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Steve Hullfish
Steve Hullfish has been producing and editing award-winning television since the mid-1980s. He has written four books, countless magazine articles and hosted an Avid training DVD. He has lectured at NAB, DVExpo and the Master Editor seminars. He has edited on Avid since 1992 and was named to Avid's first group of Master Editors. His client list includes: Universal Studios, NBC Television, PBS TV, Turner Networks, The Oprah Winfrey Show, "Investigative Reports" and "Cold Cases" with Bill Kurtis for A&E, Jim Henson Home Entertainment, HIT Entertainment, VeggieTales, Cartoon Pizza, Exclaim Entertainment, United Airlines, Gatorade, Ford, IBM, Sun Microsystems and Avid.
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Thursday, July 24, 2008
FCC ruling may cause havoc for wireless mic users
Chances are good that if you own a production company, or freelance as a sound recordist, you’ve invested in a few pricey wireless mics. Most of these mics operate on the unused local bands in the VHF or UHF spectrum, However, with the move to digital television the FCC has reallocated some of that frequency range to emergency radio use and has begun testing the possibility of using some of the so called “TV white space” for use with proposed “unlicensed devices” such as wireless broadband services, wireless multimedia systems, and PDAs. Currently, these products operate in other radio frequency bands, such as 2.4 GHz. The FCC is looking at allowing the use of these unlicensed devices starting on February 17, 2009 when the switch to DTV occurs.
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Thursday, July 10, 2008
Are software scopes too good to be true?
So I’m finally continuing my earlier article on software versus hardware scopes, with a shootout of the top software scope sets. The scopes I’m using for the shoot out include the Hamlet VidScope and Adobe OnLocation on the PC, Divergent Media’s ScopeBox on the Mac and the dedicated Tektronix WFM7120. I also added Synthetic Aperture’s Test Gear, which is a scope set exclusively for After Effects.
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Wednesday, July 09, 2008
Automatic Music Composition software for video editors
Ireland is a land of fantastic music and musicians. I’ve been to Doolin, in County Clare and heard brilliant traditional musicians there. And for those with more of a rocker sensibility, you’ve got Irish exports U2, Van Morrison and the Cranberries.
The latest musical export from Ireland is a software application called Muse from a company called Abaltat, which means “ability” in Gaelic. This software supposedly analyzes a Quicktime movie and creates a custom musical composition based on the video content. I think most people would be highly skeptical that this software can actually compose a meaningful tune based on actually analyzing the true content of a video program. Its similar to the disbelief that any video editor has about the programs that I’ve heard of that will take your video footage and make a great edit from the raw bits and pieces.
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steve martin
Recording & Editing Multi-take Voice Overs in Soundtrack Pro
Andrew Balis
Getting Video In and Out of Color
Mark Spencer
Two Great Tastes That Taste Great Together
Mark Spencer
It’s getting cheaper and easier to find stock footage for your project
Mark Spencer
A Two-Part Motion Tip
Brian Gary
Philip Hodget’s Tome on All Things High Definition
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steve martin | 07/30- 11:51 AM
Recording & Editing Multi-take Voice Overs in Soundtrack Pro
In this excerpt from Ripple Training’s “Sound Editing & Mastering in Soundtrack Pro” Steve will show you how fast, fluid and fun it is to edit voice overs in Soundtrack Pro using the Multitake Editor.
Click here to watch tutorial
Andrew Balis | 07/22- 11:51 AM
Getting Video In and Out of Color
One of the most confusing issues that comes up frequently with new users of Color is how to get in and out of Color with different types of video formats. Therefore, the purpose of this article is to clear up the confusion by presenting the four main workflows Color can utilize, as well as how each format can be handled by Color. This article relates to users of Color version 1.0.2 or later. We’ll look at how to handle video formats captured via capture card, as well as how to work with “native” formats captured via FireWire such as DV, DVCPRO 50, DVCPRO HD and HDV.
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