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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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NVIDIA’s Quadro 4000 for Mac, more affordable speed for the right applicationCheaper and smaller than the Quadro FX 4800, the 4000 can greatly compliment the right application.
It’s been several months since NVIDIA released their newest graphics card for the Macintosh. The Quadro 4000 for Mac uses their newest GPU architecture called Fermi. This card packs a whopping 256 cores onto a card that is half the physical size of the older Quadro FX 4800 (it had only 192 CUDA cores, the slacker). The other bit of news is that the 4000 has a smaller price than the FX 4800 had, coming in at just over $700 (street price) from an Amazon search. On top of all that there’s quite a few applications out there that are taking advantage of NVIDIA’s CUDA technology that lets apps harness all this GPU power. Read on for a look at several post-production tools and how they work with the 4000. more »
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ProxyMill - the encoder that can encode just about every camera format out thereIncluding XDCAM directly to ProRes. I’m sure there’s some camera that ProxyMill can’t encode but it seems to do more than most any I’ve used.
I don’t do a lot of XDCAM work. Before the Canon revolution it seemed there was a lot more Panasonic HXV200 shooting than XDCAM in my market. But that recently changed as two Sony EX-1 projects came on board. As I was figuring out workflow for the first time I was researching the best way to get the media to ProRes for a Final Cut Pro edit. It seemed it was a two step process: re-wrap the original media to XDCAM .mov files and then convert those to ProRes. Finally I found an answer to the single step: ProxyMill from Imagine Products. Though it wasn’t without a bit of frustration. more »
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New Media Webinars offers fast, affordable trainingAs a presenter I’ve enjoyed doing them, as a student I’ve enjoyed learning from them When I finished my NAB 2009 Post Pit presentation I was approached by a gentlemen who operated a website called New Media Webinars. We discussed possibly doing a webinar similar to what my Post Pit presentation about cutting a Canon 5D multi-camera concert. After a lengthy discussion upon returning from NAB we decided on the topic of DSLR Filmmaking Post Workflows. This was my first presentation for NewMediaWebinars.com. New Media Webinars would end up with four DSLR focused webinars (thus far) on production, post, color grading and audio techniques. more »Kicking the tires on The Foundry’s Storm betaIt’s in beta, it’s buggy but you can see a powerful, well-designed tool inside. Oh the future ...
It was a busy week this past week as November changed to December and The Foundry released their long discussed Storm product as a public beta free download. Storm is a “RED Digital Cinema Camera Production Hub” and has been described by RED’s Ted Schilowitz as REDCine-X on steroids. After kicking the tires on Storm for a few hours over the weekend I’d say it’s not just REDCine-X on steroids but rather what will be a much more well thought out version of REDCine-X that will hopefully be more robust, less quirky, easier to use and an overall better application. And that’s as it should be as Storm will cost $375 when it finally ships its paid version around March 2011. more »Advertisement Export via Sorensen Squeeze 6 from the FCP timelineI often forget this Quicktime Conversion option is available in FCP.
Just the other day I needed to export mp3 audio files from several long Final Cut Pro timelines to send to a client for review. There was no reason to send video and they wanted to get small audio files that didn’t have to be of great quality attached to an email. What better format than mp3! With that I remembered that Sorenson Squeeze 6 (now at version 6.5) installs an Export Using QuickTime Conversion option in FCP. After making the mp3s I thought that a reminder of this would make a good blog post. more »
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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 »
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DSLR Post Webinar available On Demand, extra questions answeredWe answered a few questions in the podcast ... here’s a few more. Last week I had the privilege of conducting a webniar with NewMediaWebinarrs.com called DSLR Filmmaking Post Workflows. That webinar is now available on-demand from New Media Webinars for $25. That gets you the entire 90 minute webinar in HD, an audio podcast where we answered some questions from those attending, several Canon 7D video files for your own workflow tests and some useful links. There were a lot more questions asked by attendees than we had time to answer so I jotted down some quick answers to most of them and have posted below. more »
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Magic Bullet Grinder grinds your DSLR footage into a more editable formatWhile Grinder may seem redundant it’s fast, cheap and easy to use
Red Giant Software has just dropped a new tool into the family of Magic Bullet products and it might be of great interest to the DSLR shooter. Magic Bullet Grinder is a simple application tasked with transcoding your Canon 5D/7D/1D files out of their H.264 native state and into something a bit more usable. It also can create lower resolution offline versions of the same clips for editorial should you be in an offline to online position. While simple, Magic Bullet Grinder works quite well and has a few tricks up its sleeve. 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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