http://provideocoalition.com/index.php en steve@veralith.com Copyright 2008 2008-11-11T17:32:00-08:00 http://provideocoalition.com/index.php/apple/reality_tv_post_with_final_cut/ http://provideocoalition.com/index.php/apple/reality_tv_post_with_final_cut/#When:17:32:00Z In the first of a two part series on how Final Cut Pro is being used in two of the biggest reality TV shops in the country, Mark Raudonis, VP, Post Production for Bunim Murray talks about the challenges of posting up to ten hours a week of finished programming. With that much media moving through so many post-production steps, it’s critical to understand media management and to have a simple standard operating procedure that is followed throughout the process. Raudonis shares his hard-won knowledge of how to take advantage of Final Cut’s media management strengths and how to stay away from its weaknesses in this interview.  Post Production 2008-11-11T17:32:00-08:00 http://provideocoalition.com/index.php/apple/make_custom_templates_for_fcp/ http://provideocoalition.com/index.php/apple/make_custom_templates_for_fcp/#When:18:47:00Z Take advantage of all of the tools in Final Cut Suite 2 to make your work in Final Cut Pro easier and more polished. Customizing Templates in Motion is easier than you may think and it allows FCP to create drag and drop motion graphics that are easily changed from episode to episode. This simple video tutorial shows how even a “non-designer” can customize a great show graphic. Post Production 2008-11-07T18:47:00-08:00 http://provideocoalition.com/index.php/apple/tutorial_how_to_get_the_most_out_of_your_easy_setup_part_2/ http://provideocoalition.com/index.php/apple/tutorial_how_to_get_the_most_out_of_your_easy_setup_part_2/#When:17:56:00Z In the first of our three part look at the Easy Setup (ES) in Final Cut Pro, we took an in-depth look at the Capture Presets (CP), and really got in there and examined what each one of the settings did.  For part two, we are going to look at what I think is the next logical step in the process, and that is the Sequence Settings, and then we are going to wrap everything up in part three by looking at the Device Settings, and how you can tie everything together to your advantage. Post Production 2008-11-04T17:56:00-08:00 http://provideocoalition.com/index.php/apple/fun_with_motion_templates/ http://provideocoalition.com/index.php/apple/fun_with_motion_templates/#When:20:17:00Z I love Motion Templates. Not only because I can pull a great looking effect out of my hat at a moment’s notice, but they save me so much time, even when I create an original effect. Instead of recreating the same effect for a dozen videos, I create it once with the common elements embedded and drop zones for those shots that will change for each video. 2008-10-23T20:17:00-08:00 http://provideocoalition.com/index.php/apple/preparing_fcp_sequences_for_color/ http://provideocoalition.com/index.php/apple/preparing_fcp_sequences_for_color/#When:20:03:00Z You start your grading and color correction using Final Cut Pro’s 3 Way Color Corrector.  You now want to hand off your sequence to Color for finishing.  In this tutorial, Andrew Balis of Ripple Training will show you the things you need to know in order to do this successfully Post Production 2008-10-21T20:03:00-08:00 http://provideocoalition.com/index.php/apple/time_stretching_music_with_final_cut_studio_and_soundtrack_pro/ http://provideocoalition.com/index.php/apple/time_stretching_music_with_final_cut_studio_and_soundtrack_pro/#When:17:37:01Z Have you ever needed your music to fit a specific duration? In this practical tutorial Steve Martin will show you how to use Soundtrack Pro’s Time Stretch command to make your music obey. Audio, Post Production 2008-10-16T17:37:01-08:00 http://provideocoalition.com/index.php/apple/surround_patching_tutorial/ http://provideocoalition.com/index.php/apple/surround_patching_tutorial/#When:18:18:00Z Soundtrack Pro 2 does surround mixing.  Final Cut Pro will gladly handle your 5.1 mix, but you need to know a few things about making your sequence output 6 discreet channels. In this tutorial, Steve Martin will show you the importance of the Match Audio Outputs command.  Audio, Editing, Post Production 2008-10-14T18:18:00-08:00 http://provideocoalition.com/index.php/apple/optical_flow_speed_tutorial_for_apple_motion/ http://provideocoalition.com/index.php/apple/optical_flow_speed_tutorial_for_apple_motion/#When:18:09:00Z If you want amazing slow motion effects, consider sending your Final Cut Pro sequence clips over to Motion to apply Optical Flow.  Optical Flow is technology inherited from Shake and Steve Martin will show you why Optical Flow will help you avoid mushy-looking slow motion effects.  Motion Graphics, Post Production 2008-10-10T18:09:00-08:00 http://provideocoalition.com/index.php/apple/dvd_studio_pro_leaving_4x3_behind_for_good/ http://provideocoalition.com/index.php/apple/dvd_studio_pro_leaving_4x3_behind_for_good/#When:17:31:00Z With the prevelance of flat screens and digital transition, it’s time to stop worrying about 4x3. That statement might seem a bit lame, as many of us have already migrated to HD work where 4x3 SD really isn’t our concern any more. However, when it comes time to distribute our work, documentaries, shorts, bah’mistzva’s, whatever they may be, the good old DVD is still the most feasible means of distribution. The mandatory AACS fees for Blu-ray will keep legitiamte distribuion on BD out of reach for 95% of us (oh how I miss the, HD-DVD). So until the cost of blank BD media drops into the realm of sanity (likely still 18-24 months away) at which point you could distribute duplicated discs which dont require AACS, you are left bring your HD project back down to an SD world. It’s happened a number of times now for me in the past year where I’ve had my head in HD and then sit down to design some nice DVD menus for a project and forget all about 4x3 title safe. So I’ve started forcing “16x9, 16x9 Letterbox” only for my DVDSP projects. For the feature this is not a big deal at all, but for menus and subtitles it has an impact. When a 16x9 project is displayed as native 16x9, the DVD player typically just spits out the 720x480 (or 720x576 for you PAL kids) anamorphic pixels unadultered, and lets your TV stretch out the composited image … Editing, Post Production, Production 2008-10-09T17:31:00-08:00 http://provideocoalition.com/index.php/apple/how_to_get_the_most_out_of_your_easy_setup_part_1/ http://provideocoalition.com/index.php/apple/how_to_get_the_most_out_of_your_easy_setup_part_1/#When:23:07:00Z Any editor who works on FCP, no matter what version, is familiar with the Easy Setup.  You simply select the Easy Setup that is most suited to your workflow, and you’re all set to go.  For example, if you are working with a DV camera, you would choose DV-NTSC. Hardware, Post Production 2008-09-21T23:07:00-08:00