Editing & Post

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2D Footage with a Stereo 3D Rig in After Effects CS5.5
If You Make Your Living In Post, Don’t Miss The HPA Tech Retreat
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Is There A Future For Editors
Digieffects v2.5 - Damage & Delirium Explored
Simulated Camera DOF In Video with Photoshop CS5.5
What Is The Future Of The Post House?
Why Do You Make That Edit… Not How!
Let’s talk Avid Media Composer 6
Basic Video Editing with Photoshop CS4/CS5 Extended
Workarounds For FCP X Shortcomings?
Film Is Dead!
Sharing Assets: Adobe CS Production Premium’s Unique Workflow
Straightforward Primary Color Correction in Premiere Pro
The 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 Pro
FCP X ! The Response A Month Later
Reviewed: Class on Demand – Avid Media Composer for Final Cut Pro Users
Is This The New Model of Financing Your Project?
FCP X Good or Bad?
mocha Pro Demo at Editors’ Lounge
Audition: Made for Video (Part Three)
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Monday, January 12, 2009

Controlling HDV when capturing HDMI or HD-SDI

Allan Tépper | 01/12- 12:00 AM

Control is vital when capturing, especially if you expect to conserve the original timecode and recapturability

image

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.


*VIDEO*
Editing
Hardware
NAB 08 • (0) Comments • • Permalink


Monday, April 21, 2008

Best NAB find

Terence Curren | 04/21- 11:57 PM

I’ve seen the future of monitors

With Avid and Apple missing from the convention floor, I was hoping this would be a good year to hunt through the little booths and find something new. While I did stumble upon several cool new products, one impressed me more than anything else on the floor. This was a new monitor from a company I had never heard of.

If you have been following the “Death of the CRT” and “What are going to replace it with” threads over the last few years, you are aware of the problem we face. If not, here is a quick summary. LCDs suck for critical monitoring of video! Plasmas are a close call but don’t come in any size smaller than about 40”. So that leaves us with a poor substitute. One company, eCinema has created a monitor that actually solves the lack of blacks in an LCD. But it costs a LOT!

So imagine my surprise when I walked into a little draped off room and spotted three nice looking monitors in a row. The catch was, only the one in the center was a CRT. The other two were examples of a coming technology called Field Emission Technology, or FED for short. This is a variation of the SED technology that we have been waiting for since at least 2004.

The blacks were so black that I couldn’t discern where the letterboxing ended and the black frame began. Looking off-axis, the picture held up all the way to the edge of the screen. That’s 90 degrees off axis! The depth of the monitor was a little more than a standard LCD. And it wasn’t generating any significant heat. Wow!!

Of course trying to get pricing and release date information from the poor guy who seemed to know 25 words of English was an exercise in futility. But I was able to learn from later research that this company is a spin off from Sony who started the work with this technology. I don’t know if this is Sony’s way of trying to avoid getting caught up in the huge lawsuit surrounding the SED technology. And I don’t care. What’s important is that I’ve seen the technology in action and it works!

You can check out the sparse website at Fe-tech-co.

I’ve seen the future, and I finally have hope for monitoring in my world.


Hardware
NAB 08 • (0) Comments • • Permalink


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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

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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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