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Scott Simmons
Scott Simmons was born in rural West Tennessee and didn't really realize that movies and tv had to be made by actual people until he went to college. After getting degrees in both Television Production and Graphic Design he was in one of the early graduating classes at the Watkins Film School in Nashville, Tennessee. During that time at Watkins he discovered editing. While most of his classmates in film school wanted to be directors, Scott saw real career opportunities in post production and took a job as an assistant editor after completing film school. In 1999, Scott took the leap into freelancing and in 2007 accepted a position as an editor at Filmworkers - Nashville. In 2005 Scott created The Editblog a website dedicated to all things editing and post-production which is now housed here at PVC. Someday he hopes to edit on a beach with a touch screen device, a wireless hard drive and a Red Stripe. 
Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switchKicking the tires on the Final Cut Pro X 10.0.3 Multicam updateUpdate Alert: Final Cut Pro X goes to 10.0.3Adobe teases Prelude at the San Francisco Supermeet, FCPUG changes its nameTangent Element panels are now shippingAvid Media Composer 6 review onlineUpdate Alert: Magic Bullet Suite 11.2Update Alert: FxFactory 3.0The new Fotoshop by Adobé can change the way you look!Did you know MPEG Streamclip could convert YouTube videos?New That Post Show: Edit Pro SupergoodClean those Adobe Media Cache FilesChristmas Gift Ideas for the Editor in Your LifeKicking the Tires on Avid Media Composer 6The Adobe Premiere Pro timeline for Final Cut Pro usersAvid Media Composer 6 is announced and it’s moving into the futureAll of the Automatic Duck plug-ins are now freeA report on Walter Murch’s talk at the Boston SuperMeetA lesson learned from my FCPX to Resolve roundtripsUpdate Alert: DaVinci Resolve 8.1: FCPX support, lots of little thingsA Few Recent Avid Media Composer FindsA short Q and A with Automatic Duck about their Adobe moveSteve Jobs 1955 - 2011$995 Final Cut Pro to Media Composer crossgrade ending very soonKicking the tires on the Final Cut Pro X 10.0.1 update
February 2012January 2012December 2011November 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010March 2010February 2010January 2010December 2009November 2009October 2009September 2009August 2009July 2009June 2009May 2009April 2009March 2009February 2009January 2009Complete Archives |
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Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switchIf you haven’t heard they have moved from FCP7 to Media Composer Back in January news broke that reality television producers Bunim/Murray were switching their post-production facilities from Final Cut Pro to Avid Media Composer. This probably didn’t come as a great shock to anyone who follows post-production as the release of Final Cut Pro X had left many people (especially those in the broadcast world) a bit stunned at its lack of broadcast features. There was a lot written about this subject but I had a few more questions so I spoke with Bunim/Murray’s senior vice president of Post Production Mark Raudonis as he has been the public face of this switch. Our Q and A follows. more »
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Adobe teases Prelude at the San Francisco Supermeet, FCPUG changes its nameThe Adobe sneak looks intriguing. Makes me excited for CS6. From the looks of Twitter last night there were a couple of surprises at the Friday evening’s San Francisco Supermeet. First bit of news I saw was that Final Cut Pro User Group (FCPUG) has decided to drop the Final Cut Pro designation from their name to become the Creative Pro User Group. Second was a sneak peek from Adobe about a new application called Prelude. more »
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Avid Media Composer 6 review onlinePlus a few other Media Composer 6 bits and pieces
Last week a review that I wrote of Avid Media Composer 6 went online over at Studio Daily. Here’s the link so if you’re interested in what I think is a rather thorough review that tries to go beyond just bullet points and a feature list then please give it a read. Now that I’ve had a couple of months beyond the first kicking the tires reaction here’s a few more MC6 observations. more »
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Most recent comments by:
Ra-ey Saleh,
Scott Simmons,
Ra-ey Saleh,
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Update Alert: Magic Bullet Suite 11.2Avid Media Composer 6 support for Magic Bullet Looks is the big highlight
Red Giant Software must have been doing some work over the holidays (that or they’ve had a busy 2012 thus far) as just over week ago we saw an update to Magic Bullet Suite. Beside offering full Mac OS X Lion compatibility the big news is that Magic Bullet Looks now runs in Avid Media Composer 6. more »
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Advertisement Update Alert: FxFactory 3.0A solid update to the popular plug-in tool brings new effects, new development partners including Nattress
A big update just hit the Final Cut Pro / Adobe After Effects world this week with Noise Industries FxFactory 3. This update to the popular plug-in architecture introduces not just a lot of new effects but a new interface to the actual FxFactory program. This release sees an interesting new color correction tool from Yanobox and the first FxFactory tools from Nattress and an FCPX only transition package from idustrial revolution. more »
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New That Post Show: Edit Pro SupergoodNew episode is a discussion of Avid Media Composer and Final Cut Pro X
Just over a week ago I enjoyed sitting in on another episode of That Post Show where we had a calm and rational (mostly) discussion of Avid Media Composer 6 and Apple Final Cut Pro X. While it might seem these two NLEs are rather far apart in their perception and target market they are indeed both non-linear editors that can be used to tell a story as well as the two newest NLEs on the block. The show is called Edit Pro Supergood and it’s a long one, clocking in at a bit over two hours. more »
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Clean those Adobe Media Cache FilesAnd reclaim some drive space in the process
I learned something today about Adobe Premiere Pro that I was unaware of. The application creates a media cache when it imports media and that media cache seems to default to the system drive in the user Library folder. This cache can balloon in size over a period of time as I found out when cleaning up a drive. But it can be easily cleaned and relocated. more »
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Most recent comments by:
Rob,
Scott Simmons,
Rob,
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Kicking the Tires on Avid Media Composer 6The rewritten application is now 64 bit, all new and yet very familiar at the same time.
Avid Media Composer 6 began shipping last week after being announced just under a month ago. The release has seen quite a bit of press as it was teased back in the summer and a large part of that tease was letting users know what they could expect when this version came along. I haven’t had a chance to really pound MC6 as of yet since it just shipped but I have been kicking the tires on it for the last few days. Keep an eye on That Post Show for upcoming episodes all about MC6. more »
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Scott Simmons,
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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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