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.

Tuesday, November 18, 2008

Green/Magenta?

Adam Wilt | 11/18- 10:19 PM

Testing RED ONE for green/magenta sensitivity, and what we found.

Art Adams and I have observed here on PVC that the RED ONE seems unusually sensitive to green and magenta colors. The topic keeps coming up on the cinematographer’s mailing list, too, and on reduser.net. I decided to compare the R1 to several other cameras under a variety of lighting conditions. I got more than I bargained for.

Sunday, November 16, 2008

My First Shoot with the Sony F35

Art Adams | 11/16- 06:41 PM

In which a series of tests becomes the fastest spec spot shoot in history

About a week and a half ago I received an email from Leigh Blicher, partner at Videofax in San Francisco. “Just wanted to let you know our F35 has arrived.” My response read something like this: “Ooo! Oh! Oh oh oh! Ooooo oh oh OH! Oh! OHHHHH! Can I come over and PLAY?”

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