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Is There A Future For Editors

Will we be outsourced or automated out of existence?

By Terence Curren | January 13, 2012

In this latest episode of "The Terence and Philip Show" we discuss the outsourcing of editing jobs, remote (a.k.a cloud) editing and automation in production. What's happening now and how will it evolve in the near future. Philip also sneaks in a preview of an interesting show he'll be involved with in 2012.Click the link below and join the conversation.Since we recorded this show, another automatic editing application went live. Check out Magisto Read More

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Update Alert: FxFactory 3.0

A solid update to the popular plug-in tool brings new effects, new development partners including Nattress

By Scott Simmons | January 12, 2012

A big update just hit the Final Cut Pro / Adobe After Effects world this week with Noise Industries FxFactory 3. This update to the popular plug-in architecture introduces not just a lot of new effects but a new interface to the actual FxFactory program. This release sees an interesting new color correction tool from Yanobox and the first FxFactory tools from Nattress and an FCPX only transition package from idustrial revolution. Read More

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Did you know MPEG Streamclip could convert YouTube videos?

I didn't. But I'm happy to know that now.

By Scott Simmons | January 09, 2012

File this post under "how in the hell did I not know MPEG Streamclip could do this!" This being take the URL of a YouTube video and convert it into a usable file. That is one of those tasks that has come up time and time again and I've often struggled with how to make it happen. I'm not sure how long MPEG Streamclip has had this function but I'm going to chalk it up to you learn something new every day.

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3D Motion Graphics

3D Motion Graphics

Making something from nothing using 3D tools in Smoke

By Marc Hamaker | January 03, 2012

Autodesk's David J. Wood presents a quick motion graphics tutorial on building a quick broadcast title animation using 3D text, geometry and pattern generators. It's a good example of how you can make something from nothing and shows off the true 3D compositing tools inside of Autodesk Smoke. Read More

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Can a professional really use Premiere Elements 10?

This article accompanies my recent chapter 9 of the PsF’s missing workflow series, which offers workarounds to use PsF from AVCHD properly in Premiere Elements 10, as well as native 1080p23.976.

By Allan Tépper | December 31, 2011

I first wrote about Premiere Elements back when version 9 was first released for the Mac. At that point, I received an NFR (Not For Resale) copy from Adobe but was so concerned about its lack of direct support for PsF in AVCHD that I delayed writing about it again while I exchanged e-mails with the Premiere Elements team. In the meantime, I kept myself quite busy covering other topics, and earlier this week, I published chapter 9 in the PsF’s missing workflow about how to get around Premiere Elements’ current lack of direct support for PsF in AVCHD, and even direct support for native 23.976p (“24p”) in AVCHD. In this article, I answer a logical question: Can a professional really use Premiere Elements? This sub-US$100 program is available for Mac or Windows. Here are the answers.

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PsF’s missing workflow, Part 9: Premiere Elements 10

Despite the Premiere Elements team’s denial about the existence of PsF in AVCHD, fortunately there are workarounds to handle AVCHD PsF properly with the sub US$100 Premiere Elements in many cases.

By Allan Tépper | December 28, 2011

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several AVCHD cameras from 3 manufacturers. In #4, we did the same with several HD recorders. In #5, we revealed how one recorder manufacturer is offering its own software to counteract the inappropriate signals offered over HDMI by many cameras. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. In #8, I showed how ClipWrap is an excellent solution for many Mac editors. Now in #9, I’ll discuss PsF with the sub US$100 Adobe Premiere Elements 10.

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The Smoke and Mirrors Behind Sweden’s Brokendoll

Brett Richards Tells Why His Post Is Up In Smoke

By Clint Milby | December 20, 2011

Winner of numerous ProMax awards in 2011, Sweden-based, boutique production company Brokendoll has garnered acclaim with their self-described "visually intense" high end productions for advertising, television and web. You might think a company with this level of initial success would also have goals of growing, but according to Brett Richards, Brokendoll is intent on keeping their footprint small to maintain the quality of their productions, "It is important to the quality of the production that we have the right team on each job, so we avoid large, in house teams to maximize our flexibility." Read More

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New That Post Show: Edit Pro Supergood

New episode is a discussion of Avid Media Composer and Final Cut Pro X

By Scott Simmons | December 19, 2011

Just over a week ago I enjoyed sitting in on another episode of That Post Show where we had a calm and rational (mostly) discussion of Avid Media Composer 6 and Apple Final Cut Pro X. While it might seem these two NLEs are rather far apart in their perception and target market they are indeed both non-linear editors that can be used to tell a story as well as the two newest NLEs on the block. The show is called Edit Pro Supergood and it's a long one, clocking in at a bit over two hours. Read More

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Clean those Adobe Media Cache Files

And reclaim some drive space in the process

By Scott Simmons | December 10, 2011

I learned something today about Adobe Premiere Pro that I was unaware of. The application creates a media cache when it imports media and that media cache seems to default to the system drive in the user Library folder. This cache can balloon in size over a period of time as I found out when cleaning up a drive. But it can be easily cleaned and relocated. Read More

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Smoke for Final Cut Pro Users

Getting started with Smoke

By Grant Kay | December 09, 2011

As a Senior Smoke Trainer here at Autodesk, I routinely get question from editors and artists asking me how Smoke compares to the software packages and plugins they use for everything from editing to color correction to visual effects. This has been especially true for Final Cut Pro editors - many of whom are exploring options as they ponder the future of their editorial and finishing workflow. And while a lot of these FCP users tell me they are excited about the possibility of trying out Smoke, the sheer complexity and breadth of creative tools in Smoke's all-in-one workflow can be a bit intimidating. Read More

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REVIEW:  Fast Forward Video Sidekick HD Recorder/Monitor

Two for the price of one?

By Bruce A Johnson | December 09, 2011

PREFACE: The ProRes DilemmaLet's start this review off by dispelling a long-held rumor. I'm a PC guy, just always have been, and after reviewing just about every PC NLE at least once, I have settled on Adobe Premiere Pro (and the CS 5.5 suite) as my editor of choice. Not too long ago, I had a freelance client that absolutely insisted on Apple ProRes files for the output of a project. Unfortunately, Apple does not allow PCs to write ProRes files, and at the time PC's couldn't read them either.Fast-forward a few months: Imagine my dismay as I walked the aisles of NAB 2011, looking at all kinds of new recording devices from Aja, Atomos, Sound Devices and others that promised long recording times and transfer speeds - yet the catch was: Only records in Apple ProRes.So when I was offered the opportunity to review the Fast Forward Video Sidekick HD combination video recorder and camera-top monitor, I was distressed to think that I could shoot the footage, but couldn't edit it. So I put the question to my colleagues on the Vidpro listserv - can PC Premiere Pro play back ProRes? My pal (and fellow Wisconsinite) Steve Oakley FTP'ed me a few Apple clips that seemed to work, so I went ahead and received the Sidekick HD. And I can now say with 100% certainty - Adobe Premiere Pro 5.5 can play back Apple ProRes files, even happily combining them on the same timeline with just about any other type of clip you want to add - .AVI, .M2T, Photoshop files, Canon 50Mb, Sony 35Mb, After Effects comps, you name it. (The theory is that the ProRes playback capability came along with one of the many Quicktime updates Apple shoots out. Hey, who knew?) Read More

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Let’s talk Avid Media Composer 6

How does it compare with the other NLE approaches?

By Terence Curren | December 08, 2011

In this latest episode of The Terence & Philip Show, Philip and I discuss the different approaches manufacturers have taken to updating their NLEs to 64bit modern architectures. Focusing heavily on Media Composer 6, Avid's just-released 64 bit update to the venerable Media Composer.Click the link below and join the conversation. Read More

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Is TV Broken?

or: if It Ain't Broke, Does it Need To Be Fixed?

By Bruce A Johnson | December 07, 2011

I don't generally re-post links to articles, but this one from CNN's Business Insider Matt Rosoff caught my eye. Give it a read, but the thumbnail is this:What is so flawed about the television watching experience that Steve Jobs devoted his final months of life to changing it? It's a good, quick read. What do you think? Is TV broken? Read More

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Smoke at the 2011 SuperMeet in Amsterdam

The Final Cut Pro User Group Network showcases the latest technology for storytellers

By Heather McDiarmid | December 01, 2011

Hundreds of editors, filmmakers, and post production artists saw Autodesk Smoke showcased as the go-to tool for stereoscopic 3D editorial, color correction and finishing on the Mac at the 4th annual Amsterdam FCP UG SuperMeet. Read More

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PsF’s missing workflow, Part 8: ClipWrap to the rescue

Like a bridge over troubled waters, ClipWrap will now be the cure-all for AVCHD’s multiple weaknesses for many Mac video editors, at least in the short term.

By Allan Tépper | November 30, 2011

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In #4, we did the same with several HD video recorders from 6 different manufacturers. In #5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. Now in #8, I’ll reveal how the US$49.99 middleware known as ClipWrap will be the cure-all for all of AVCHD’s multiple weaknesses, including both types of PsF, at least in the short term.

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PsF’s missing workflow, Part 7: Adobe Premiere Pro CS5.5.x

How to deal with 25PsF and 29.97PsF with Adobe Premiere Pro CS5.5.x

By Allan Tépper | November 28, 2011

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In part 4, we did the same with several file-based HD video recorders from 6 different manufacturers. In part 5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In part 6, I published and Open Letter to all pro AVCHD manufacturers. Here in part 7, I’ll cover how to deal with 25PsF and 29.97PsF on a progressive sequence in Premiere Pro CS5.5.x.

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Kicking the Tires on Avid Media Composer 6

The rewritten application is now 64 bit, all new and yet very familiar at the same time.

By Scott Simmons | November 20, 2011

Avid Media Composer 6 began shipping last week after being announced just under a month ago. The release has seen quite a bit of press as it was teased back in the summer and a large part of that tease was letting users know what they could expect when this version came along. I haven't had a chance to really pound MC6 as of yet since it just shipped but I have been kicking the tires on it for the last few days. Keep an eye on That Post Show for upcoming episodes all about MC6. Read More

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Workarounds For FCP X Shortcomings?

Yes, it's not mature yet, but there are third party solutions.

By Terence Curren | November 18, 2011

In this latest episode of "The Terence & Philip Show" we start by discussing the release of Final Cut Pro X 10.0.1. We know what features are in this release and what else is coming in "early 2012? but what will Apple do for Version 2?We also cover, Intelligent Assistance's new release of Project X27 for transferring Final Cut Pro X XML to Final Cut Pro 7 XML for use in Color, Soundtrack Pro, Premiere Pro CS 5.5, OMF export and beyond. This leads to a discussion about the various flavors of XML and the differences in data structures between the two versions of Final Cut Pro. The differences between the publicly available FCPXML and the internal AXEL XML format used by Apple internally and for the Automatic Duck OMF/AAF export from Final Cut Pro X.We briefly discuss the Automatic Duck changes in that context.Back to the Final Cut Pro X discussion we talk about how fast Final Cut Pro X is in practical editing, and where the deal breakers may be for certain editors.Click on the link below and join the conversation. Read More

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The Adobe Premiere Pro timeline for Final Cut Pro users

Editors spend so much time in the timeline it's worth an in-depth look

By Scott Simmons | November 07, 2011

When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you're moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won't be totally lost as there are a lot of similarities between the two application's timelines. But there are some important differences as well. Let's take a closer look at the Premiere Pro timeline if you're moving from FCP 7. Did I mention how much time editors spend working in the timeline? Read More

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Film Is Dead!

...and a bunch of other topics on the latest Terence & Philip show.

By Terence Curren | November 04, 2011

In this episode Philip & I cover a series of topics starting with large sensor cameras in production, the November 3 announcements from Canon Professional video, RED and Avid. Then on to the death of film, the cinema experience, and the problems of 3D.We've been predicting the demise of the Mac Pro in the current form fact for some time, and during this early October recording, we discuss what has this week become rumor: the demise of the heavy iron workstation. (And the value of SSD.)I report from the Monitor shootout day sponsored by the Hollywood Post Alliance, and HPA sponsored workflows.We also get onto the future of Apple after the loss of Steve Jobs (just like everyone else!), leading to a discussion of who invented what?The implications of Siri for postproduction: specialist tools vs generalists tools.To join us just click on the player link below. Read More

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