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Batch Encoding in Final Cut Pro X

This Week on MacBreak Studio

By Mark Spencer | September 09, 2014

Batch exporting directly from Final Cut Pro X?

That's what Steve Martin from Ripple Training explores in today's episode of MacBreak Studio.

While there are many sharing options built into Final Cut Pro X, some folks turn to Compressor, Apple's... Read More

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The Terence and Philip Show: Episode 64 – Finding the Resolution Sweet Spot with 4K

The Terence and Philip Show: Episode 64 – Finding the Resolution Sweet Spot with 4K

Terence and Philip discuss 4K – the good, the bad, and the bandwidth

By PVC News Staff | September 09, 2014

To listen to the Terence and Philip Show episode #64 where Terence Curren and Philip Hodges discuss 4K pipeline issues, a sweet spot with resolution and more, click the player below. A transcript of the episode itself is below the player.

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Adobe Video tools: Fall CC 2014 preview [updated]

rounding up blogs and video

By Rich Young | September 08, 2014

At IBC 2014, Adobe is previewing the latest features coming to Creative Cloud pro video apps (blog). Features are a bit light this time, except for some important new ones in Premiere, but these are updates not new version releases, like the ones in June. Hopefully there are few kinks in any UI changes amid the high-DPI functionality upgrades. Read More

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Comparing 3D type options for After Effects

Ray-traced 3D is walking dead

By Rich Young | September 04, 2014

While some may claim that the After Effects CS6-era Ray-traced 3D renderer is a minor feature that you can ignore, it's still a strong option for basic motion graphics with realistic reflections and refractions, and very fast if you have an Nvidia CUDA GPU. If you're not committed one way or another, you may want to check out an integrated in-depth resource from Eran Stern that compares major alternatives for creating 3D type.

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TurbulenceFD Depth Pass Using Cinema 4D

Free script to aid in creating a depth pass for smoke simulations

By David Torno | September 04, 2014

Creating a depth pass for a smoke simulation should be a simple task you might think. In most cases with professional softwares it can be, but not all softwares support this feature. In this particular case it is the Fire and Smoke simulation plugin TurbulenceFD (TFD). I am a... Read More

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Moving Proxy Media in Final Cut Pro X

This Week on MacBreak Studio

By Mark Spencer | September 02, 2014

How can I take my proxies with me?

It's a question we've heard enough times that in this episode of MacBreak Studio, I show Steve Martin from Ripple Training some options for doing so.

The scenario is this: you have your original media on a RAID - a large... Read More

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Cosmetic fixes, blemish removal, and skin retouching in post-production

Digital beauty treatments

By Rich Young | August 31, 2014

Digital beauty treatments and cosmetic fixes in post-production often involve isolating skin with tracking and mattes for color correction and matching, skin smoothing, and blemish removal. Even skin matching across shots isn't always easy, but there's some help along the way in basic and advanced tutorials on the wide variety of tools available. Read More

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Premiere Pro News Notes #09

By Rich Young | August 30, 2014

Here's another collection of news on tutorials, tips, and related tools assorted with Adobe Premiere Pro.

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Sony F5 Internal 4K “Hack” Video Tutorial

A step-by-step video on how to enable internal 4K on the Sony F5

By Brian Hallett | August 29, 2014

In a few easy steps, Sony F5 camera owners can implement a "Hack," that Sony has not sanctioned, to enable internal 4K recording; a feature originally reserved for the much costlier Sony F55. In this article, Nathan Thompson, of Contrast Visuals & Consulting, and I have produced a video tutorial showing you the steps needed to enable internal 4K recording.

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Optical Kerning preference in After Effects

Edit the preference file for always on auto-kerning

By Rich Young | August 27, 2014

Optical kerning is a newer feature in Adobe apps. If you have a tendency to forget about kerning, be sure to enable Optical kerning, even it means occasionally overriding a font's built-in kern tables.

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Subroles in Final Cut Pro X

This Week on MacBreak Studio

By Mark Spencer | August 26, 2014

There are no tracks in Final Cut Pro X.

This fact really throws folks at first because it seems that tracks would be required for some very basic editing, compositing, organizing, and exporting functions. However, Final Cut's magnetic timeline, connected clips, and use of... Read More

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Follow Alexis Van Hurkman Down the Rabbit Hole to Find “The Place Where You Live”

Follow Alexis Van Hurkman Down the Rabbit Hole to Find “The Place Where You Live”

The director talks to us about the short film he wrote, produced and edited

By Jeremiah Karpowicz | August 24, 2014

Alexis Van Hurkman is a man of many talents. He might be best known for his expertise in post-production, and as the writer of books such as the “Color Correction Handbook,” and “Adobe SpeedGrade: Getting Started,” that should come as no surprise. ProVideo Coalition... Read More

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DJI Ronin Field Test

Putting the 3-axis gimbal through the paces

By Brian Hallett | August 24, 2014

It is the 3-axis brushless gimbal that has placed itself in direct competition with Freefly's Movi. It is less expensive and claims to handle heavier cameras, but what is the real story. In this review I turn a blind eye to all the marketing spin and focus on whether or not this is the 3-axis gimbal to buy. 

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How Much do Videographers Earn?

"How much can I earn?" and "how much should I charge?" are essential questions videographers ask. Here are some answers.

By Jose Antunes | August 22, 2014

People new to the video industry tend to ask "how much does a videographer earn?". Although it is difficult to answer in a way that satisfies the different expectations and adapts to different levels of experience, there is a place to find some clues, if you're in the United States of America: the Bureau of Labor Statistics.

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Helpful Ways for Cinematographers to Get a Grip on Lighting Part 4

Part 4: Types of Lighting Tools

By Bobby Marko | August 22, 2014

Lighting is an evolving art form. Not only does technique change and advance but so does the technology of how light is produced and generated. Even a decade ago the landscape of production lighting was much different from what it is today. Just like with the cameras that are coming out today,... Read More

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Discounts on After Effects World and Adobe MAX

Discounts on After Effects World and Adobe MAX

We’re speaking at both events; here’s ways to save a little when you register

By Chris and Trish Meyer | August 21, 2014

In addition to the free Moviola webinar on creativity Chris is presenting next week, we’re both speaking at the upcoming After Effects World and Adobe MAX conferences:

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MaskTracker+: quick planar tracking inside After Effects

new from Mamoworld

By Rich Young | August 19, 2014

MaskTracker+, a new AE script from Mamoworld, expands the Rigid Mask Tracker in After Effects, opening up planar tracking capabilities that allow you to do much more than just moving masks.

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Cinemagraphs in FCP X and Motion

This Week on MacBreak Studio

By Mark Spencer | August 19, 2014

Final Cut Pro X or Motion?

Both FCP X and Motion allow you to perform compositing and animation. How do you decide which to use? This week on MacBreak Studio, I show Steve Martin from Ripple Training how to approach the same task in both applications.

According to... Read More

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7 Reasons to Stop Working on That Script

Long-term success depends on delivering a steady stream of work, not on writing one script

By Arthur Vincie | August 17, 2014

Folks, I'm here to tell you: it's time to put that script down, unless you can afford to make it with your own money without declaring bankruptcy. 

I've been there.  You pour your heart and soul into a script, and it just doesn't go anywhere.  You're... Read More

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Helpful Ways for Cinematographers to Get a Grip on Lighting Part 3

Part 3: Single Source Method

By Bobby Marko | August 15, 2014

Here we are in Part III of our series, Lighting Tips for Cinematographers. To recap, in part 1 I discussed the topic of lighting for foreground and background exposure. I wrote about how to achieve the standard look of exposing your foreground 1 stop above your background as a framework to begin. Then I showed some examples of how you can break that rule. In part 2 I talked about the checkerboard pattern and how this method will create depth and direct the viewers attention to certain aspects of the scene. As a storyteller this always increases your ability to effectively tell your story and guide the viewer on the journey you have laid out for them.

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