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Post Production

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Adobe Premiere Pro hits 5.5

The incremental update gets some new features, Mercury still screams

By Scott Simmons | April 11, 2011

Here we are at NAB again and here's another release of Adobe Premiere Pro (and the entire Creative Suite). This year's release isn't quite the watershed release that last year's CS5 was but Premiere Pro CS5.5 packs some very nice updated features in overall, while still ignoring a few that I personally think they need to address to keep it moving forward and winning in the minds of editors. Read More

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After Effects CS5.5

A series of videos demonstrating how to put the new features to work.

By Chris and Trish Meyer | April 11, 2011

Just one year after the release of After Effects CS5, the AE team has cooked up a very nice update with some significant new and updated features (plus a lot of nice small ones as well) that will be of interest to both motion graphics and visual effects artists. To share our take on these with you, we've worked with AdobeTV who is hosting a series of videos we created on how to take advantage of our favorites among the new features. These are embedded over the next few pages, along with some quick comments about the new features. These movies include: Read More

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Baselight introduces Baselight on Final Cut Pro

Along comes another high-end color grading option for the rest of us

By Scott Simmons | April 09, 2011

One of the first big announcements out of the NAB gate comes from Filmlight and it involves their Baselight product line. The overall news is an update to Baselight (taking it to version 4.3) and a new Blackboard 2 control surface. But the biggest surprise comes in the form of the Baselight Plug-In for Final Cut Pro. This "under $1,000" plugin looks to offer parts of the actual Baselight user interface right in FCP's Viewer window. Read More

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PreNAB Editors’ Lounge, Predictions for 2011 & beyond

The new FCP vs. the new Avid. Which is better for your world?

By Terence Curren | April 08, 2011

The March 2011 Editors' Lounge HTTP:/?/?editorslounge.com/? was the 8th year of our annual NAB discussion panel and featured guest speakers Steve Cohen, Terence Curren, Mark Raudonis, Michael Bravin and Lucas Wilson. Debra Kaufman moderated a lively discussion on post-production trends and predictions for NAB 2011. Read More

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AE Flame: free plug-in for Creative Suite

By Rich Young | April 08, 2011

Satya Meka ported the open source AEFlame plug-in to After Effects Creative Suite. Recursive Fractal Flames have an interesting history which is discussed in the video embedded here, The Open Source Culture of the Flame Algorithm. Background on flame development in After Effects can be found in the older port to the AE SDK, AEFlame by Andrew Davidson.

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Background on Warp Stabilizer

Background on Warp Stabilizer

CS5 Evolves April 11th, 2011

By Rich Young | April 05, 2011

Earlier today Chris Meyer noted a Adobe Technology Sneak Preview: Warp Stabilizer. Other teases like "CS5 Evolves April 11th, 2011" have appeared on Adobe websites, but there's no need to wait for a little more on this new technology, thanks to a tweet by Karl Soule. There's a video backgrounder along with a technical description of some of the tech behind the new feature in Subspace Video Stabilization. It seems that related work was previewed in earlier forms; see the bottom of Seam carving, cloning, & cutouts. To kick-start this blog's new home (hi!), here's the video summary for the updated project, which includes a comment on limitations: Read More

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Are you ready for FCP X?

Rumors over Supermeet are flying!

By Steve Hullfish | April 05, 2011

Rumors are flying that Apple will be using the Vegas Supermeet to announce the next version of Final Cut Pro. Supposedly, Apple will be taking over the entire event for their announcement, canceling all other sponsors, including AJA, Avid, Canon, BlackMagic, Autodesk and others, who were set to give presentations.I am waiting for some confirmations from inside sources at various companies but some of the "proof" that is public so far:Daniel Berube, a co-producer of the event with Michael Horton, has rushed back to Vegas early from LA due to changes at Supermeet.UPDATE: Philip Bloom just confirmed with me that Canon has canceled his appearance at the Supermeet, though he still may present (possibly as a guest of Apple.) At present he doesn't know if he will speak or not. Canon was told last night that Apple has demanded ALL "lecturn" or stage time exclusively. Some sponsors who were not using presenters may continue to sponsor the Vegas event, but none of them will be presenting on the stage. I can't imagine any news that would warrant this kind of "take-over" other than to announce and demonstrate the next full version of Final Cut Pro and possibly an entirely newly designed FCS4.Frank Capria mentioned on the Avid-L2 that Avid would find another venue to present director Kevin Smith, who was scheduled to present at Supermeet. (UPDATE: Avid confirmed that Supermeet (Michael Horton) told them last night that their sponsorship had been canceled. According to Avid, "Apple doesn't want anyone to have stage time but them.") (UPDATE: Avid will be hosting Kevin Smith at other venues during NAB, for more information: http://community.avid.com/forums/p/95640/547333.aspx#547333)AJA offered a "no comment" on their Supermeet sponsorship and referred all questions to Michael Horton (who runs Supermeet). AJA has their own party that night at a different location, so it probably doesn't affect their plans too much.Black Magic also gave me a no comment, though they acknowledged that something was happening with their Supermeet sponsorship.I'm still waiting to hear from Michael Horton and Black Magic. UPDATE: 8:44pm, April 5th) The Supermeet website recently changed, dropping all previously mentioned presenters and mentioning a "very special guest" with a "sneak peak at something very special." This basically confirms most of the rumors. (http://www.supermeet.com/)UPDATE: Here is the statement I just received from Autodesk (6:15pm Central time, April 5):Autodesk will not be presenting on the main stage at Las Vegas SuperMeet during NAB, but will be participating in the SuperMeet Digital Showcase. For more information on the SuperMeet event, please contact the FCPUG organizers. During NAB, there will be numerous opportunities to see Smoke in action, both through customers presentations and Autodesk demonstrations on the Autodesk tradeshow booth SL2120. We are also providing free hands-on Smoke training in the North Hall on Monday & Tuesday.UPDATE: Black Magic Design has confirmed that they - and actually most of the sponsors - are STILL sponsors of the Supermeet. The main thing that changed with the addition of the Apple announcements is that the STAGE presenters have been changed. BMD is excited to be giving away over $20,000 of prizes at the event.Stay Tuned for more!!! Keep checking back for updates or add me to your RSS feed. Read More

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Is Netflix the “New” Studio Model?

Netflix is making it's own programming now. What does this mean for the existing networks and cable outlets?

By Terence Curren | April 05, 2011

Philip and I consider the changes to the financial dynamics caused by Netflix's funding of "House of Cards." Is Netflix a new studio model? Where's the opportunity for innovation in programming if everything is data driven? Are we trading one set of controllers for another? Read More

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Tantalizing News From Telestream

Apple ProRez Encoding On The PC?

By Bruce A Johnson | March 31, 2011

It's no secret that I am a PC user. I'm very happy with the performance of Adobe Premiere Pro CS5 (and all the other programs in the Adobe suite) on my HP Z800 machine. However, some of my client's end-users are Mac people, and have at different times demanded output in the Apple ProRez codec...,,,which, of course, PCs cannot do. At least, until now, if what Telestream has to say pans out. Imagine my interest when I saw this headline in an email:Telestream Enables Encoding to ProRes on Windows Server ProductsDetails as of now are hazy, and I have asked for clarification. But if this turns out to be what it sounds like, it could be a great step forward in making peace between the Windows and Apple editing camps.Sounds too good to be true, doesn't it? What do you think? Read More

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Video post-production: a 2011 top career that is dying

The research analysts have spoken so it must be true

By Scott Simmons | March 29, 2011

If you were wandering around the Twitter world this morning you might have seen discussion of a Wall Street Journal story that listed "video post production services" as one of the top 10 dying industries! But don't be too sad fellow editors, this Business Week article lists editors as one of the Top 10 Careers of 2011! We're damned if we do, damned if we don't. Read More

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Lightworks Touch: an NLE from the past

A dedicated unit such as this might make editing a bit more pleasant

By Scott Simmons | March 28, 2011

One of the booths I'm most excited about hitting at this year's NAB show is the Editshare booth to check out their Lightworks project. Lightworks was an early non-linear editing system that Editshare purchased a couple of years ago and released as a free open-source download. They've got an impressive roadmap and since I don't have a PC at my disposal I'll have to wait until the Mac version comes along to really test it out at home but I will be checking their demo out at NAB. Read More

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No More HDCAMSR Stock! Now What?

The tape shortage crisis and what it means to production and post.

By Terence Curren | March 26, 2011

Terence and Philip start discussing the tape shortage crisis - particularly HDCAM SR - caused by the situation in Japan: is tape dead, or will it merely lead to a resurgence of D5? Who's accepting file-based delivery, is that even practical, and who gets to drive the need for tape delivery?Remember, "No-one ever voluntarily changes their workflow"!Considerations of tape shortage leads to discussion on archiving non-tape sources, and the issues surrounding that. Click below to join in on the conversation in Episode 23 of The Terence & Philip Show. Read More

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ProxyMill - the encoder that can encode just about every camera format out there

Including 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.

By Scott Simmons | March 22, 2011

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. Read More

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Your Daily Motion Graphics Inspiration

Stunning dynamic text tribute to Conan O'Brien's farewell speech

By Matthew Jeppsen | March 22, 2011

We've all seen these fantastic "dynamic text" videos, that use animated text, generally cleanly laid out on a simple background, to convey information-dense concepts. For corporate video producers, it's a good way to deal with the common situation when a client essentially requests what I call Video Powerpoint...that is, when the client demands a lot of text on screen, and isn't creative enough to explore telling the story in other ways. Read More

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Book Review: Alexis Van Hurkman’s Color Correction Handbook

This is a MUST read for those interested in color grading and a SHOULD read for everyone else.

By Scott Simmons | March 18, 2011

If you're wanting to learn more about post-production then you've got quite a few areas where you can target studies. There's creative editing and storytelling (of course), there's audio mixing and sound design, there's the technical world of editing where you're dealing with workflow and media organization, there's graphics, effects and color grading as well. A good place to learn any of these specific tasks is the right book. For color grading there's Alexis Van's recently released book Color Correction Handbook: Professional Techniques for Video and Cinema. Read on for a review of this great book. Read More

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Thunderbolt!

What impact will this blazing new technology have on our world?

By Terence Curren | March 18, 2011

You've likely heard about the new interconnect technology called Thunderbolt. With two 10 Gbit/sec channels this has some interconnect power, at budget pricing. It'll make a big difference when momentum gathers.How will affect production and post production? What will it do to the future of computers? Will Apple still need to make towers?Philip Hodgetts and I debate this and more on episode 22 of the Terence&Philip show. Click below and join the debate. Read More

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Has Shakycam Finally Run Its Course?

Let's all hope so...

By Bruce A Johnson | March 17, 2011

GREAT review of the new movie "Battle: Los Angeles" by Matt Zoller Seitz at Salon.com, taking the filmmakers to task for the evil combination of long zoom, short depth of field, and lack of shot stability that equates to nausea for the viewers. Huzzah! Huzzah! Something that has needed to be said for over a decade!Will it make a difference? Doubtful. You see as many faux-Steadicams as decent tripods at NAB, a travesty I expect to continue next month. Anybody want to lay odds?And no, I haven't yet seen "Battle: Los Angeles," but once it hits the Roku I promise to pop a few Dramamine and give it a go. Read More

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The subtle VFX work in Black Swan

Good VFX execution that doesn't draw undue attention

By Matthew Jeppsen | March 17, 2011

The filmmakers of Black Swan have been discussed for the choice to shoot much of the film on 16mm stock, as well as some coverage being shot on the Canon 5D and 7D DSLRs (see IMDB tech specs). But I've seen very little coverage of the visual effects in the film, which you may be surprised to learn are rather extensive, including full-head replacements for a number of Natalie Portman dancing shots. They are also very subtly and tactfully executed. Here's a behind the scenes video that shows clean plates, followed by composite and VFX plates... Read More

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Adobe’s Creative Suite Production Premium Hits the Workflow Sweet Spot

When's the last time you tried Premiere Pro?

By Jeff Sengstack | March 16, 2011

Video and film producers are migrating to tapeless HD workflows using powerful mobile and fixed workstations. Adobe's Creative Suite Production Premium collection of tools, including After Effects, Photoshop and Premiere Pro, offers a complete, integrated production package. Its efficient, time saving, cross-product workflow, allows editors to work with HD in native formats with no need for intermediate rendering. But studios have been slow to fully embrace this powerful suite of tools. Until now. Read More

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PluralEyes for Premiere Pro CS5 (Mac) reviewed

You'll wonder how you ever survived without it

By Allan Tépper | March 14, 2011

If you ever record dual-system audio or multiple camera angles without synchronized timecode, you'll wonder how you ever survived without PluralEyes added to your editing software. Users of Premiere Pro CS5 for Mac who are aware of PluralEyes for other editing programs will be happy to know that a version of PluralEyes is now available for their preferred app too. This article will go over PluralEyes' general features and then illustrate the specific workflow used with Premiere Pro CS5 compared to the way it works with other video editing software. Read More

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