications including simulation, museums, art galleries, planetariums, higher education, medical education and training.

At only 57.3 pounds, the REALiS 4K600STZ is among the world’s smallest and lightest native 4K laser projectors. According to Canon, the new projector reproduces exceptionally detailed images with outstanding color accuracy thanks to a combination of core technologies and features including:

  • Native 4K Resolution of 4096 x 2400 which is larger than both QFHD and DCI-resolution, the 4K standards for TV and digital cinema respectively. The expanded vertical resolution (2400) is particularly important for those applications, like simulation and training and design/engineering, which may require larger vertical display areas.
  • Laser Phosphor Light Source which offers an extended operation time up to 20,000 hours or more1, quick start-up, omnidirectional projector placement, and a wide range of colors – all helping to greatly enhance the user experience, installation process and reduce the total cost of ownership (TCO).
  • 6000 lumens with up to 10,000:1 Dynamic Contrast Ratio3 helps ensure content appears bright with deep black and brilliant white levels, as well as excellent gradation.
  • Canon’s renowned LCOS Technology with AISYS-enhancement and advanced Color Management System for producing content with exceptional detail and color accuracy – ideal for those industries/applications like museums and galleries with the highest image quality requirements.
  • Genuine Canon 4K Lens for consistent clarity and color throughout entire projected area; the lens also includes a special Marginal Focus function which can be used to help ensure content projected on the peripheral portions of domed surfaces remains in focus – a benefit especially important to those in the simulation, training and educational fields. The 4K600STZ projector is also able to deliver a virtually consistent level of brightness throughout its zoom range, thus helping to provide even greater placement flexibility.
  • Powerful Dual Image Processing Engines for uncompressed 4K 60p playback, and optimal upscaling of 2K video and other non-native 4K resolution content.

A small and light 4K laser projector

“The impressive benefits of 4K laser projection, combined with Canon’s optical and image processing technologies and compact engineering define the many advantages of the REALiS 4K600STZ Pro AV Laser LCOS Projector,” said Yuichi Ishizuka, president and chief operating officer, Canon U.S.A., Inc. “We are confident this projector’s many advanced technologies and features will not only meet, but exceed the growing needs of AV professionals who demand exceptional, high-resolution and high-value projectors.”

The REALiS 4K600STZ is one of Canon’s only HDR compatible projectors which helps provide the critical ability to replicate content with exceptionally high contrast, making possible gradation expression close to that of human vision. Additionally, the projector supports the input of video content simulating the 4K/8K broadcast-standard ITU-R BT.2020 color gamut.

A small and light 4K laser projector

The projector’s DICOM Simulation Mode4 can be ideal for those in the medical education and training field who require displaying monochrome digital X-rays, CAT scans, and MRIs with superb grayscale gradation. This mode, which offers both clear and blue base color temperature presets, simulates the results of devices compliant with the Digital Imaging and Communications in Medicine (DICOM) Part 14 standard4.

The Canon REALiS 4K600STZ offers many industry-standard interfaces to enhance usability including two HDMI (version 2.0a), and four DVI inputs supporting single, stripe and cross configurations for 4K, 2K or HD video playback. Network management, including compatibility with PJLink, Crestron Room View and AMX Device Discovery, also helps provide outstanding flexibility for monitoring and control.

The Canon REALiS 4K600STZ Pro AV LCOS Projector has a suggested list price of $77,990, is scheduled to be available through authorized Canon dealers by April 2017, and is backed by the Company’s award-winning Professional Service & Support.

IMF Essentials: What You Need to Know

IMF Essentials: What You Need to Know

The new educational program is dedicated to facilitating more effective implementation of key SMPTE standards and, in turn, empowering media companies to save both time and money.

The SMPTE, the organization whose standards work has supported a century of technological advances in entertainment technology, is partnering with industry experts to deliver “IMF Essentials: What You Need to Know,” an educational program focused on the Interoperable Master Format (IMF) family of standards (SMPTE ST 2067).

“As a leader in standards development for the media and entertainment industry, SMPTE is uniquely positioned to educate industry members about these standards — after all, no one knows SMPTE standards the way SMPTE does,” said Richard Welsh, who will begin his term as SMPTE vice president of education in January 2017. “The Society is committed to supporting professionals around the world to understand the basis and background of SMPTE standards, and the IMF Essentials and other courses are an exciting demonstration of that commitment.”

This latest addition to the SMPTE Virtual Classroom is designed to provide media mastering and services professionals — from developers to operations staff — a comprehensive understanding of how this component-based high-fidelity format addresses the proliferation of content versions (video, audio, and timed text) needed to service distribution channels worldwide.

SMPTE Virtual Classroom programs include both independent study and live, instructor-led coaching sessions that cover more complex topics and activities. Each program begins and ends on specific dates and includes established learning goals for that period. Successful completion of these courses is determined by course activity completion and graded assessments.

The IMF Essentials program embodies the SMPTE Board of Governors’ strategic vision for education. It is the first in a series of SMPTE Virtual Classroom courses dedicated to facilitating more effective implementation of key SMPTE standards and, in turn, empowering media companies to save both time and money. Developed and facilitated by Bruce Devlin, SMPTE governor for the U.K. Region, and Pierre-Anthony Lemieux, chair of the SMPTE technology committee for media packaging and interchange (TC 35PM) and lead editor of the standard, the course will examine the purpose of the IMF standard, how it works, how it is used, and how it improves content interchange.

Devlin and Lemieux will guide participants through the details of the IMF family of standards, moving from the high-level requirements to the low-level details in a structured, easy-to-understand way. As they progress through course modules, participants will learn how to build a delivery specification based on an existing IMF application specification and how the many layers of IMF contribute to optimized IMF applications and workflow.

The first course will begin on January 23 and run for five weeks and accommodate a maximum of 20 registrants. Further details about the SMPTE Virtual Classroom, including information about how to register, is available at

Blackmagic Design: Video Assist 2.3 Update

Blackmagic Design: Video Assist 2.3 Update

The new update to Video Assist 2.3 also adds features to the 5″ Blackmagic Video Assist including improved DNxHD and DNxHR support, false color monitoring, expanded focus options and new screen rotation features.

Professionals using the Video Assist 2.3 update can now load up to six 3D LUTs when monitoring video on set with their 5″ or 7″ Blackmagic Video Assist. 3D LUTs have become an important part of digital filmmaking because they transform the camera images into a look that closely approximates the final look the director wants.

The benefit of monitoring with 3D LUTs is that the crew can see the footage as the director intends it, and it’s completely non destructive because the original camera footage remains untouched. The six x 3D LUTs can be stored and recalled at any time by the user and this new feature is available on both the 5″ Blackmagic Video Assist model and the 7″ Blackmagic Video Assist 4K model.

For customers using the 5″ Blackmagic Video Assist model, this update adds new features that were previously released only on the 7″ Blackmagic Video Assist 4K model. These new features include, as already stated, the ability to record to DNxHD and DNxHR files in MXF format which improves compatibility with Avid systems running on Windows. In addition, customers can now choose between DNxHD 220, 145 and 45 bit rates, or between DNxHR HQ, SQ and LB formats when recording.

Blackmagic Design: Video Assist 2.3 Update

The Video Assist 2.3 update also adds false color monitoring exposure tools to the 5″ Blackmagic Video Assist model. False color exposure tools make it easier to properly set exposure in different parts of the image by highlighting specific color ranges of luminance with a solid color overlay. For example, green indicates neutral grey, while pink tones are good references for skin, which is typically one stop over neutral grey. Using false color helps camera operators keep exposure consistent from shot to shot.

In addition, Video Assist 2.3 update also expands the options for focus assist so customers can now choose whether they want to see red, green, blue, black, white or traditional focus peaking indicators. This makes it easier for customers to accurately adjust focus in a wider range of scenes and under a variety of different lighting conditions. Customers will now also have the ability to manually control the screen orientation and turn off the auto rotate feature which makes it easier for customers to use the 5″ Blackmagic Video Assist model with handheld gimbals and other equipment designed to move the camera and rig simultaneously.

“Blackmagic Video Assist is perfect for customers that need better monitoring and higher quality recording,” said Grant Petty, CEO, Blackmagic Design. “This new update adds incredible LUT monitoring to both models, and brings some of the same powerful high end features from the 7″ Blackmagic Video Assist 4K model to customers that have the 5 inch Blackmagic Video Assist model. We think the massive number of features on the 5 inch Video Assist model is amazing when you consider it only costs $495! That’s why Blackmagic Video Assist has become an essential part of every filmmakers toolkit because they help customers shoot and capture higher quality video with everything from DSLRs to older tape based camcorders, and even the latest digital film cameras!”

Blackmagic Video Assist is a portable professional monitor and recorder that can be used with any SDI or HDMI camera. It features a 5″ full resolution HD monitor that helps you get perfect focus and framing, along with a professional ProRes and DNxHD recorder that uses high speed SD cards and saves files compatible with all modern NLE software. Blackmagic Video Assist has multi rate 6G-SDI inputs and outputs via DIN 1.0/2.3 connections, as well as HDMI in and out. It features a single SD card slot for recording HD resolution video. The touchscreen allows settings, histogram, audio meters, timecode display and much more. Blackmagic Video Assist works with DC power and has dual slots for two LP-E6 batteries.

The Video Assist 2.3 update is available for download now from the Blackmagic Design website and is free of charge for all Blackmagic Video Assist users.

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HitFilm Pro 2017 and Ignite Pro 2017 released

HitFilm Pro 2017 and Ignite Pro 2017 released

HitFilm released the new version of their professional grade post-production tools for a growing to a community of over 750,000 filmmakers, pointing out that HitFilm Pro 2017 has no subscription fees.

The buzz word these days seems to be “no subscription fees”, so HitFilm could not resist to use it in its marketing of the all-in-one video editing and visual effects software HitFilm Pro 2017, proving that professional grade post-production tools can be made accessible for everyone.

The program, which offers power, choice and value for creators at every level, aims to give everyone the tools to create professional-level visual effects at home, something that used to be cumbersome not long ago. Now, says the company, the fastest growing video effects software in the world, HitFilm is the only video product to combine an editor, a compositor and a powerful 3D tool with over 500 visual effects and presets.

“HitFilm is about empowering filmmakers and giving them the tools they need to bring their ideas to life,” says Josh Davies, Founder and CEO of HitFilm. “We’re excited to share the brand new HitFilm Pro 2017 with our users. It is a massive upgrade which includes many highly requested features like Scopes, Action Cam support and hundreds of new presets. HitFilm is the best software for your next video project.”

HitFilm Pro 2017’s new features raise the bar for every type of filmmaker: from editors to visual effects artists, motion graphics artists to colorists. Now including upgraded 3D rendering, more visual effects, complete control over color grading with Scopes and HitFilm’s new export queue for a faster workflow. New editing and audio tools including keyboard shortcuts and auto sync offer simple solutions, while an upgraded interface with 8K support and 32-bit floating color gives HitFilm’s users cinema-level quality.

HitFilm Pro 2017 and Ignite Pro 2017 released

Visual effects are no longer restricted to traditional video in HitFilm Pro 2017 with next generation support given to 360? video with titles and lens distort for action cam footage. New partnerships bring Imagineer’s mocha HitFilm plugin and Boris FX Title Studio to all HitFilm Pro 2017 users, with the upgraded Ignite Pro 2017 plugin collection adding new support for Avid Media Composer to turn any host into a powerful visual effects toolkit. Additional bundles with Red Giant Magic Bullet, iClone, NewBlue FX Amplify and ActionVFX are available on the store, giving users more choice than ever before.

Top users of HitFilm have gone on to define the new generation of over 50 million online and independent creators. These include RocketJump co-founder and TV star Freddie Wong (, indie filmmaking experts Film Riot and viral YouTube superstars Corridor Digital. Together they have over 3 billion views and have inspired countless numbers of creators to make their own content. “With this software, anyone can do Hollywood-style visual effects” wrote Joe Blevins at The AV club.

Besides HitFilm Pro 201 the company also offers Ignite Pro 2017, which gives you over 150 powerful plugins to use in your existing editor or compositor. Experiment with over 500 visual effects, presets and color analysis and correction tools – without ever toggling between software.

There is a free trial available if you want to check what HitFilm Pro 2017 can do. There is also a trial for Ignite Pro 2017. HitFilm also offers the HitFilm Express, a free NLE you may want to check.