Did you know MPEG Streamclip could convert YouTube videos?

File this post under “how in the hell did I not know MPEG Streamclip could do this!” This being take the URL of a YouTube video and convert it into a usable file. That is one of those tasks that has come up time and time again and I’ve often struggled with how to make it happen. I’m not sure how long MPEG Streamclip has had this function but I’m going to chalk it up to you learn something new every day.

The Utility and Ease of Use for GenArts’ Sapphire Edge

GenArts’ Sapphire Edge is not a color grading plug-in in the traditional sense. If you’re looking for endless numbers of sliders, dials and switches that adjust an image using terms like lift, curves or channel mixer, then Edge is not your tool. But if you are looking for a large set of high-quality looks that can be applied with ease and quickly customized with only a minimal learning curve, then Sapphire Edge is just such a tool.

Can a professional really use Premiere Elements 10?

I first wrote about Premiere Elements back when version 9 was first released for the Mac. At that point, I received an NFR (Not For Resale) copy from Adobe but was so concerned about its lack of direct support for PsF in AVCHD that I delayed writing about it again while I exchanged e-mails with the Premiere Elements team. In the meantime, I kept myself quite busy covering other topics, and earlier this week, I published chapter 9 in the PsF’s missing workflow about how to get around Premiere Elements’ current lack of direct support for PsF in AVCHD, and even direct support for native 23.976p (“24p”) in AVCHD. In this article, I answer a logical question: Can a professional really use Premiere Elements? This sub-US$100 program is available for Mac or Windows. Here are the answers.

PsF’s missing workflow, Part 9: Premiere Elements 10

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several AVCHD cameras from 3 manufacturers. In #4, we did the same with several HD recorders. In #5, we revealed how one recorder manufacturer is offering its own software to counteract the inappropriate signals offered over HDMI by many cameras. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. In #8, I showed how ClipWrap is an excellent solution for many Mac editors. Now in #9, I’ll discuss PsF with the sub US$100 Adobe Premiere Elements 10.

Digieffects v2.5 - Damage & Delirium Explored

Digieffects has updated and optimized their plugin effects to be Adobe CS5/64-bit compatible and have added some great new tools to their suite of tools! Both Damage v2.5 and Delirium v2.5 are fully compatible with the latest versions of After Effects, Premiere Pro, FCP and Edius. Even better news, this is a free upgrade for registered v2.0 owners!

Sony’s NX70 camera to receive its missing 29.97p framerate via free firmware update

Sony has just announced that the NXCAM camera model known officially as the HXR-NX70 (often followed by a regional suffix) —but colloquially known simply as the NX70— will receive the vital 29.97p framerate via a free downloadable firmware, sometime in the first quarter of 2012.  Well, let me get a little more specific: The 59.94Hz segregated versions of the NX70 will get 1080PsF29.97. This article will explain how vital this framerate is for many producers in ex-NTSC countries, and cover some other improvements included in this update, together with a few that are still missing.

Simulated Camera DOF In Video with Photoshop CS5.5

Learn how you can create a simulated Camera DOF effect on your video footage right inside of Photoshop CS5.5 Extended! This technique can be applied to on any video footage and doesn’t require any plug-ins, but rather, it utilizes the 3D Camera to achieve a realistic DOF effect.

The Smoke and Mirrors Behind Sweden’s Brokendoll

Winner of numerous ProMax awards in 2011, Sweden-based, boutique production company Brokendoll has garnered acclaim with their self-described “visually intense” high end productions for advertising, television and web.  You might think a company with this level of initial success would also have goals of growing, but according to Brett Richards, Brokendoll is intent on keeping their footprint small to maintain the quality of their productions, “It is important to the quality of the production that we have the right team on each job, so we avoid large, in house teams to maximize our flexibility.” 

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