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.


Monday, August 25, 2008

QuickTime Quickies

A couple of non-intuitive hacks for QuickTime audio

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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.

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Audio
Distribution
Post Production • (1) Comments • Most recent comments by: pccaudioprof, • Permalink



Tuesday, August 19, 2008

Vacuum Packed

Compress audio files without losing quality? You can, if you measure them the right way.

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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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Audio
Distribution
Post Production • (2) Comments • Most recent comments by: Mary Yurkovic, Travis, • Permalink



Saturday, August 16, 2008

Living with (Data) Loss

mp3 and its cousins are a fact of life… here’s how to get the most out of them

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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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Audio
Distribution
Post Production • (0) Comments • • Permalink



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2D Footage with a Stereo 3D Rig in After Effects CS5.5
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

How to get the “24p” look for your live-switched multicam shoot
Allan Tépper

A contracted article, sponsored by Datavideo Corporation.

Gear In 60 Seconds – Nauticam NA-60D
Matt Jeppsen

Getting watery trick shots with this DSLR housing

Any Way You Want It
Mark Spencer

Setting Up a Rig in Motion 5 on MacBreak Studio

Editing with Final Cut Pro X
Mark Spencer

7 Professional Editors Share Their FCP X Experiences

Another week in After Effects
Rich Young

A news roundup

Redrock Micro’s ultraCage for the C300
Clint Milby

New Cage Fits New Camera Like A Glove

Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switch
Scott Simmons

If you haven’t heard they have moved from FCP7 to Media Composer

Kicking the tires on the Final Cut Pro X 10.0.3 Multicam update
Scott Simmons

The ease of setup and managing multicam clips makes this the best FCPX update yet

25 Camera Angles in 25 Minutes
Mark Spencer

Multicamera Editing in Final Cut Pro X

Expression Shorts - Numerical Readout
David Torno

Create numerical readouts for use in HUD style graphics.

If You Make Your Living In Post, Don’t Miss The HPA Tech Retreat
Terence Curren

The best event for keeping up to speed in the post production world.







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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