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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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Basic Video Editing with Photoshop CS4/CS5 Extended

Basic Video Editing with Photoshop CS4/CS5 Extended

Part One: Video Editing & Animation with Photoshop CS4/CS5 Extended Series

By Jeff Foster | November 28, 2011

Are you a photographer that is just starting to discover the world of video with a new HD DSLR?  Do you have video clips that just needs some basic editing but haven't yet sprung for the high-priced video editing suites like Final Cut, Premiere Pro or Avid Xpress? You can do some basic video editing right inside Photoshop CS4 and CS5 Extended and retain all the resolution of your original footage. Unlike using a consumer utility like iMovie or Movie Maker, you will have total control over color correction, video layer modifications and even plug-in effects that you're already familiar with. 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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Using After Effects as an Advanced Titler for Premiere Pro

Tight integration allows you to use one to extend the feature set of the other.

By Chris and Trish Meyer | November 11, 2011

Footage from the Artbeats Portraits - Adults HD collection

 

Adobe Premiere Pro has a robust titler built in, including the ability to create title rolls and crawls. However, Adobe After Effects has even more advanced tools, including hundreds of Animation Presets for type, Shape Layers to build additional graphic elements such as lower third bars, and a combination of Layer Styles and Effects to further enhance the final look. If you have either the Production Premium or Master Collection suites, Premiere Pro and After Effects can talk to each other using Adobe Dynamic Link, which makes this process more fluid. In this article below I'll explain the general process of using After Effects to create refined lower thirds for Premiere Pro, and then on the next page is a series of short videos that walk through the actual process (including some design ideas in After Effects).{C} Read More

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Recently in After Effects

Recently in After Effects

News on After Effects and beyond

By Rich Young | November 07, 2011

Here's another week of some of the latest news (in two parts) on After Effects tutorials, plug-ins, scripts, and related items of interest. It was busy again last week, with iExpressions (a new approach to leverage expressions), tutorials from Red Giant, workflow, cameras, and Avid moving things forward. 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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PsF’s missing workflow, Part 3: Sony’s AVCHD & NXCAM cameras

By Allan Tépper | October 31, 2011

In part 1 of PsF’s missing workflow, we introduced the new terms benign PsF and malignant PsF (Progressive Segmented Frame), reviewed their vital importance and fragility in post-production, and clarified the PsF status of two Panasonic professional AVCHD cameras (branded as AVCCAM). In part 2, we clarified the PsF status of the Canon XA10 professional AVCHD camera. Now, in part 3, we’ll clarify the PsF status of Sony’s professional AVCHD cameras, some of which carry the NXCAM brand.

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Use Dynamic Link to bring Warp Stabilizer to Premiere Pro CS5.5

Editors can take advantage of advanced stabilization in Premiere Pro CS5.5

By Mark Christiansen | October 30, 2011

The Dynamic Link process to stabilize a Pr clip in AE begins in the Pr timeline.

Warp Stabilizer was arguably the biggest addition to After Effects CS5.5. Once you understand how to use it, it's a tool that can change the way you shoot; if you find yourself without a tripod or any kind of stabilization with a camera as notoriously unsteady as a DSLR, even on a moving shot, you can end up with footage that can look as if a dolly or SteadiCam were used to take it.For editors and shooters who work more in Premiere Pro than in AE, this is clearly a case where Dynamic Link, the technology bridge between the two apps, is useful. Warp Stabilizer isn't part of Pr, and it is relatively straightforward for basic usage even for the casual AE user. This article not only walks you through how to achieve shot stabilization on clips in a Pr edit, but it opens the door to how to use Dynamic Link generally, for those who've wished they had a better handle on it. Read More

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A report on Walter Murch’s talk at the Boston SuperMeet

Thanks to Chris Portal for taking pictures and summarizing Murch's talk

By Scott Simmons | October 28, 2011

I wasn't able to make it to the October 27 Boston SuperMeet though I really, really wanted to go. With a lineup that included the editor of Apocalypse Now and The English Patient, that would be Walter Murch of course, as well as Andrew Weisblum, editor of Black Swan and The Wrestler this looked to be a craft-focused event. Of course everyone wanted to know what Murch thinks of Final Cut Pro X and thanks to Chris Portal's report from the event we now know. Read More

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Sharing Assets: Adobe CS Production Premium’s Unique Workflow

A case where the whole is indeed greater than the sum of its parts.

By Jeff Sengstack | October 22, 2011

When you look at Adobe CS Production Premium's video production tools - Premiere Pro, After Effects, Encore, Audition, and Photoshop - many if not all could be considered industry leaders in their own right. But it's how they share assets that makes the suite such a powerful performer.Applications in Adobe CS Production Premium share assets in several ways. The goal? To save you time, reduce your work load, and ensure your assets retain their original quality throughout the video production process. Read More

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Mac Mini for pro video editing: a field report from Guatemala

Despite gloomy predictions from the naysayers, the Mac Mini beats the MacPro tower for video editing.

By Allan Tépper | October 18, 2011

Many readers of ProVideo Coalition magazine may recall my recent article Mac Mini w/Thunderbolt: preferred platform for many new editing systems. However, some of the readers had doubts, and one naysayer even dared to comment via LinkedIn: “This is hilarious garbage. No serious editor, in their right mind, would do this.” Another commenter via LinkedIn supposed that it would stand up for standard-definition video editing only, but would never work for HD 1080p editing. Fortunately, here is a detailed report from a very serious commercial production company in Guatemala, that has recently replaced two MacPro towers with Mac Mini i7 with Thunderbolt, together with a Thunderbolt RAID5 disk array, and a Thunderbolt-based professional audio/video i/o device. Here you’ll see the exact software and hardware configuration used, performance, and enthusiastic comments from the editor. On the other hand, you’ll even learn where not to use a Mac Mini.

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Adobe MAX 2011 Technology Sneak Peeks

What's cooking in the lab (and apparently close enough to tease us with).

By Chris and Trish Meyer | October 17, 2011

Adobe's big annual MAX conference finished a couple of weeks ago, and as part of it they included a series of technology sneak peeks. I've gone through the videos posted on AdobeTV and pulled out the ones of most interest to us video folks: Read More

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A lesson learned from my FCPX to Resolve roundtrips

FCPX can lose its links to media (and send clips offline) if the files are modified by another application.

By Scott Simmons | October 17, 2011

I learned a hard lesson today about Final Cut Pro X after doing some roundtrip testing between FCPX and the newly released Resolve 8. That lesson was to be very careful when using clips that FCPX is referencing in other video applications. If some piece of metadata is modified in the file, even if the video stays exactly the same, FCPX may not be able to see it. Also, if you're doing extensive audio mixing in FCPX be aware that the mixed clips won't roundtrip. Read More

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Straightforward Primary Color Correction in Premiere Pro

To do the bulk of color correction in Premiere Pro, all you need to use are one or two video effects and two or three scopes.

By Jeff Sengstack | October 15, 2011

Color correction falls into three categories: primary, secondary and "looks." Primary color correction changes all pixels in a clip's frame. Secondary corrections are limited to a region within the frame; be it an object, a person's face, or a tonal or color range like the sky. Looks are moods you try to set using color. For example: harsh and cold or soft and warm.Secondary color correction and looks are methods you might use on occasion and have extra levels of complexity. Primary color correction, the focus of this tutorial, should be used on virtually all video projects and is easier to do than you might think. Read More

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A short Q and A with Automatic Duck about their Adobe move

Auto Duck is retooling their company as its co-founder moves to Adobe

By Scott Simmons | October 07, 2011

A bit of surprising news came across the tubes just the other day about one of the workhorse tool companies of post-production. That news was that Automatic Duck, and its founder and face man Wes Plate, had been scooped up by Adobe. It was quite a surprise to me as I have always seen Automatic Duck as a platform independent company. While they specifically made plugs-ins for Adobe After Effects and Apple Final Cut Pro these tools made it possible to to move edits into other systems including Avid Media Composer and Pro Tools as well as Quantel. And like that, Automatic Duck was gone … at least for a little while. Read More

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The CRT Replacement Is Here…Finally!

Sony Trimaster OLED monitors really deliver.

By Terence Curren | October 04, 2011

With the death of CRTs, those of us who needed to critically evaluate video images in a standardized display universe were left with no adequate replacement. Most of us have been nursing along our aging CRT monitors and hoping something of equal or better quality would arrive before our trusted displays give up the ghost. Well, that product has finally arrived, and I predict that Sony is going to own the pro monitor market for delivering it. Read More

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The Templatorization of “Creativity”

Is there any room left for new ideas, or are we doomed to work on repeats of previous projects forever?

By Terence Curren | September 28, 2011

The trend toward basing creative endeavors on templates has been with us for many years, culminating in Hollywood's use of its history as templates for its current production.Whether this is a good or bad thing depends on whether you value your personal creativity, or you're pushing a budget to get a project finished.Click on the link below to play the latest Terence & Philip Show as we confront the good, the bad and the ugly of formulaic content creation. Read More

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Blackmagic breaks Thunderbolt price budget with US$299 Intensity Extreme

The US$299 Intensity Extreme is the first bus-powered a/v Thunderbolt interface, although not the first bus-powered device.

By Allan Tépper | September 09, 2011

At IBC in Amsterdam, Blackmagic has just announced its second Thunderbolt audio/video i/o interface, the US$299 Intensity Extreme. For about 70% less in price than Blackmagic’s first Thunderbolt product, the Intensity Extreme is also the first bus-powered a/v Thunderbolt interface, although not the first bus-powered device (since Matrox’s Thunderbolt adapter is bus-powered, but it is not an audio/video interface itself, but the connection to one). When connected with a laptop (i.e. MacBook Air or MacBook Pro), the Intensity Extreme will be powered by the laptop’s internal battery via the Thunderbolt connection. This article will describe exactly what you’ll get -and what you won’t get- if you choose the US$299 Intensity Extreme interface from Blackmagic, and its availability.

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AJA announces Io XT interface with Thunderbolt at IBC in Amsterdam

AJA's Io XT is the first professional audio/video with a loopable Thunderbolt connection.

By Allan Tépper | September 09, 2011

Today AJA announced and is showing its new Io XT audio/video interface with Thunderbolt at IBC stand 7.F11 in Amsterdam, Netherlands. Unlike other Thunderbolt-capable professional i/o interfaces from other manufacturers which I have covered earlier this week here in ProVideo Coalition magazine, the Io XT from AJA is the first and only one so far to offer loop-ability (aka “daisy-chaining”) to other Thunderbolt peripherals or even standard DVI/HDMI monitors via an inexpensive adapter or cable (under US$30 in most cases). This first look at AJA’s Io XT will cover its features, specs, and pricing.

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