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Steve HullfishSteve 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. 
The Editing of “Courageous” Part One“Courageous” Part Two: on-lineFCP X Mission Control ParodyProof that FCP X is really just iMovie - directly from ApplePluralEyes for AvidSingle Chip Camera EvaluationAre you ready for FCP X?Canon jumps on ThunderboltThe all new Final Cut ProWhen is a NAS not just a NASCapture One - contender for Aperture and Lightroom?FREE Color iPad AwesomenessFinal Cut Pro “gets” ability to search for words in audioBlackMagic Resolve on Mac OSXAJA KiPro: More Than Just a Field RecorderControversial History Channel “WWII in HD” debate - THE TRUTHSorenson 360 video server serviceTrans-ylvaniaSpeech Search Meets ScriptSyncA rare YouTube Post from meAvid Gems 11Inspiration from the anti-GoogleSorenson Squeeze 5.1 ReviewUse Encore to Create Flash Web PagesFxFactory Pro and MOTYPE Review
October 2011July 2011June 2011April 2011March 2011February 2011November 2010April 2010November 2009October 2009September 2009August 2009July 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008July 2008May 2008Complete Archives |
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Single Chip Camera EvaluationThe Big Chip Camera Shootout!
At the request of Zacuto in Chicago, Bob Primes, ASC led a group of over 100 intrepid volunteers and ASC colleagues in the creation of The Single Chip Camera Evaluation. Basically, a well-planned and fairly comprehensive shootout between the Arri Alexa, Sony F35, RED MX, Phantom Flex, WeissCam, Sony F3, Panny AF100. Canon 5D, 1D, 7D, Nikon D7000 and Kodak 5213 film. more »
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(10) Comments •
Most recent comments by:
Vancouver Videographer,
Steve Hullfish,
Mike Curtis,
Mike Curtis,
David Williams,
georgemanzanilla,
David Williams,
Erich Ocean,
David Williams,
EmiAllDay,
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AJA KiPro: More Than Just a Field RecorderA look at the many possible uses of the AJA KiPro.
The AJA KiPro (pronounced “kee-PRO”) is a very nicely designed unit that I believe will become more and more useful over time. As it is currently released, several of the features that I really am interested in are still not implemented, but the potential is definitely there. My overall impression is that it’s a great little box that is very well engineered, but I have some reservations and an extensive wish list for making the device a “must have.” Before I get in to that, let me tell you a little about the device. more »
Production •
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Most recent comments by:
Steven Bradford,
lightprism,
Steven Bradford,
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Angelina and Lindsay battle over their favorite RED scopes!standalone scopes vs. software scopes vs. built in scopes - What you need to know!
Let’s face it: if I didn’t start with a title like that, there’s no way you’d read a story about waveform monitors. They’re boring! They’re not creative! They’re all the same! They’re not sexy. They’re not RED. Scopes are important if you’re doing real work that gets duplicated, broadcast or color corrected. They can be used “creatively.” They can help you do better work. Without them, all that other cool gear is worthless. So WHY are scopes the “Rodney Dangerfield” of the production and post production world? Some of it is probably fear of not understanding them. Some is probably that they don’t really seem to DO anything other than cost a lot of money. Some is probably because they have a lot of unrealized potential.
Production •
(4) Comments •
Most recent comments by:
DEvans,
stevesherrick,
stevesherrick,
George Kroonder,
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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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