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Jay Rose
Jay Rose CAS is a Clio- and Emmy-winning sound designer whose studio career has included program opens for NBC, documentaries and spots for PBS and MGM, videogames for Parker Brothers, and close to a thousand independent film and video projects. He's also programmed audio software for broadcast manufacturers Eventide and Orban, written a column for DV Magazine and a few best-selling books about sound for film and video, and been a section officer of the Audio Engineering Society. More tutorials, humor, and info about his studio at dplay.com.
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Monday, August 25, 2008
A couple of non-intuitive hacks for QuickTime audio
I’m a soundie. So I frequently have to send music samples, progressive mixes, and other pieces of track to directors or clients for approval. Since I’m also a lazy soundie, I’ve discovered a couple of ways to speed up the process… and save my clients a lot of download time.
more »
Tuesday, August 19, 2008
Compress audio files without losing quality? You can, if you measure them the right way.
My last two blog tutorials discussed neural masking, and how an mp3 or AAC can be good enough for broadcast or film sound when you do it right. (If you followed the link to my website, you even got proof.) But sometimes, even AAC’s tiny losses can be too much: you might be sending elements that will be processed or compressed more, or be saving an archive. While most non-audio files can be successfully squeezed with Winzip or Stuffit, those processes behave strangely with audio.
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Saturday, August 16, 2008
mp3 and its cousins are a fact of life… here’s how to get the most out of them
If you do audio for the Web, broadcast, or movie theaters, sooner or later you’ll have to deal with some form of lossy data compression. But you don’t have to buy into the mp3 myths and hype. If you understand how those algorithms actually work - how they decide what data to lose - your tracks can sound a lot better.
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Jeff Foster
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
Allan Tépper
A contracted article, sponsored by Datavideo Corporation.
Matt Jeppsen
Getting watery trick shots with this DSLR housing
Mark Spencer
Setting Up a Rig in Motion 5 on MacBreak Studio
Mark Spencer
7 Professional Editors Share Their FCP X Experiences
Rich Young
A news roundup
Clint Milby
New Cage Fits New Camera Like A Glove
Scott Simmons
If you haven’t heard they have moved from FCP7 to Media Composer
Scott Simmons
The ease of setup and managing multicam clips makes this the best FCPX update yet
Mark Spencer
Multicamera Editing in Final Cut Pro X
David Torno
Create numerical readouts for use in HUD style graphics.
Terence Curren
The best event for keeping up to speed in the post production world.
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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.
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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