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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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The new Fotoshop by Adobé can change the way you look!A great little video that is certainly worth sharing
This is a great video that really nails it in terms of body image just how fake most everything you see in print is these days. It was made be Jesse Rosten and looks like they put in quite a bit of work to get it to Vimeo! more »Detailed demo of the Baselight for FCP7 plug-inThe best overview yet of what looks to be a very powerful color grading plug-in.
Right around the time of NAB 2011 rumors began floating around that Filmlight was going to release a Macintosh-based software only version of their Baselight color grading product. It made sense as a rumor as many other companies had been introducing reduced cost Mac versions of their products plus Baselight would already run on a Mac laptop as Baselight customers can get a Mac laptop-only license as a great learning tool. What Baselight did was surprise everyone with a work-in-progress Final Cut Pro Baselight plug-in. Now we’ve got a demo of the Baselight for FCP7 in action. more »
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The Final Cut Pro X video to end all FCPX videosGive this one a watch asap as it might not last all that long. No matter what your Final Cut Pro X opinion you gotta admit that this is a nice little piece. UPDATE 6/27: And with that the video was gone. UPDATE #2 6/27: You can grab it and check it out here. UPDATE #3 6/27: But wait!!! :
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Here we are nearly a week after the Final Cut Pro X sneak previewI’m more excited about trying FCP X now than I was then but it’s still very iMovie-looking.
The most interesting tid-bit to come out of the whole Final Cut Pro X preview at Tuesday night’s SuperMeet came not during the hour long on-stage demo but rather it was during the time after as I walked around the SuperMeet expo and talked to a number of developers and fellow editors to get their reaction to FCP X. The reaction was mostly cautiously optimistic. I also happened into a conversation with someone who works for Apple and had been (or maybe still is) on the FCP team. And then when I got home I dug back into iMovie and darn if they really don’t look a lot alike. more »
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splitrock,
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motionmatt,
Craig Seeman,
Mike70,
Craig Seeman,
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Todd Lacy,
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Advertisement 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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A bit more about Baselight for FCP via iPhone videoPlus Filmlight announced the Baselight plug-in is coming soon for Nuke as well I stopped back by the Filmlight tent on the last day of NAB to grab a quick iPhone video demo of Baeslight for FCP at work. After I posted the piece about this plug-in on Monday Filmlight announced that they were developing Baselight for Nuke which continues in that idea of Baselight everywhere. At least everywhere in the post-production pipeline. Baselight for Nuke will be a next step. more »
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Baselight for FCP is coming, part of an overall Baselight strategyAt under $1,000 Baselight for FCP won’t be cheap but it will be useful One of the more interesting products I saw at NAB on Monday was Baselight for Final Cut Pro. One of the coolest things was the new Baselight Blackboard 2 control surface (check out the video at the end of the post). I think Baselight for FCP is cool in that it’s very well thought out, not just as a tool but where it fits into the post-production pipeline. more »
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Zak Ray,
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ScopeBox 3 delivers software scopes for Mac for only $99The price is coming down from near $700 to $99.
I stopped by the Divergent Media booth to check out their updated ScopeBox version 3software. You might remember ScopeBox was a near $700 when it came along quite a few years ago. This newest version is going to be a totally different business model as price goes to $99. more »
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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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