Friday, November 21, 2008

RED Support for Adobe Premiere Pro CS4, After Effects CS4 and Encore CS4

dhelmly aka DavTechTable | 11/21- 09:19 PM

RED Camera Adobe Importer offers RED Camera Support for Adobe Premiere Pro CS4, After Effects CS4 and Encore CS4

The beta version of the RED Camera Adobe Importer Plug-in is going to be available in the next few weeks for customers to download at http://www.red.com/support. The plug-in brings native support for RED R3D files to Adobe Premiere Pro CS4, After Effects CS4 and Encore CS4 and allows 4K resolution native R3D files to be dropped straight onto the timeline without transcoding or rewrapping, so editors can work with a truly native, color-rich, 4K tapeless workflow on their desktop tools.

To use the RED/Adobe workflow, customers must
have the RED plug-in and the CS4 product versions with the free Adobe Premiere Pro 4.0.1 update (see article below). A 64-bit operating system is strongly recommended for RED workflows. Adobe Premiere Pro CS4 has been re-architected for 64-bit operating systems to use large memory more effectively (up to 20GB of memory for Adobe Premiere Pro alone, up to 64GB of memory for a large Production Premium workflow).

With the native support for RED R3D files offered by the plug-in, Adobe is furthering the integration of tapeless camera formats into its line of professional video products, and making post-production workflows faster, more flexible, and more efficient. Direct your customers to the RED/Adobe Partnership Statement and FAQ for more information.

P.S. We will have a video on how we support Red on AdobeTV when it’s available!

Friday, November 21, 2008

Delivering review cuts with yousendit

Richard Harrington | 11/21- 06:44 PM

Easily send up to 2GB to clients via email

Richard Harrington examines how to deliver large files online with yousendit, at the ‘08 New Media Expo in Las Vegas.

Thursday, November 20, 2008

TRULY native Red support in Final Cut Studio…finally!

Mike Curtis | 11/20- 11:11 PM

Well, rewrappered QTs - as native as P2 is…

Apple and Red have teamed up to support native (OK, rewrapped QTs, akin to how P2 is handled) .R3D support in Final Cut Pro 6.0.5 and Color 1.0.3. Red has a plugin to work with those new versions, including access to the 12 bit RGB data within Color...even letting you manipulate exposure, white balance, etc. on the native R3Ds in a 32 bit floating point space. Keep reading for either:

a.) to understand WTH all that means, or

b.) all the gory details if you do

....after the jump.

Thursday, November 20, 2008

How to Fix Apple Compressor

Richard Harrington | 11/20- 06:39 PM

New software to fix a cranky app

If you’ve ever had issues launching Apple’ Compressor software, you’re not alone. The software seems to frequently get stuck and fail to launch. Fortunately, Digital Rebellion has a free tool to fix the issue called Compressor Repair.

Thursday, November 20, 2008

Why Pro Res Should Be Your Only Res & The AJA IoHD Part 1

Kevin P. McAuliffe | 11/20- 09:24 AM

Unboxing the AJA IoHD, and setting up

I thought that for this next article series, I would take a look at Apple’s biggest addition to Final Cut Studio 2, and that is the inclusion of their newest QuickTime codec, Pro Res 422 (and Pro Res HQ).  Most editors might think “Big deal, I can already edit in HD, so why would I use Pro Res?”.  Well, I’ll tell you why.  First of all, you get real-time HD capture across HD-SDI at 8 or 10-bit.  You also get HD frame sizes at SD file sizes (in all major HD formats), you get a codec that gives you quality that is almost as good as codecs that you are currently using to edit HD with, and the best part is that you can edit in Pro Res 422 and Pro Res 422 HQ in the comfort of your own home on FireWire hard drives.  Oh, and did I mention that because it’s “Pro Res 422”, you are working in a true 4:2:2 color space?  Until Final Cut Studio 2, Avid has thrown in our faces the fact that they have great quality, compressed HD for their editors to work with, and Final Cut editors don’t.  Well, not anymore.  The big advantage we have over Avid editors right now is choice.  We can choose the hardware we want to use as our input/output device, and Avid editors really don’t have the choice.  So that brings up a very interesting question.  How do you actually get Pro Res into your system and edit with it?  High end post production houses use MacPros that you can install HD capture cards into for all your editing needs, but what about the rest of us?  Now I know that some editors might think that editors who don’t use high end MacPros aren’t professional, and are only working on corporate and wedding videos, which is completely untrue.  I am currently working on thirty webisodes of a show that I am editing in Pro Res that will be shown exclusively on the web, as opposed to on television.  Let’s take a look at how professional editors can edit anywhere with AJA’s IoHD and Apple’s Pro Res 422.

Wednesday, November 19, 2008

Animating a Sky Part 1 - Photoshop for Video

Richard Harrington | 11/19- 09:48 PM

Combining PS and AE to make videos from photos

Instructor Richard Harrington shows you how to add an animated sky to your still photos using Photoshop and After Effects. Part 1 of 2.

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