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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
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Avid Gems 11Modified behaviors with modifier keys
So, it’s been a while since I’ve started writing this series, so I should probably point out that the point here is to simply locate those cool tips and techniques that are easily found in the user manual – if you actually chose to read it. But this is much easier – at least for you – because I’ve sifted out most of the “duh” stuff and just delivered the tips that you might have not heard before. The theme of this specific column was inspired by a reader who commented on Avid Gems #10. They wanted to know all of the different ways the alt key on Windows or the option key on Mac altered the behavior of various keystrokes and mouse movements, so that’s what I’m serving up today. more »
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Inspiration from the anti-GoogleUsing StumbleUpon for creative inspiration and resources
More and more production professionals are living in a kind of social vacuum as production and post moves from larger companies to small 1 or 2 man boutiques. So for a little inspiration and a feeling that you’re part of a greater whole, I’d suggest checking out StumbleUpon. I know that many of you have probably already become addicted to the steady stream of interesting content provided by StumbleUpon, but for those who have yet to discover the joys of Stumbling, let me introduce you. more »Page 1 of 1 pages Advertisement |
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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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