What Is The Future Of The Post House?

In the latest episode of “The Terence & Philip Show,” Philip and I start by discussing an article, “Hollywood & the Job Crisis” that leads to questions about constantly the changing business model of post.

Right now the model seems to be “how low can you go” which is ultimately self defeating.

Where do you go from here?

How did post houses get to this, and what will the future hold?

What is your Unique Selling Proposition?

Hear all this and more when you click the link below and join the conversation.

Why Do You Make That Edit… Not How!

The Editors’ Lounge, sponsored by Alpha Dogs post in Burbank is thrilled to bring you another installment of the Editors’ Panel, a series of moderated discussions with industry-leading editors on a variety of topics affecting the editing community.
With over 100 years experience on the panel, there is a lot to learn about the creative process here. Click the links below and join this 4 part series.
Mark Goldblatt, Feature Editor: from Piranha in 1978 to Rise of the Planet of The Apes in 2011.
Andrew Seklir, Episodic TV Editor: Battlestar Galactica, Warehouse 13.
Derek McCants, Reality TV Editor: Big Brother, Sarah Palin’s Alaska.
Bee Ottinger, Music Video & Commercial Editor.
Moderated by Debra Kaufman, industry writer and founder of MobilizedTV.Com

Let’s talk Avid Media Composer 6

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.

Basic Video Editing with Photoshop CS4/CS5 Extended

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.

Workarounds For FCP X Shortcomings?

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.

Film Is Dead!

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.

Sharing Assets: Adobe CS Production Premium’s Unique Workflow

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.

Straightforward Primary Color Correction in Premiere Pro

Color correction falls into three categories: primary, secondary and “looks.” Primary color correction changes all pixels in a clip’s frame. Secondary corrections are limited to a region within the frame; be it an object, a person’s face, or a tonal or color range like the sky. Looks are moods you try to set using color. For example: harsh and cold or soft and warm.

Secondary color correction and looks are methods you might use on occasion and have extra levels of complexity. Primary color correction, the focus of this tutorial, should be used on virtually all video projects and is easier to do than you might think.

Page 3 of 16 pages  <  1 2 3 4 5 >  Last »