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Red Giant BulletProof adds some significant, needed features

MXF, the ability to ADD and not COPY are chief among them. Oh, and PluralEyes integration.

By Scott Simmons | April 01, 2014

Red Giant software has announced quite a few new things just in time for NAB 2014. There’s a new Magic Bullet Looks reborn, and PluralEyes 3.5 with the ability to correct for sync drift. But what I wanted to point out is a couple of significant new features in BulletProof 1.2.

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Multicam Audio Editing in Final Cut Pro X

This Week on MacBreak Studio

By Mark Spencer | April 01, 2014

Multicam in Final Cut Pro X has gotten even better.

The multicam implementation in Final Cut Pro X was exceptional from the time it was first introduced. The flexibility of the different options for syncing angles, including a very fast and accurate automatic sync feature... Read More

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Media Composer - You Ask, I Answer! - Lesson 3

A viewer wants to do a simple split screen in Media Composer? Let's see how it's done!

By Kevin P. McAuliffe | March 31, 2014

In this tutorial, exclusive to PVC, I'm going to answer a question about creating simple split screens inside of Media Composer 7.  3D Warp tool, or Avid FX, which one will you choose?

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The Secret - or not so secret - world of Templates

The Secret - or not so secret - world of Templates

How to be an After Effects imposter for less than $20

By Steve Hullfish | March 31, 2014

Writing about anything on a forum with users as widely varied in their experience as provideocoalition is  a trick. Half the people will say “I never heard of that” and the other half will say – like the Geiko Insurance ads – “Duh! Everybody knows... Read More

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A Hands-on Experience with the ARRI AMIRA

In cameras, as in life, you get what you pay for

By Justin Aguirre | March 30, 2014

The opportunity to head up to the ARRI headquarters in Burbank for a one-on-one experience with its prototype AMIRA camera made me feel like a kid who found out I was going to Disney World.

From its classic 16mm cameras to the current ALEXA, ARRI has always had a special place in my... Read More

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Adobe Premiere Pro and Multiple GPUs

Adobe Premiere Pro and Multiple GPUs

You can get a significant speed boost using a variety of hardware solutions

By Chris and Trish Meyer | March 28, 2014

Apple’s inclusion of dual GPUs in every model of their new Mac Pro has caused a bit of a stir (and confusion) among video editors wondering if their NLE of choice can take advantage of them. Applications don’t automatically detect and use multiple GPUs; the drivers must support them, and the software must be written to exploit them. It’s expected that Apple’s own Final Cut Pro can; many seem to assume that Adobe’s Premiere Pro can’t – but that’s not the case.

While working with Adobe to update their Hardware Performance White Paper (which contains tips for non-geeks to optimize their hardware based on the different needs of Adobe’s video software), we learned that not only can Premiere Pro take advantage of both GPUs in the new Mac Pro, you can also install multiple GPUs in an older generation Mac Pro as well as Windows workstations to get similar or even greater performance gains. We’d like to share that information with you here, hopefully boiling the raw numbers down to a few takeaways for you to consider when choosing or configuring a system.

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Product Review: Areca ARC-8050T2 8-drive RAID with Thunderbolt 2

Add your own drives to this very fast, robust, affordable RAID

By Helmut Kobler | March 28, 2014

Areca’s new ARC-8050T2 is a industrial-strength 8 bay RAID that has a few unique things going for it. For starters, it uses a new Thunderbolt 2 connection, so it’s blazing fast when connected to a Thunderbolt 2-equipped Mac or PC. In fact, it’s the fastest 8 bay RAID I’ve ever tested, reaching about 1 GB/s read and writes in a RAID 5 configuration. Secondly, it’s the only big Thunderbolt RAID I’m aware of that you can buy without drives (street price is as low as $1,799 for the empty chassis), so you can buy your own drives without a markup, saving hundreds of dollars or more. I had a chance to set up and then run an 8050T2 on a number of projects for three weeks, and came away very impressed. If you’ve got even a mild do-it-yourself spirit, this is probably the RAID for you.

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VoiceOverMart upgrades to Pro Tools 11 HD & more

VoiceOverMart upgrades to Pro Tools 11 HD & more

Miami-based voiceover studio has just upgraded to Pro Tools 11 HD, with video upgrades from Blackmagic and Sony.

By Allan Tépper | March 25, 2014

VoiceOverMart is a Miami (Coral Gables), Florida based professional voiceover studio, equipped with ISDN & standard phone patch, and is owned and directed by Víctor Martorella, a renowned voice talent for the Hispanic market. VoiceOverMart recently upgraded to Pro Tools 11 HD, together with video upgrades. These upgrades facilitate their audio spot production and ADR (audio dialogue replacement). Ahead are details of the upgrade via an interview.

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Getting Started with Motion

This Week on MacBreak Studio

By Mark Spencer | March 25, 2014

Is it time to learn Motion?

Motion is one of the companion applications to Final Cut Pro X (the other is Compressor). You use it to create motion graphics and visual effects, like animated title sequences, green screen composites, tracking shots, particle effects, and much... Read More

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My NAB 2014 Post|Production World sessions

If you're attending, these are the classes I'll be teach. Please come!

By Scott Simmons | March 24, 2014

NAB 2014 is just around the corner and I’m happy to once again be leading several sessions at the Post|Production World Conference. Avid Media Composer, Adobe Premiere Pro CC and panel discussions are on the agenda amongst all the other things at NAB. I’m always humbled and honored that a random editor from Nashville, Tennessee gets to interact with editors and production folks from all over the world during these sessions. As I’ve said before, I learn as much as they do.

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Flying The 4K Blackmagic Production Camera

Test Flight

By Brian Hallett | March 23, 2014

4K in the air... does the greater resolution make that much of a difference? Is it necessary to shoot aerials at 4K so one can stabilize in post?  Can the Octocopter we had on hand lift the 4K Blackmagic Production Camera long enough to get all the shots needed? 

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GoPro Replacement Lenses for Hero3/3+ Black from Peau Productions

Affordable Quality Glass Lenses Give You More HFOV Options with Your GoPro

By Jeff Foster | March 22, 2014

The more that I've gotten into aerial videography & photography with the GoPro Hero3/3+ Black, the more I've had issue with the GoPro's OEM "fisheye" wide angle HFOV (Horizontal Field Of View), which distorts the horizon and creates a curved "bubble" effect. The biggest issue with that is when the quadcopter is in motion or the camera is tilted up, the bowing effect of the horizon or long straight lines such as fences, buildings and light poles look like rubber. There are a couple different third-party producers of replacement lenses for the GoPro and after some research, I decided to contact Peau Productions to test a couple of their lenses. Here are my results of this test...

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Do I Have to Open the Library?

This Week on MacBreak Studio

By Mark Spencer | March 19, 2014

Archiving your completed Final Cut Pro X project and the associated media has become much easier in version 10.1. If you are working with managed media - meaning all your media is contained within the library - you can simply drag the library in the Finder to your archive volume. If... Read More

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Get Started Fast with Avid for Final Cut Pro 7 Editors : Lesson 5

Let's Get Started Fast with Avid for Final Cut Pro 7 Editors - In Lesson 5 - Sound Mixing

By Kevin P. McAuliffe | March 18, 2014

If you've just made the switch from FCP7 to Media Composer 7, than the last lesson in this five part tutorial series will help you make the transition as smooth as possible!

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How To Get Trained

Hint: it isn’t by reading this.

By Don Starnes | March 18, 2014

Almost everyone now seems interested in video or cameras or movie making. Filmmaking has become a popular hobby and even a sport. This is perfectly fine. However, I find that very few people are serious about becoming a professional filmmaker.

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The Art of the Cut: “12 Years a Slave” Editor, Joe Walker

The Art of the Cut: “12 Years a Slave” Editor, Joe Walker

An interview that turned into a must-read master class in editing

By Steve Hullfish | March 17, 2014

It’s not often that Hollywood’s stars publicly recognize the great stewardship that an editor of a film has of their performance. But it’s a long journey between what an actor emotes in front of a camera and the reception of that performance by an audience. The director certainly has a strong influence on that performance, but the editor (with the director’s guidance) is the final gatekeeper of the performance the audience sees and the context in which it’s seen.

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Looking at the Tangent Element from an Editor’s POV

Does an editor need to spend thousands of dollars on a color grading control surface?

By Scott Simmons | March 16, 2014

If you’re an editor these days then you’re probably asked to do some color correction and color grading. In fact you might not ever have the luxury of sending a program out to a dedicated colorist. Chances are you also make use of DaVinci Resolve for many of those color grading tasks as it works amazingly well and the very powerful lite version is free. Those using Resolve and any other number of color grading tools will definitely find that a dedicated control surface like the Tangent Element is a luxury that will make that color work a lot more fun and productive.

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Useful Tools for Editors - Editors Retreat Edition

The Gearheads session provided a nice list of useful tools for editors and filmmakers alike

By Scott Simmons | March 13, 2014

If you read my Notes From the 2014 Editors Retreat post then you might have seen the mention of a session called Gearheads. This was a fun session where attendees were asked to submit some piece of gear they like or find useful. This could be hardware, software, an app, anything really. I though the Gearheads submissions would make for a great Useful Tools for Editors entry. Here’s some that I made note of.

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GH4 4K camera gets a price & delivery date: Let’s analyze…

GH4 4K camera gets a price & delivery date: Let’s analyze…

The Panasonic Lumix GH4 and “broadcast” interface finally has a price & delivery. Let’s analyze it.

By Allan Tépper | March 12, 2014

In February, I published my first look at the 4K Panasonic Lumix GH4, where I included most of the known specs, together with its “broadcast” adapter, the YAGH. At that time, we were missing the price and availability. Now that we have them, let’s analyze them with possible system accessories (XLR audio, external recorders, and studio connections), and a new video/commentary by Bryan Harvey.

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Why Use Camera Archives in Final Cut Pro X?

This Week on MacBreak Studio

By Mark Spencer | March 11, 2014

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Why would you want to use a Camera Archive to import your video clips?

This week on MacBreak Studio, Mark Spencer talks with Steve Martin from Ripple Training about Camera Archives. When transferring footage from a camera's card, you can of course simply drag the... Read More

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