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This feature allows editors to make as many changes as they want, with little or no impact on the mix.
By Kevin P. McAuliffe | August 23, 2008
One problem that audio engineers run into all the time is sneaky editors who make changes to their "locked" offline while the engineer is doing their mix. Then, a major "patch" job ends up happening where the mix that is currently being working on, needs to be married with the new, revised audio that the editor has just output. Needless to say, it's a major headache. Well, not anymore. With the awsome new Conform feature in Soundtrack Pro 2, editors can make as many changes to their edit as they want, with little or no impact on the mix that is being done in Soundtrack Pro. Let's take a look at how this works.
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Learn the ins and outs of Final Cut Pro's SmoothCam filter
By steve martin | August 20, 2008
Remove unwanted camera movements from your shots using technology inherited from Apples' Shake.
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Interactive Graphic Design with Words
By Mark Spencer | August 19, 2008
Held every year in Bremen, Germany, Poetry on the Road is an international literature festival. The theme for the festival in 2007 and 2008 was designed by Boris Müller, a professor at the Interface Design programme of the University of Applied Sciences Potsdam, using software that generates a graphic design based on words. There's an interactive demonstrator that lets you enter your own words to generate designs - quite interesting. Check out the viewer for 2008 here and for 2007 here.
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Change clip speed without changing clip duration
By steve martin | August 12, 2008
Have you ever wanted to change the speed of a clip and have it not effect the clip and sequence durations? In this short lesson, Steve will show you how to change the speed of your clips using a little-known command called "Match Frame Source File".
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By vittiPhoto | August 07, 2008
Being an early adopter of tapeless cinematography, I generally notice these inquiries on the blogs, bulletin boards, listserves and forums. Tapeless being the new technology and work?ow, there are kinks to work out, learn curves to scale. This article will address the issue of tapeless cinematography?s archiving image and sound assets with a reasonable yet secure system. Film set the narrative and commercial image acquisition standard over the past century, but the process from set to edit can be prohibitive. Since the late 1960?s, analog tape has been used for broadcast, corporate communications, with the emergence of digital tape & disc formats, for almost every media industry. Both ?lm and tape provide instant archival mediums for their video, audio and metadata assets, but with the domination of non linear editing systems across all media industries, these formats require digital capture of these assets into the digital realm. Tapeless image (and audio) acquisition is emerging on set as an alternative to ?lm, tape and optical disc based recording. Solid state?s current high cost necessitates using it as a temporary archive analogous to a ?lm camera?s magazine conveying assets to a more affordable archive: computer hard disk drives.
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Emphasize your subject using this classic effect.
By steve martin | August 05, 2008
Learn how to call attention to an individual in a photograph, illuminate text in a book, or emphasize an item on the screen for a training demo. At Ripple Training we use this technique every day to call attention to specific areas of the screen. You'll even see it used in this video!
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Faster encoding for the rest of us
By Scott Bates | July 30, 2008
A large number of us do our encode/transcode work in compressor on the same single machine as we did our FCP editing on, or are about to author our DVD on. The point being that many of us don't have the luxury of raw extra computing power just sitting in a stack next to our desk waiting to become a Qmaster Cluster for distributed encoding. However, it turns out, there's a great pro-tip for Compressor users that allows you to basically do distributed encoding to yourself.Earlier this year at the Mac Developer Conference, Apple introduced the next version of OSX coming down the pipeline next year (10.6 aka: Snow Leopard). One of the primary goals outlined for the new OS, was to greatly improve the utilization of all these "multi-core" CPUs we have running in our Macs these days. The reason being that while todays OS and Applications are in-fact Multi-threaded and do try to take advantage of all that horse-power, it's not optimized to the degree we'd all like it to be, and thus there are plenty of CPU cycles going unused.
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Recording & Editing Multi-take Voice Overs in Soundtrack Pro
By steve martin | July 30, 2008
In this excerpt from Ripple Training's "Sound Editing & Mastering in Soundtrack Pro" Steve will show you how fast, fluid and fun it is to edit voice overs in Soundtrack Pro using the Multitake Editor.Click here to watch tutorial
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By Kevin P. McAuliffe | July 28, 2008
With all the editing programs and packages on the market today, deciding on which one is right for you can be difficult and confusing. I thought I would take a look and list my top ten reasons why you should either switch to Final Cut Studio 2 or make it your first choice when buying for the first time!10. SMOOTHCAM AND THE INTRODUCTION OF BACKGROUND PROCESSINGAnyone who has used Shake will be familiar with SmoothCam. It was designed to, as the name says, smooth out camera bumps and shakes in your footage. Most people might look at this and think that it is not really that big a deal, but believe me, it is. Why you ask? SmoothCam not only lets you smooth your footage out, but it introduces a new feature to Final Cut Pro that let's you process the effect "live" in the background. The way the effect works is that once you add it to your timeline, FCP immediately starts analyzing the original clip to see what is happening inside the frame. Keep in mind, if the shot you captured was an hour long, it will process the whole hour long clip. In most cases, with anything that needs processing or analyzing, you would need to stop and wait for it to finish. Not anymore! Now, Final Cut Pro will analyze while you are working. Once you hit play on your timeline to see what you are working on, the analyzing will pause, and once you stop playing to do effects work, titles, etc, it will keep processing until it is done.
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Getting Video In and Out of Color
By Andrew Balis | July 22, 2008
One of the most confusing issues that comes up frequently with new users of Color is how to get in and out of Color with different types of video formats. Therefore, the purpose of this article is to clear up the confusion by presenting the four main workflows Color can utilize, as well as how each format can be handled by Color. This article relates to users of Color version 1.0.2 or later. We'll look at how to handle video formats captured via capture card, as well as how to work with "native" formats captured via FireWire such as DV, DVCPRO 50, DVCPRO HD and HDV.
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Two Great Tastes That Taste Great Together
By Mark Spencer | July 15, 2008
Here's a free video tutorial that shows you how to quickly create an engaging animation by arranging the layers of a Photoshop file in 3D space in Motion, and then flying a camera through them. To see it, click here.
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A Two-Part Motion Tip
By Mark Spencer | July 02, 2008
In Part 1 of our exploration of Motion's Order of Operations, or OoO (which you can find here), we looked at a situation where a drop shadow applied to a layer would rotate with the layer because transformations are calculated after effects. Today, we'll look at another common issue that can arise when working with still images.
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A Multi-part Motion Tip
By Mark Spencer | June 24, 2008
The OoO? Some sort of secret society? Almost - OoO stands for Order of Operations, and if you're not familiar how Motion calculates the changes you make to layers and groups, you might not get the results you want. Let's take a closer look.
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AMD Announces the HD 3870
By Mark Spencer | June 13, 2008
Yesterday AMD announced a new graphics card, the ATI Radeon HD 3870, which they say they expect to ship by the end of June.
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Working With Fixed Resolution
By Mark Spencer | June 09, 2008
When working with Motion, you'll often import content that was created elsewhere. For example, Illustrator and Photoshop are two powerful applications for creating and manipulating images. They both work very well with Motion, but to get the best results, you need to know about setting in Motion that isn't necessarily obvious or easy to find.
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The key to dramatically faster render times
By Mark Spencer | May 20, 2008
If you have begun to explore Final Cut Studio's application integration by embedding your Motion project files into your Final Cut Pro sequence, you may have noticed a rather large increase in render time for that sequence.Part of the cause of the increased render time is due to the level of complexity of your Motion project, but there's a setting in Final Cut Pro that can dramatically reduce render times with little to no impact on the quality of your Motion project -- except for certain types of projects.
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High Quality MPEG-2 Encoding for Final Cut Studio 2
By Brian Gary | May 14, 2008
Cinema Craft, the industry leader in MPEG-2 encoding for DVD, is going to release a Compressor 3 plug-in by the end of this month. I wrote an article on Ken Stone's site that takes a look at both the plug-in itself and the technology behind it...the Cinema Craft Xtream encoding engine. The majority of Hollywood releases on DVD have been encoded using the Xtream engine, and it's the same engine that's at the core of the Cinema Craft Encoder MP plug-in for Compressor. In addition to high quality, Cinema Craft Encoder MP is a full Compressor plug-in (vs. a QuickTime Component) so it has access to all of Compressor's features like frame controls and geometry. If you're going to be in Los Angeles on May 21st, 2008, I'm going to do a demo of the software at the May LAFCPUG meeting.BG
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Masters of Final Cut reveal time-saving tips and powerful techniques for editing, graphic animation, audio post, color grading, delivery and asset management.
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