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Beachtek DXA-SLR PRO audio interface review part 2: with Blackmagic Pocket Cinema Camera

Beachtek DXA-SLR PRO audio interface review part 2: with Blackmagic Pocket Cinema Camera

Part 2: an audio/video recording to show performance with a Blackmagic Pocket Cinema Camera.

By Allan Tépper | December 31, 2013

For part 2 of the Beachtek DXA-SLR PRO audio interface review, I got together with Ríchard Izarra in one of his extremely brief visits to Miami to test audio with his new Blackmagic Pocket Cinema Camera. Ahead you’ll see (and hear) a brief audio/video clip.

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Get Started Fast with Avid Media Composer 7: Lesson 3

Let's continue to Get Started Fast with Avid Media Composer 7 - In this lesson, Editing, Audio Mixing and Title Creation.

By Kevin P. McAuliffe | December 27, 2013

If you've been thinking that Media Composer is a little to daunting to get started with, than part three of this five part series will get you up and running lightning quick!

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Get Started Fast with Avid Media Composer 7: Lesson 2

Let's continue to Get Started Fast with Avid Media Composer 7 - In this lesson, acquiring your footage!

By Kevin P. McAuliffe | December 20, 2013

If you've been thinking that Media Composer is a little to daunting to get started with, than part two of this five part series will get you up and running lightning quick!

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Get Started Fast with Avid Media Composer 7: Lesson 1

Get Started Fast with Avid Media Composer 7: Lesson 1

Want to get a jump on learning Avid Media Composer? You've come to the right place!

By Kevin P. McAuliffe | December 17, 2013

If you've been thinking that Media Composer is a little to daunting to get started with, than part one of this five part series will get you up and running lightning quick!

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BeachTek DXA-SLR PRO audio interface review part 1: with Canon 7D

BeachTek DXA-SLR PRO audio interface review part 1: with Canon 7D

In part 1, we review design, a unique feature, specs, and performance with a Canon 7D.

By Allan Tépper | December 05, 2013

I was happily surprised when BeachTek recently contacted me regarding their DXA-SLR PRO audio interface. Ahead you’ll see part 1 of my review, including design, a unique feature, specs, and preamp performance with a Canon 7D camera, thanks to Acquest Multimedia. Upcoming articles will cover its use with other types of cameras, including both the Blackmagic Pocket Cinema Camera and traditional video cameras.

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Spotting (and Solving) Sync Issues

Spotting (and Solving) Sync Issues

Not all cameras that shoot video record the audio in sync. And no, your auto-sync software isn't going to fix it for you.

By Chris and Trish Meyer | December 03, 2013

Short Version: If you haven’t already heard, not all cameras that shoot video (for example, DSLRs like the Canon 5D mkII) record their own audio in sync with the video. This causes problems whether you’re using camera audio, dual system audio, or have a multi-camera shoot. Therefore, it’s essential to test your camera (particularly if it’s not primarily a “real” video camera) and to compensate for this potential issue. If this is news to you (or if you’ve been ignoring it), read on.

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All the 2013 Black Friday Deals in one place

All the 2013 Black Friday Deals in one place

Is the software you want on sale? I'll be updating this list up until the weekend!

By Kevin P. McAuliffe | November 26, 2013

I'll be updating this list up until Black Friday, to keep everyone up to date on the great sales happening around the "post" web!

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The Post Podcast Episode 9

The Post Podcast Episode 9

This week we talk to Jena Rappolt-Noyes, Product Manager Software for Tiffen DFX!

By Kevin P. McAuliffe | November 25, 2013

In this weeks show, we look at news & views from the week ending Nov 24th, 2013, and we talk to Jena Rappolt-Noyes, Product Manager Software for Tiffen DFX!

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Don’t Just Get The Shot

Capture Additional Audio On-Set

By Woody Woodhall | November 20, 2013

Filmmakers often ask what they can do to make their projects sound better.  They are all looking for that one great tip and expecting an awe-inspiring “aha!” insight.  However, recording, editing and mixing sound is no different than any other part of the... Read More

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The Post Podcast Episode 8

The Post Podcast Episode 8

After Effects Legend Brian Maffitt discusses AE's start, being a Guru, Total Training, and what improvements AE needs today!

By Kevin P. McAuliffe | November 18, 2013

In this weeks show, we look at news & views from the week ending Nov 17th, 2013. Kevin talks about some people he thinks you should be following on Twitter & we talk to Brian Maffitt, After Effects Legend & CEO of Total Training.

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Will Read: An Integrated Approach to Filmmaking

By Eric Philpott | November 14, 2013

“Better tools are allowing films and videos to be finished by fewer people who have greater control, resulting in better programmes with a clearer creative voice. ”

- Will Read

London-based filmmaker Will Read is part of the new generation of digital... Read More

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Why Manuela returned to FCP after loving Premiere Pro CS6?

Why Manuela returned to FCP after loving Premiere Pro CS6?

A year ago, Manuela Santana migrated to Premiere Pro CS6, but unusual circumstances made her return to FCP.

By Allan Tépper | November 12, 2013

A year ago, professional editor Manuela Santana abandoned FCP X and migrated to Premiere Pro CS6, but has just returned to FCP. This article will explain why an unusual discovery about footage shot with FiLMiC Pro made Manuela go back to FCP.

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Creative Uses of the Range Tool in Final Cut Pro X

On This Week's MacBreak Studio

By Mark Spencer | November 12, 2013

This week on MacBreak Studio, Steve Martin from Ripple Training explores the Range tool in Final Cut Pro X.

The Range tool - found in the Tools menu or invoked with the keyboard shortcut "R" - has a surprisingly large number of uses throughout the editing of a... Read More

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How to adjust audio levels with Blackmagic cameras

How to adjust audio levels with Blackmagic cameras

The third method may be the charm for the Pocket Cinema camera.

By Allan Tépper | October 31, 2013

 

As several people begin receiving Blackmagic’s Pocket Cinema cameras, many begin to ask me how to deal with their audio with them. They want to know how to connect their mics, how to monitor, and how to adjust levels. This has been further complicated by the fact that surprisingly, Blackmagic has still not added any audio metering to their cameras via a firmware update.

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Darren Orange moves from role-playing games to feature filmmaking

Creative Cloud powers the production workflow for Reactor 88

By Eric Philpott | October 28, 2013

Reactor 88 is an independent production company based near Chicago with a unique focus on creating films based on role-playing game narratives. The company’s first production, InSpectres was released in September 2013 and the team is hard at work on their second film, Dead News Report. We... Read More

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Ríchard Izarra covers my book launch with his Canon XA20

Ríchard Izarra covers my book launch with his Canon XA20

Video journalism by PRODU with the Canon XA20 and edited with FCP X.

By Allan Tépper | October 23, 2013

Last night, Ríchard Izarra of PRODU quite unexpectedly materialized in Miami to cover my dual book launch (The Castilian Conspiracy and La conspiración del castellano) with his Canon XA20 camera, which he received recently. Ahead you’ll see a 1:53 (under 2-minute) video package which he edited and published with FCP X early this morning, before leaving for México, together with his continuing commentary about the camera.

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Frequency Adjustments

Equalizing Audio

By Woody Woodhall | October 20, 2013

EQ is an essential tool for mixing audio.  It can enhance recordings by boosting, reducing and removing certain frequency characteristics.  EQ was developed as a way to equalize differing sources to sound similar.  The simplest and most common EQ are what used to be called the... Read More

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The Sound of “Gravity”

Mixing sound on Alfonso Cuaron's latest film

By Matthew Jeppsen | October 10, 2013

Here's an exceptional behind-the-scenes featurette that talks about the sound and foley work in Gravity. One interesting note...the Foley artists used transducer contact mics to create many of the sounds in the film…that is, they recorded vibration from contact, not airborne audio, which is similar to how astronauts would experience sound in space. They also talk about using Dolby Atmos to fine-tune panning and positioning of audio, and how that helped to mirror the disorientation of on-screen characters. It's a fascinating piece, watch below.

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Audio Post For Reality TV

Audio Post For Reality TV

One Mixer's Workflow

By Woody Woodhall | October 06, 2013

I keep busy as a supervising sound editor and rerecording mixer doing, among other things, reality television programming.  It is a fast paced process with rigorous requirements for audio deliverables.  I deliver three or more episodes each week over the course of several different... Read More

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Audio standards and Adobe Loudness Radar

Background and basic tutorials

By Rich Young | September 25, 2013

Recently here on PVC, Woody Woodhall discussed The CALM ACT (Commercial Advertisement Loudness Mitigation), asking "Why Is The US Congress Messing With My Mix?". It's a nice introduction with several wrinkles worthy of further consideration, even if most of us don't use specialized audio tools like the Dolby Media Meter and are now uneffected by broadcast volume standards.

Many of us using more mass market tools will want to follow along with these first steps -- and can -- thanks to TC Electronic (see their loudness authority), whose LoudnessRadar was bundled with Adobe Premiere Pro CC and Adobe Audition CC.

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