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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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Pomfort Silverstack SET, workflow solution for on-set useThis iPhone video from the NAB show floor is an offload, back-up and transfer option. One interesting tool that I wanted to get a look at before leaving NAB 2011 was Silverstack SET from Pomfort. It’s an “All-in-one workflow solution for the set” hence the name Silverstack SET. I had seen an early demo a year or so ago and I really liked the interface and design of the application but since it was more geared toward on-set use I didn’t follow up on it until this year. more »
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How about application parity between the Tangent Wave and Euphonix MC ColorSupport isn’t too far off but it would be nice if both control surfaces supported everything we use.
When it comes to affordable hardware for post-production, “affordable” is often a relative term. What may be affordable for one is not necessarily affordable for another. Sometimes there may be limited choices for a particular piece of hardware so the price point is the price point and there’s not much the purchaser can do about it. Color grading control surfaces are no different. While some applications like Apple Color and RedCine - X support both the Tangent Wave and Euphonix MC Color others, like DaVinci Resolve and The Foundry’s STORM, don’t. This article is a call for developers to support both. more »
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Paul Clements - First Impressions of the Foundry’s StormA great first look at Storm, reposted from Reduser with permission from Paul
Several weeks ago The Foundry announced a new “revolutionary RED workflow system” called Storm. The product made its public debut at IBC and will be available as a public beta in November. Around February 2011 it will go on sale for $375 and should expand beyond RED in coming versions. Paul Clements is a UK-based DIT who has been Alpha testing Storm. He posted a detailed first impressions article on Reduser that’s a great overview of what Storm has to offer. I asked Paul if I could repost the article here on PVC. more »
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Final Cut Pro •
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Most recent comments by:
Zak Ray,
Scott Simmons,
lowbudgetfun,
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Resolve is our AlexaWith DaVinci Resolve for Mac, post-production gets our own amazingly affordable tool, previously out of reach.
OK, let’s face it. Post-production gear isn’t really as exciting as the toys involved in production. While all the stuff that we use during the post process is equally as important as the stuff used to acquire the image it just doesn’t have the same kind of sexiness. But there’s quite a lot of folks in post that are very excited about the release of DaVinci Resolve for Mac. In its own way, Resolve is kind of like our Arri Alexa. more »
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Most recent comments by:
Richard Reay,
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Advertisement The Panasonic AG-AF101 intro video and global premiereA full overview of the highly anticipated micro 4/3 camera
It’s been just a week or so since Panasonic posted the official website for their micro 4/3 AG-AF camera family. Here we are with IBC in full swing and they’ve now posted a video with details galore about the AG-AF101. It’s the global introduction of the camera and it professes to combine both the benefits of a DSLR’s large sensor with the functionality, ergonomics and features of a proper video camera. Watching the video will probably answer quite a few questions about exactly what features Panasonic have packed into the unit. more »
Cameras •
compression •
Hardware •
(37) Comments •
Most recent comments by:
Rafael,
Hector Berrebi,
Rafael,
Hector Berrebi,
nomad,
Rafael,
nomad,
Simon Wyndham,
JohnReen,
nomad,
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Vivitar introduces a breakthrough $10 camera, for your grandfatherWho knew you could still buy this stuff!
There’s a great video that’s been making the Twitter rounds that takes the point and shoot still camera to a new level. It’s Vivitar’s 35mm film camera. You read that right. It’s a camera that actually shoots 35mm film that you place in the camera itself and then take to be developed and printed. Video after the jump. more »CINEMATOGRAPHER VS. PRODUCER video as an afternoon diversionSure, we’ve all had this conversation haven’t we? Here’s a fun little 2:48 video that’s been making the Twitter rounds (NSFW as there’s some language so be warned) so for those readers who aren’t on Twitter, the embed is after the jump. It’s called CINEMATOGRAPHER VS. PRODUCER, (make with the xtranormal animation website) is a fictional discussion of the lovely DSLR world we live in and even has a nice laugh in there for editors too! Sadly, it’s kinda based in reality.
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Most recent comments by:
Zak Ray,
Simon Wyndham,
Benjamin Rowland,
Benjamin Rowland,
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Amazing Guy Walks Across America videoIt’s a DSLR extravaganza with behind the scenes There’s been a great new “viral” video making rounds recently, Guy Walks Across America. It’s currently at over a half million views on You Tube and will likely continue to rise as it’s buzz grows. It’s kind of like a stop motion / time lapse and is quite an amazing accomplishment technically. There’s a behind the scenes video as well that offers a glimpse into how they achieved the effect. It’s embed after the jump. more »
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Most recent comments by:
brainwatersofteners,
Matt Jeppsen,
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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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