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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
Did you know MPEG Streamclip could convert YouTube videos?I didn’t. But I’m happy to know that now.
File this post under “how in the hell did I not know MPEG Streamclip could do this!” This being take the URL of a YouTube video and convert it into a usable file. That is one of those tasks that has come up time and time again and I’ve often struggled with how to make it happen. I’m not sure how long MPEG Streamclip has had this function but I’m going to chalk it up to you learn something new every day. more »
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Creators of iGrill to Introduce “iShower” Water Resistant Bluetooth Speaker at CES 2012iShower Bluetooth-Enabled Shower Speaker Features Complete Compatibility to 200 Feet with Virtually any Bluetooth Audio-Streaming Phone, Tablet or Computer, Including iPad, iPhone, iPod & Android
iDevices, LLC, the creator of the award-winning iGrill Bluetooth® cooking thermometer, announced today iShower, a water resistant, Bluetooth-enabled speaker that plays music directly from all Apple devices (including iPhones and iPods) and Android devices. iShower mounts in your shower or can be taken to the beach or pool for up to 15 hours of safe listening. more »
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Can a professional really use Premiere Elements 10?This article accompanies my recent chapter 9 of the PsF’s missing workflow series, which offers workarounds to use PsF from AVCHD properly in Premiere Elements 10, as well as native 1080p23.976.
I first wrote about Premiere Elements back when version 9 was first released for the Mac. At that point, I received an NFR (Not For Resale) copy from Adobe but was so concerned about its lack of direct support for PsF in AVCHD that I delayed writing about it again while I exchanged e-mails with the Premiere Elements team. In the meantime, I kept myself quite busy covering other topics, and earlier this week, I published chapter 9 in the PsF’s missing workflow about how to get around Premiere Elements’ current lack of direct support for PsF in AVCHD, and even direct support for native 23.976p (“24p”) in AVCHD. In this article, I answer a logical question: Can a professional really use Premiere Elements? This sub-US$100 program is available for Mac or Windows. Here are the answers. more »
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PsF’s missing workflow, Part 9: Premiere Elements 10Despite the Premiere Elements team’s denial about the existence of PsF in AVCHD, fortunately there are workarounds to handle AVCHD PsF properly with the sub US$100 Premiere Elements in many cases.
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 inappropriate signals offered over HDMI by many cameras. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. In #8, I showed how ClipWrap is an excellent solution for many Mac editors. Now in #9, I’ll discuss PsF with the sub US$100 Adobe Premiere Elements 10. more »
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New That Post Show: Edit Pro SupergoodNew episode is a discussion of Avid Media Composer and Final Cut Pro X
Just over a week ago I enjoyed sitting in on another episode of That Post Show where we had a calm and rational (mostly) discussion of Avid Media Composer 6 and Apple Final Cut Pro X. While it might seem these two NLEs are rather far apart in their perception and target market they are indeed both non-linear editors that can be used to tell a story as well as the two newest NLEs on the block. The show is called Edit Pro Supergood and it’s a long one, clocking in at a bit over two hours. more »
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iStopMotion for iPad Makes Storytelling MagicalHave fun and be creative with your kids during the holidays
Boinx Software, a multi-award winning software developer for Mac® platform and iOS devices, is pleased to announce the availability of iStopMotion for iPad , a new addition to the widely popular iStopMotion family of products. Debuting at a special price point of 4.99 USD, iStopMotion for iPad sports camera overlay for visually orchestrating one exciting frame to the next, instant playback for instant smiles, a beautiful timeline, and export options that make sharing movie masterpieces with friends and family simple. iStopMotion for iPad also has a companion, iStopMotion Remote Camera, which lets movie makers use their iPhone 4/4S, iPod touch (4th generation) or a second iPad 2 to capture frames, expanding the creative possibilities. more »
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Clean those Adobe Media Cache FilesAnd reclaim some drive space in the process
I learned something today about Adobe Premiere Pro that I was unaware of. The application creates a media cache when it imports media and that media cache seems to default to the system drive in the user Library folder. This cache can balloon in size over a period of time as I found out when cleaning up a drive. But it can be easily cleaned and relocated. more »
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REVIEW: Fast Forward Video Sidekick HD Recorder/MonitorTwo for the price of one?
PREFACE: The ProRes Dilemma Let’s start this review off by dispelling a long-held rumor. I’m a PC guy, just always have been, and after reviewing just about every PC NLE at least once, I have settled on Adobe Premiere Pro (and the CS 5.5 suite) as my editor of choice. Not too long ago, I had a freelance client that absolutely insisted on Apple ProRes files for the output of a project. Unfortunately, Apple does not allow PCs to write ProRes files, and at the time PC’s couldn’t read them either. Fast-forward a few months: Imagine my dismay as I walked the aisles of NAB 2011, looking at all kinds of new recording devices from Aja, Atomos, Sound Devices and others that promised long recording times and transfer speeds – yet the catch was: Only records in Apple ProRes. So when I was offered the opportunity to review the Fast Forward Video Sidekick HD combination video recorder and camera-top monitor, I was distressed to think that I could shoot the footage, but couldn’t edit it. So I put the question to my colleagues on the Vidpro listserv – can PC Premiere Pro play back ProRes? My pal (and fellow Wisconsinite) Steve Oakley FTP’ed me a few Apple clips that seemed to work, so I went ahead and received the Sidekick HD. And I can now say with 100% certainty – Adobe Premiere Pro 5.5 can play back Apple ProRes files, even happily combining them on the same timeline with just about any other type of clip you want to add – .AVI, .M2T, Photoshop files, Canon 50Mb, Sony 35Mb, After Effects comps, you name it. (The theory is that the ProRes playback capability came along with one of the many Quicktime updates Apple shoots out. Hey, who knew?) more »
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Boris Soundbite Powered by Nexidia Adds Support for Adobe Premiere Pro CS5.5 and Apple FCPXPowerful dialogue-based search comes to next-generation video editors
Boris FX, the leading developer of integrated VFX and workflow technology for video and film, today announced that Boris Soundbite Version 1.1 is now available, adding new support for Apple Final Cut Pro X and Adobe® Premiere® Pro CS5.5 for Mac. Powered by patented dialogue search technology from Nexidia, Boris Soundbite is a fast and accurate tool for locating footage by finding any word or phrase spoken in multimedia files. more »Let’s talk Avid Media Composer 6How does it compare with the other NLE approaches?
In this latest episode of The Terence & Philip Show, Philip and I discuss the different approaches manufacturers have taken to updating their NLEs to 64bit modern architectures. Click the link below and join the conversation. Click to PLAY VIDEO »
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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