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Pro Video Coalition

LOG and RAW workflows and the Adobe video tools

LOG and RAW workflows and the Adobe video tools

Robbie Carman answers your questions

By Eric Philpott | October 21, 2014

On October 16, colorist Robbie Carman presented LOG and RAW workflows on the Ask a Video Pro Adobe webinar series. The session was excellent and the participants had lots of great comments and questions. So many questions, in fact, that I asked Robbie if he would be willing to write answers to... Read More

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Creating lasting video impressions

LOG and RAW workflows and the Adobe video tools

Leading entertainment production company produces sports venue and stadium entertainment with Adobe Premiere Pro CC

By Meagan Keane | October 21, 2014

When fans turn their attention to the large screens at sports’ biggest events, there’s a good chance that they’re watching the work of Van Wagner Big Screen Network Productions (VWBSN). Over the past three decades, Big Screen Network Productions established itself as the... Read More

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Visual Effects Workflow with Final Cut Pro X

LOG and RAW workflows and the Adobe video tools

This Week on MacBreak Studio

By Mark Spencer | October 21, 2014

How does Final Cut Pro X fit into the visual effects workflow of a feature film?

Quite comfortably, as we discover on this week's episode of MacBreak Studio, where I get the opportunity to speak with Mike Matzdorff who was the first assistant editor on a big-budget studio... Read More

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Adobe ‘Gone Girl’ panel: Premiere & After Effects

LOG and RAW workflows and the Adobe video tools

on Thursday October 23

By Rich Young | October 21, 2014

You can join Adobe for a panel discussion with the editorial and post-production team behind the movie Gone Girl from director David Fincher. As you may have heard, the Fincher team leveraged Adobe Premiere Pro and After Effects in a workflow based on RED Dragon 6K raw footage files framed in 5K.

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Media Composer 101 - Lesson 2 - What’s New in Version 8.2

LOG and RAW workflows and the Adobe video tools

What's New in version 8.2 of Media Composer Subscription

By Kevin P. McAuliffe | October 19, 2014

Much like with most applications, you wait for the major updates (version 4, 5, etc) for new features to add to your editing toolkit.  Well, with the new Subscription Model of Media Composer, the world best editing application now gets new features every few months.  Here's what's new in version 8.2.

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iPad Air 2 is semi-matte!/My MacBook Air is now matte too!

LOG and RAW workflows and the Adobe video tools

The new iPad Air 2 is non-reflective and reduces glare by 56%! The "least reflective tablet on the market"...

By Allan Tépper | October 19, 2014

Frequent ProVideo Coalition readers know that I strongly prefer matte screens, whether its for media production or general use. In fact, I recently even sent my MacBook Air to have its display transplanted for a matte display. Now, I am ecstatic to see that Apple is finally offering a non-reflective screen on its latest iPad Air 2. I am only disappointed not to see it offered on the iPad Mini 3 or an any current iPhone. Details ahead.

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Review: ThunderBay IV 4-bay 12TB Thunderbolt system

LOG and RAW workflows and the Adobe video tools

Now we can do RAID5 via software and save substantially.

By Allan Tépper | October 19, 2014

Back in June, I published my first look article on the ThunderBay IV 4-bay 12TB Thunderbolt system with the palindromic price —in this configuration— of US$979, which has since been lowered to US$959. OWC offers other configurations too, with smaller or larger capacity, and now even some with Thunderbolt 2. Ahead I review the various available configuration options (JBOD, RAID 0, RAID 0+1, RAID 4, RAID 5) and compare their performance versus redundancy, logistical benefits of each one, and more.

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PVC at AES 2014 - Exclusive Info About the DR-60D from Tascam

LOG and RAW workflows and the Adobe video tools

Four channel audio recorder designed specifically for DSLR filmmakers

By Woody Woodhall | October 18, 2014

Improving location audio is one of the simplest ways to greatly enhance the overall quality of your productions. Exceptional digital audio recorders have dropped drastically in price in recent years, offering vastly improved field sound recordings. Tascam has been in the audio recording... Read More

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4K is Obsolete. 5K is Here, 8K Comes Tomorrow

LOG and RAW workflows and the Adobe video tools

The launch of Apple's 27-inch 5K display is one more sign that the market never stops. 5K monitors are the next big thing.

By Jose Antunes | October 17, 2014

A selection of 4K Monitors at low prices was recently published here at PVC - 4K Monitors Under $850 - , but that seems to be old news now. Apple has just presented their new 5K monitor, and they’re not alone. Dell also has a new 5K monitor to show. These are some expensive gifts for the coming Christmas. But a new 8K DisplayPort standard was announced last September, making 8K monitors a viable option in a near future.

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Canon’s New Ultra Zoom for Sports and Nature

LOG and RAW workflows and the Adobe video tools

A 75-1500mm focal range, 20x magnification, servo drive and 4K image quality are present in the new zoom lens for TV production.

By Jose Antunes | October 17, 2014

Canon bolsters its cine servo lens line-up with the new CN20x50 – a high performance, ultra-telephoto zoom lens for sport and nature TV production. Leveraging Canon’s long-standing and unparalleled expertise in lens design, the CN20x50 delivers superb image quality and exceptional creative control, and is the first lens of its type to combine a built-in 1.5x extender, class-leading 20x magnification and a removable servo drive, with a native 50-1000mm focal range that expands to a huge 75-1500mm.

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Adobe Creative Cloud News and Specials

LOG and RAW workflows and the Adobe video tools

By videoguys.com | October 16, 2014

Videoguys.com Announces Adobe Creative Cloud for Teams Upgrade, 2-Year Rate Lock, and Special Multi-Seat Prices for 5 or more users

Now it is more affordable than ever to set-up your entire... Read More

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Behind the Workflow and Post-Production Process of Gone Girl

LOG and RAW workflows and the Adobe video tools

An interview with Gone Girl post engineer Jeff Brue and assistant editor Tyler Nelson

By Jeremiah Karpowicz | October 15, 2014

David Fincher’s latest feature film, Gone Girl, was shot in 6K and reviewed in a full 4K pipeline. It’s the first feature film to be cut on Adobe Premiere and needed to employ an incredibly advanced technical workflow to handle all of the data and ensure there... Read More

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PVC at AES 2014 - The Amazing Nucleus Board from Solid State Logic

LOG and RAW workflows and the Adobe video tools

An all-in-one solution for anyone who wants to record, track and mix

By Woody Woodhall | October 15, 2014

In a world filled with computers replacing the desk and shelf space of mixing consoles and recorders, there have been a number of solutions over the years to address the tactile connection to the audio that mixers and sound engineers require. Avid has rolled out a number of controllers over the... Read More

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Biscardi Creative Media combines experience, storytelling, and heart

LOG and RAW workflows and the Adobe video tools

Full-service video production firm realizes efficiencies and plans for the future with Adobe Creative Cloud

By Meagan Keane | October 15, 2014

Walter Biscardi Jr. has worked with nearly every NLE during his long and successful career. He started editing in 1990 at CNN and was one of the network’s first Avid editors. In 1995, he moved to Foxwoods Resort Casino, designed a new production facility around Media 100, and then started... Read More

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Ask an Expert: How to Market Yourself, Applying a LUT and Using the Angle Editor in FCPX

LOG and RAW workflows and the Adobe video tools

This month in the ProVideo Coalition Mailbag

By The ProVideo Coalition | October 14, 2014

In our October 2014 Mailbag, readers asked questions about editing clips from different angles, the best approach to LUTs, Premiere Pro logistics and plenty more. Art Adams, Bruce Johnson, Scott Simmons and Adam Wilt weighed in to answer most of the questions this month, and you can see what they all have to say below.

If you have any questions you’d like to see our writers answer in an upcoming mailbag or as a Roundtable article, email them to us at ask@provideocoalition.com or tweet us with the hashtag #askpvc to have your question answered by an expert.

 

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First Look: Hands-on with the GoPro HERO4 Black

LOG and RAW workflows and the Adobe video tools

Actual Results and Dispelling Misconceptions for Aerial Videographers

By Jeff Foster | October 14, 2014

Since the announcement of the flagship camera in GoPro's new HERO4 lineup, I get to give the HERO4 Black a test with several devices and gimbals to see how it compares to the HERO3+ and share my initial results.

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Interactive Title Design in Final Cut Pro X

LOG and RAW workflows and the Adobe video tools

This Week on MacBreak Studio

By Mark Spencer | October 14, 2014

Did you know you can do interactive, realtime title design directly inside Final Cut Pro X?

This is the subject we tackle in this week's edition of MacBreak Studio. While Motion is the primary companion application for creating motion graphics for editors using Final Cut... Read More

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I Need You but Can’t Pay You: 4 Things to Remember When Asking for Free Work

LOG and RAW workflows and the Adobe video tools

By Bobby Marko | October 14, 2014

We've all been there! The all too familiar passion projects, short films, documentaries, even feature films. And when we create these projects we know in order to pull them off, we have to invite others to get the vision, to hopefully be as passionate about the project as we are, all in... Read More

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