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Editing & Post
Written by a collection of the best writers in the industry 
2D Footage with a Stereo 3D Rig in After Effects CS5.5If You Make Your Living In Post, Don’t Miss The HPA Tech Retreat3D Layers Overview with Photoshop CS4-CS5.5Is There A Future For EditorsDigieffects v2.5 - Damage & Delirium ExploredSimulated Camera DOF In Video with Photoshop CS5.5What Is The Future Of The Post House?Why Do You Make That Edit… Not How!Let’s talk Avid Media Composer 6Basic Video Editing with Photoshop CS4/CS5 ExtendedWorkarounds For FCP X Shortcomings?Film Is Dead!Sharing Assets: Adobe CS Production Premium’s Unique WorkflowStraightforward Primary Color Correction in Premiere ProThe CRT Replacement Is Here…Finally!The Templatorization of “Creativity”How Do We Thrive In The Multi-Screen Viewing Environment?FCPX, Is It Prosumer Or Not?Streamlining Color Correction in Premiere ProFCP X ! The Response A Month LaterReviewed: Class on Demand – Avid Media Composer for Final Cut Pro UsersIs This The New Model of Financing Your Project?FCP X Good or Bad?mocha Pro Demo at Editors’ LoungeAudition: Made for Video (Part Three)
February 2012January 2012December 2011November 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010December 2009September 2009May 2009March 2009January 2009November 2008October 2008September 2008July 2008June 2008May 2008April 2008Complete ArchivesCategory Archives |
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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 audio / video »
*VIDEO* •
Apple •
Final Cut Pro •
Editing •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
Post Production •
Stereoscopic •
Vendor Channels •
Adobe •
Avid •
(3) Comments •
Most recent comments by:
twizz,
Terence Curren,
twizz,
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Permalink
Film Is Dead!...and a bunch of other topics on the latest Terence & Philip show.
In this episode Philip & I cover a series of topics starting with large sensor cameras in production, the November 3 announcements from Canon Professional video, RED and Avid. Then on to the death of film, the cinema experience, and the problems of 3D. We’ve been predicting the demise of the Mac Pro in the current form fact for some time, and during this early October recording, we discuss what has this week become rumor: the demise of the heavy iron workstation. (And the value of SSD.) I report from the Monitor shootout day sponsored by the Hollywood Post Alliance, and HPA sponsored workflows. We also get onto the future of Apple after the loss of Steve Jobs (just like everyone else!), leading to a discussion of who invented what? The implications of Siri for postproduction: specialist tools vs generalists tools. To join us just click on the player link below. Click to audio / video »
Apple •
Final Cut Pro •
Business •
Cameras •
Editing •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
Post Production •
Pre-Production •
Production •
Software •
(5) Comments •
Most recent comments by:
georgemanzanilla,
Terence Curren,
georgemanzanilla,
Terence Curren,
georgemanzanilla,
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Permalink
The CRT Replacement Is Here…Finally!Sony Trimaster OLED monitors really deliver.
With the death of CRTs, those of us who needed to critically evaluate video images in a standardized display universe were left with no adequate replacement. Most of us have been nursing along our aging CRT monitors and hoping something of equal or better quality would arrive before our trusted displays give up the ghost. Well, that product has finally arrived, and I predict that Sony is going to own the pro monitor market for delivering it. more »
*VIDEO* •
Editing •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
Post Production •
Production •
Vendor Channels •
Sony •
(4) Comments •
Most recent comments by:
Terence Curren,
kwortendyke,
Terence Curren,
Ra-ey Saleh,
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Permalink
No More HDCAMSR Stock! Now What?The tape shortage crisis and what it means to production and post. Terence and Philip start discussing the tape shortage crisis – particularly HDCAM SR – caused by the situation in Japan: is tape dead, or will it merely lead to a resurgence of D5? Who’s accepting file-based delivery, is that even practical, and who gets to drive the need for tape delivery? Remember, “No-one ever voluntarily changes their workflow”! Considerations of tape shortage leads to discussion on archiving non-tape sources, and the issues surrounding that. Click below to join in on the conversation in Episode 23 of The Terence & Philip Show. Click to audio / video »
*VIDEO* •
Apple •
Final Cut Pro •
Motion •
Business •
Cameras •
Distribution •
Editing •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
Post Production •
Production •
(1) Comments •
Most recent comments by:
Adam Wilt,
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Permalink
Advertisement A Look Back on 2010Take a look back on what changed in 2010: cheaper (and great) technology, large sensors, 3D, the state of the business, distribution options and more. In this episode of the Terence and Philip Show – with able assistance from Secret HQ’s Greg Huson – take a look back on what changed in 2010 from our perspective. There’s a lot in this show from Resolve to dissolve. Click to audio / video »
3D •
Apple •
Final Cut Pro •
Business •
Cameras •
Distribution •
Editing •
Hardware •
Post Production •
Pre-Production •
Production •
Web Video •
Year End Lists •
(0) Comments •
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Permalink
HP’s DreamColor: A PVM CRT Replacement?Can HP’s DreamColor LCD replace the aging army of Sony PVM-series CRTs?
I’m a colorist and finisher for broadcast, indie, and documentary filmmakers. I recently decided to evaluate the HP DreamColor as a replacement for a trusted CRT Sony PVM-20L5 I’ve been using for many years. The Sony CRT is at the end of its useful life. The question I asked myself and which this article answers: Is the DreamColor an acceptable replacement for the PVM- series of CRTs? more »
Editing •
Hardware •
Post Production •
Final Cut Pro •
(31) Comments •
Most recent comments by:
Patrick Inhofer,
nomad,
Adam Wilt,
nomad,
MoviesBlaster,
Allan Tépper,
Adam Wilt,
Greg Staten,
Adam Wilt,
Greg Staten,
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Permalink
DeckLink HD Extreme Review(2009 release)
My wife will tell you that I am a creature of habit. That definitely can be said about the breakfast cereal that I eat, and the type of video games I like to play, but it is also true of computer hardware as well. To be perfectly honest, I was an Avid purist for many years, until I had a very strict budget to work with, and I decided to purchase a Final Cut System. Now, I have both, and use the one that suits the job I’m working on the best. Well, that is also true of video capture cards. Since I started using Final Cut Pro, I have been an AJA user (Kona 3/IoHD), but one of the benefits of being a writer is that I can tread out into uncharted waters (for me) and look at new products, that will hopefully, change my opinion of them. I thought for this article I would look at Blackmagic’s DeckLink HD Extreme (2009 release). more »
Hardware •
Post Production •
(3) Comments •
Most recent comments by:
Techmanager,
wsmith,
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Controlling HDV when capturing HDMI or HD-SDIControl is vital when capturing, especially if you expect to conserve the original timecode and recapturability
Most HDV editors are ecstatic when they hear about all of the many benefits of using HDMI capture in post-production, as explained in the two prior articles Why capture HDV via HDMI? and Universal HDV Deck. The next question is how to control when capturing via HDMI or HD-SDI, in order to retain timecode and recapture capability. The rest of this article has been moved to Allan’s PVC channel. Click here to view it. Advertisement |
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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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