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Richard HarringtonRichard Harrington A certified instructor for Adobe, Apple, and Avid, Richard Harrington is a practiced expert in motion graphic design and digital video. His producing skills were also recognized by AV Multimedia Producer Magazine who named him as one of the Top Producers of 2004. Rich is a member of the National Association of Photoshop Professionals Instructor Dream Team, and a popular speaker on the digital video circuit. He is also an instructor at the Art Institute of Washington and the American University in Washington, D.C. Rich is an internationally published author. His book, Photoshop CS for Nonlinear Editors, was the first of its kind to focus on Photoshopâ's application in the world of video. He is also a contributing author for Final Cut Pro On the Spot, After Effects On the Spot, After Effects at Work, and The Photoshop World Dream Team Book, Volume 1. A Masters Degree in Project Management fills out Rich's broad spectrum of experience.
DSLR Field TestBlu-ray and Final Cut StudioMoving Footage From Final Cut Pro to After EffectsKeying with After EffectsThe Rise of Field MonitorsHigh Definition Review and Approval with Apple TVFinal Cut Studio Documentation and Workflows Now OnlineWant to Know What’s New in the “new Final Cut Studio”Final Cut Studio Price ShockerGet the Latest P2 SoftwareA Great Example of Stop Motion AnimationFinal Cut Pro (Minor) UpdateSearchable Video with Creative Suite 4Lighting with Zylight PanelsA Mac Tablet Computer for ProsMacBook Pro goes to 17 Inches (A Video Look)Apple Releases Pro Apps UpdatesFinal Cut Help - Animating Text with Keyframes90 Percent of Problems are Cable ProblemsDouble Your iPhone BatteryDelivering review cuts with yousenditHow to Fix Apple CompressorCool Camera Accessories from HoodmanCamera Raw 5.0 - Photoshop CS4 Sneak PeekAuto-Blend – Photoshop CS4 Sneak Peek
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Double Your iPhone BatteryLong days in the field… phone keeps going
I know some of you hate iPhone posts (sorry).... But here’s something I just had to gush about…. The mophie Juice Pack iPhone battery is shipping. I had the original battery pack, but with the new form-factor for the 3G phones, I had to upgrade. Here’s the specs: This device is absolutely awesome and lets me get through a long day of business. The Most Important Piece of Paperwork for Your ProjectsI often preach extensively about project management at design and creative conferences around the globe. The one piece of paperwork that I always emphasize is completing a scoping document for a project then getting the client to sign off and accept it. This one piece of paperwork can solve all sorts of problems and is really worth the 2-5 hours it takes to write. The outline is as follows.
Have a Broadband Card? Want to Share with the rest of the Crew?Learn how to share broadband internet with the crew. Author and video podcaster Richard Harrington explains how you can take your wireless broadband card and share that internet connection with others on location.
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
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.
How to get the “24p” look for your live-switched multicam shoot
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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