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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
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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Is TV Broken?or: if It Ain’t Broke, Does it Need To Be Fixed? I don’t generally re-post links to articles, but this one from CNN’s Business Insider Matt Rosoff caught my eye. Give it a read, but the thumbnail is this: What is so flawed about the television watching experience that Steve Jobs devoted his final months of life to changing it? It’s a good, quick read. What do you think? Is TV broken?
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Introducing ikan’s iPad Teleprompter, Upgrade Kit & iPad Teleprompter MountThree New Products for Your iPad
Looking for an inexpensive way to integrate your iPad into your everyday video production workflow? ikan has the solution. The Elite iPad Teleprompter Kit is a complete out-of-the box solution that turns your iPad into a field ready teleprompter. Based on our popular Elements camera support system, ikan’s Elite iPad Teleprompter Kit is a portable through the glass teleprompter when you need it and a robust 15mm rod based camera support system when you don’t. Compatible with any iPad teleprompter software application and complete with ikan’s EV2 Adjustable Camcorder Baseplate, 16” rods, new and improved high quality 30/70 prompter glass with frame, and an adjustable iPad mount that’s compatible with the iPad and iPad 2. 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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