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Apple
Masters of Final Cut reveal time-saving tips and powerful techniques for picture editing, graphics animation, audio post, color grading, delivery and asset management. 
April 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008Complete Archives
Automation MixingStills in Final Cut ProPlugins You Should Know AboutFXScript: FCP’s Most Under-appreciated FeatureInside the New Mac ProsThe History of SmoothCamProRes: A Closer LookSetting Up Soundtrack Pro For 5.1 MonitoringEditing in Motion Part 2Editing in Motion Part 1Composite Modes in Final Cut ProRED+FCP: ProRes Clips from Log and Transfer3 Ways to Get RED Footage into Final Cut Pro |
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With Support from Apple
My NAB 2012 Post|Production World classesShameless self-promotion about the NAB conference classes that I’m leading in just a couple of weeks. I’m very excited to once again be teaching several classes at the 2012 NAB Post|Production world conference. It’s going to be much busier this year than years past as I’m teaching five total classes from Monday through Wednesday. If you aren’t going to NAB or attending the conference then please forgive this self-indulgent post about those classes that I’m leading. Hey, I’m just happy to be here at all. more »
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Baselight for Final Cut Pro is one of the most powerful legacy FCP grading plugins everIt’s a little sad to see such a new, powerful tool come along this late in legacy FCP’s life
At NAB 2011 FilmLight surprised most everyone with a preview of their Baselight for Final Cut Pro plugin. It was surprising because I think many people expected them to release a lower cost, Mac-based version of their flagship Baselight color grading tool. Instead they showed a different strategy that looks to revolve around very powerful color grading plugins and interoperability with the full Baselight systems. The FCP plugin had been in beta for a while and was just released. For $995 Baselight for Final Cut Pro can be yours. more »
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Tom Daigon,
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Steve Wozniak and Others to Present at NAB Show Post|Production World KeynoteTechnology Luminaries to Address the Intersection of Creativity and Technology in Storytelling
Future Media Concepts (FMC) and NAB today announced they will co-host this year’s NAB Show keynote presentation, a panel discussion featuring Fusion-io chief scientist and Apple® co-founder Steve Wozniak, and visual effects supervisor Rob Legato, who just won his second Oscar® for his work on the 2011 film “Hugo.” Joining them in the discussion will be Fusion-io visual computing industry manager Vincent Brisebois and Adobe® product manager Steve Forde. The speakers will discuss “How Creativity and Technology Merge to Influence Storytelling and Film.” more »
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PsF’s missing workflow, Part 10: FCP XHow to deal with 25PsF and 29.97PsF with Final Cut Pro X
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 hostile HDMI output found on many cameras. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF with Premiere Pro CS5.5. In #8, I showed how ClipWrap is an excellent solution for many Mac editors. In #9, I discussed PsF with the sub US$100 Adobe Premiere Elements 10. Now in part 10, I’ll cover how to deal with 25PsF and 29.97PsF with Final Cut Pro X. more »
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leicaguy,
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Why an iPad is like a 4x5 view camera, and why you’ll need a black “focusing cloth”
In case you hadn’t heard yet: Apple has just established the iPad (2012) as a viable HD video camera (among many other things). Back in the days when still photography was done with 4x5 view cameras, photographers used something called a “focusing cloth”… defined by Merriam-Webster as: “an opaque dark cloth used to cover the rear of the camera and the head and shoulders of the photographer in order to exclude most of the light except that coming through the lens”. In the case of still photography with a 4x5 view camera, it was primarily to help the photographer focus. In the case of the ultra-glossy iPad screen when used outdoors to shoot HD video, you’ll need it even to see the screen properly, in order to compose and assign the subject for autofocus and exposure… and even to start and stop the recording. In this article, I’ll cover what an iPad has in common with a 4x5 view camera, show a iPad tripod mount, a “focusing cloth”… and make a request to FiLMIC PRO, Hoodman USA and Zacuto. more »
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Apple Launches New iPadNew iPad Features Retina Display, A5X Chip, 5 Megapixel iSight Camera & Ultrafast 4G LTE Apple® has introduced the new iPad®, the third generation of its category defining mobile device, featuring a stunning new Retina™ display, Apple’s new A5X chip with quad-core graphics and a 5 megapixel iSight® camera with advanced optics for capturing amazing photos and 1080p HD video. more »
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Tip Tuesday: Disable a clip in the Avid Media Composer timelineIt’s not as nice as a built-in clip enable / clip disable contextual menu but it works.
In honor of TipTuesday over on Twitter I thought I’d share this simple Avid Media Composer tip that I use to counter the lack of a clip enable / disable feature in Media Composer. It’s all about saving an effect and getting easy access to that saved effect. There’s actually several tips in here that can be used for most all effects in Media Composer. more »
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Testing the 7toX Final Cut Pro 7 to Final Cut Pro X conversionWe finally get a tool to do what we thought would be possible from FCPX v1.0.0
When Apple released the latest Final Cut Pro X update there was a very important 3rd party utility released right alongside the 10.0.3 update that finally allowed the importing of legacy FCP7 projects into FCPX. It wasn’t entirely surprising that it was Intelligent Assistance releasing 7toX for Final Cut Pro. I say that because they had already created Xto7 (to move projects from FCPX to FCP7) and are arguably the best company for creating high-quality XML workflow tools for the FCP universe. There’s been tons of blog posts about 7toX for Final Cut Pro since its introduction but most of them are nothing more than a here it is here’s the link kind of thing, including one of my own. Many have taken a simple sequence to try this conversion but my thought was to throw everything at 7toX for Final Cut Pro and see how well it did ... or didn’t work. more »
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Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switchIf you haven’t heard they have moved from FCP7 to Media Composer Back in January news broke that reality television producers Bunim/Murray were switching their post-production facilities from Final Cut Pro to Avid Media Composer. This probably didn’t come as a great shock to anyone who follows post-production as the release of Final Cut Pro X had left many people (especially those in the broadcast world) a bit stunned at its lack of broadcast features. There was a lot written about this subject but I had a few more questions so I spoke with Bunim/Murray’s senior vice president of Post Production Mark Raudonis as he has been the public face of this switch. Our Q and A follows. more »
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Kicking the tires on the Final Cut Pro X 10.0.3 Multicam updateThe ease of setup and managing multicam clips makes this the best FCPX update yet
As we all know by now Apple released their promised update to Final Cut Pro X that added multicam. It’s only been a week and there’s already a lot of articles and tutorials about how this new feature works. I sat down with it some over the weekend to kick the tires and see how it performed. What follows are some thoughts, notes and observations as I was working with it. I was especially curious as to how it might work for music videos. more »
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David Atkins Enterprises and Digital Pulse use Adobe software for record-setting arena projection
Australian production studio delivers animation for the 12th Arab Games, on record-size projection space, using Adobe Premiere Pro and After Effects.
In December 2011, the 12th quadrennial Arab Games took place in Doha, Qatar at Khalifa International Stadium. As part of the planning process for the Doha games, the world-renowned event production agency, David Atkins Enterprises (DAE), was commissioned to conceive and produce the opening and closing ceremonies. Following this commission, DAE contracted Australian digital design and video production specialists, Digital Pulse, to produce the animated visuals for the opening ceremony including the athletes’ parade and cultural segments. Far from a conventional production canvas, the animated visuals that the Digital Pulse team were to produce for the event would have to play seamlessly across the stadium’s two different playback systems: a contiguous LED system installed behind all stadium seats and an 86-projector projection system that covered a world record 12,600 cubic metres of on-field projection space.
After Effects Apprentice Free Video: Rendering a 4:3 Center Cut Movie from a 16:9 Composition
...plus an update on what’s next for the Apprentice series.
As we mentioned what now seems like ages ago, we spent a year and a half creating an extensive, multi-course video training series based on our popular beginner’s book After Effects Apprentice. The introduction plus one or more additional videos from each course are available for free preview; we re-posted here on PVC the videos that contain tips and instruction you might find useful. Well, the series is done, and we’re off writing the next edition of the book. But before we go, we had one last video to share with you, which may be of interest to any After Effects user who still has to create both 16:9 and 4:3 versions of their compositions.
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