Saturday, December 10, 2011

Clean those Adobe Media Cache Files

Scott Simmons | 12/10- 01:26 PM

And reclaim some drive space in the process

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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.

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Friday, December 09, 2011

REVIEW:  Fast Forward Video Sidekick HD Recorder/Monitor

Bruce A Johnson | 12/09- 05:11 AM

Two for the price of one?

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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?)

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Thursday, December 08, 2011

Let’s talk Avid Media Composer 6

Terence Curren | 12/08- 09:58 AM

How 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.
Focusing heavily on Media Composer 6, Avid’s just-released 64 bit update to the venerable Media Composer.

Click the link below and join the conversation.

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Wednesday, December 07, 2011

Christmas Gift Ideas for the Editor in Your Life

Scott Simmons | 12/07- 11:14 AM

Forward this link to your loved ones for some buying ideas for the hard-to-buy-for editor.

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Yet another holiday season is upon us. What do you get for the editor in your life who may or may not have everything? Here’s a few suggestions that just might help a loved one create a shopping list so send them a link to this blog post. You could also forward them last year’s gift ideas for the editor post as well. It’s only a few weeks until Christmas so get that shopping done. Some of these links are affiliate links to Amazon which is always great on quick shipping if the item is in stock. Some go to Cafepress type of websites so the mileage may vary in terms of service and shipping. Happy holidays!

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Monday, November 28, 2011

PsF’s missing workflow, Part 7: Adobe Premiere Pro CS5.5.x

Allan Tépper | 11/28- 02:54 PM

How to deal with 25PsF and 29.97PsF with Adobe Premiere Pro CS5.5.x

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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 professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In part 4, we did the same with several file-based HD video recorders from 6 different manufacturers. In part 5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In part 6, I published and Open Letter to all pro AVCHD manufacturers. Here in part 7, I’ll cover how to deal with 25PsF and 29.97PsF on a progressive sequence in Premiere Pro CS5.5.x.

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Sunday, November 27, 2011

Basic Video Editing with Photoshop CS4/CS5 Extended

Jeff Foster | 11/27- 07:21 PM

Part One: Video Editing & Animation with Photoshop CS4/CS5 Extended Series

Are you a photographer that is just starting to discover the world of video with a new HD DSLR?  Do you have video clips that just needs some basic editing but haven’t yet sprung for the high-priced video editing suites like Final Cut, Premiere Pro or Avid Xpress? You can do some basic video editing right inside Photoshop CS4 and CS5 Extended and retain all the resolution of your original footage. Unlike using a consumer utility like iMovie or Movie Maker, you will have total control over color correction, video layer modifications and even plug-in effects that you’re already familiar with.

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Sunday, November 20, 2011

Kicking the Tires on Avid Media Composer 6

Scott Simmons | 11/20- 04:02 PM

The rewritten application is now 64 bit, all new and yet very familiar at the same time.

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Avid Media Composer 6 began shipping last week after being announced just under a month ago. The release has seen quite a bit of press as it was teased back in the summer and a large part of that tease was letting users know what they could expect when this version came along. I haven’t had a chance to really pound MC6 as of yet since it just shipped but I have been kicking the tires on it for the last few days. Keep an eye on That Post Show for upcoming episodes all about MC6.

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Thursday, November 17, 2011

Workarounds For FCP X Shortcomings?

Terence Curren | 11/17- 10:06 PM

Yes, it’s not mature yet, but there are third party solutions.

In this latest episode of “The Terence & Philip Show” we start by discussing the release of Final Cut Pro X 10.0.1.  We know what features are in this release and what else is coming in “early 2012″ but what will Apple do for Version 2?

We also cover, Intelligent Assistance’s new release of Project X27 for transferring Final Cut Pro X XML to Final Cut Pro 7 XML for use in Color, Soundtrack Pro, Premiere Pro CS 5.5, OMF export and beyond. This leads to a discussion about the various flavors of XML and the differences in data structures between the two versions of Final Cut Pro. The differences between the publicly available FCPXML and the internal AXEL XML format used by Apple internally and for the Automatic Duck OMF/AAF export from Final Cut Pro X.

We briefly discuss the Automatic Duck changes in that context.

Back to the Final Cut Pro X discussion we talk about how fast Final Cut Pro X is in practical editing, and where the deal breakers may be for certain editors.

Click on the link below and join the conversation.

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2D Footage with a Stereo 3D Rig in After Effects CS5.5

Jeff Foster | 02/10- 06:09 PM

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.

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How to get the “24p” look for your live-switched multicam shoot

Allan Tépper | 02/10- 04:23 PM

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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