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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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Apple Releases Pro Apps UpdatesBe sure to pick up the latest update
Apple has just released a set of Pro Applications Updates which improve reliability add add new features. The applications included in the update: Final Cut Pro 6.0.5 Compressor 3.0.5 Color 1.0.3 Shake 4.1.1. Here are some of the highlights of the updates (the full list is here). more »Final Cut Help - Animating Text with KeyframesLearn to animate Text in Motion
Join Apple Certified Trainer Mason Dixon as he shows you how to animate text with keyframes in Motion. Adobe CS4 Just Around the Corner
Want to find out everything new in Adobe Creative Suite 4? Trust me… there’s some really cool things coming. Adobe has an invitation out to view their Web broadcast on September 23rd. But you do need to go to the sign-up page at www.adobe.com/go/somethingbrilliant. By the way… I am going to be releasing something very special on the 23rd as well as a “thank you” to all my viewers. Be sure to stick around and keep an eye out.
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Final Cut Pro to YouTubeLearn how to get the best YouTube videos from Final Cut Pro
What people tend to forget is that you are sending YouTube a master for them to compress; therefore, send the highest quality you can, that fits within their limitations. YouTube.com is well know for being the busiest video-sharing site, but unfortunately, YouTube uses the much older Sorenson Spark codec for their video encoding. This was the “improved” video format for Flash 7 but is based on the very old H.263 video conferencing codec. Even when new, this was an old, inefficient codec. Many people send YouTube an already compressed video, and are disappointed when they see the quality that results on YouTube. That’s because most of the information was first thrown away by the encode before upload, so there was little quality left to be encoded to Flash 7. The goal is to give YouTube a master that they can use for encoding: Here’s how to pull this off: Thanks to Phil Hodgetts for this guest tip.
Like this tip? It comes from the book
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Advertisement Sweet Music Videos from PhotosTurn a folder of images into a music video Looking for something different? I discovered Animoto at this year’s SXSW conference… Load up your photos, pick a song, and within a few minutes you have a rocking music video. You can use their cleared music or load up your own. Thirty-second movies are free, full-length videos cost $3. You can get a full year’s access for $30. Here is a discount for $5 off. The whole process is a piece of cake. Be sure to check them out – here. You can post the videos to a website, download them for an iPod, or even use YouTube to share. Here are a two more of mine that you can check out.
Final Cut Pro – The Dividing LineWhen dragging tracks in the Timeline, where you drag is as important as what you drag
When dragging tracks in the Timeline, where you drag is as important as what you drag. Careless dragging may result in an unintended overwrite edit when you intended If you look closely at the Timeline, you’ll notice that it’s divided by a thin gray line. When dragging, look to see which region you enter to determine the edit type. When dragging from the Viewer or a bin, use these tips: * Dragging to the upper-third of the track results in an insert edit. Several different options are available when dragging within the Timeline. When dragging in the Timeline, use these tips: * Dragging in the Timeline horizontally results in an overwrite edit by default.
Like this tip? It comes from the book
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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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