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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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Sharing Assets: Adobe CS Production Premium’s Unique WorkflowA case where the whole is indeed greater than the sum of its parts.
When you look at Adobe CS Production Premium’s video production tools - Premiere Pro, After Effects, Encore, Audition, and Photoshop - many if not all could be considered industry leaders in their own right. But it’s how they share assets that makes the suite such a powerful performer. Applications in Adobe CS Production Premium share assets in several ways. The goal? To save you time, reduce your work load, and ensure your assets retain their original quality throughout the video production process.
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Tom Daigon,
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The Templatorization of “Creativity”Is there any room left for new ideas, or are we doomed to work on repeats of previous projects forever?
The trend toward basing creative endeavors on templates has been with us for many years, culminating in Hollywood’s use of its history as templates for its current production. Whether this is a good or bad thing depends on whether you value your personal creativity, or you’re pushing a budget to get a project finished. Click on the link below to play the latest Terence & Philip Show as we confront the good, the bad and the ugly of formulaic content creation. Click to audio / video »
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Is This The New Model of Financing Your Project?Financing is scarce. The world is changing. How do you navigate the new waters?
Sponsored movies of the 70′s and 80′s were the precursor to Branded Entertainment, and it’s a major way of getting funded today.
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Is Netflix the “New” Studio Model?Netflix is making it’s own programming now. What does this mean for the existing networks and cable outlets? Philip and I consider the changes to the financial dynamics caused by Netflix’s funding of “House of Cards.” Is Netflix a new studio model? Where’s the opportunity for innovation in programming if everything is data driven? Are we trading one set of controllers for another? Click to audio / video »
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Advertisement 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 »
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Adam Wilt,
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How Would You Build The Entertainment Business From Scratch?In a democratized green field, how different would a new studio look now? Philip & I originally talked about the concept of starting over in production with a green field – no established starting points – in episode 11.
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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 »
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Can We Stop Piracy? Should We?With the US Government Accounting Office dismissing RIAA and MPAA “research” as being lacking in any factual basis, is unauthorized distribution hurting or helping the industry? Philip and I were asked to talk about piracy. This is a favorite subject of Philip’s and his passion shows through. Whether you agree or disagree, his arguments are strong. Check us out on Episode 16 of The Terence & Philip Show. Click to audio / video »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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