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Blackmagic delivers its first Thunderbolt-based i/o interface, the UltraStudio 3D

By Allan Tépper | September 05, 2011

Blackmagic Design has begun shipping its first Thunderbolt based audio/video i/o interface, which is officially known as the UltraStudio 3D. As its suffix indicates, it is capable of 3D stereoscopic workflows, although it is certainly capable of 2D workflows too. However, we must be diligent and refer to it with its full name (including the “3D” suffix) in order to differentiate it from other Blackmagic models whose names also begin with “UltraStudio”. This first look at the US$995 UltraStudio 3D will cover its features, specs, and even an initial limitation for HP DreamColor monitors, together with a somewhat costly workaround. You’ll also learn everything you need to know about the UltraStudio 3D’s end-point Thunderbolt connection and its current limitations. Read More

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The Fourth Annual Amsterdam FCPUG SuperMeet

The Fourth Annual Amsterdam FCPUG SuperMeet

FCPUG Converges on Amsterdam With HDSLR Shooters including Philip Bloom

By Clint Milby | August 31, 2011

IBC is almost here, and that means it's SuperMeet Time, and this one is shaping up to THE event of IBC. Beyond the opportunity to meet and visit with your fellow filmmakers from around the world, you'll also get to interact with Philip Bloom and Jason Levine of Adobe Systems, Editor Eddie Hamilton (X-MEN: FIRST CLASS) for Avid, Michael Wohl on FCPX, Autodesk & others. Read More

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DSLRcinema’s ‘One Shot One Kill’ Film Contest

Why Winning This Contest is a Long Shot

By Clint Milby | August 31, 2011

DSLRcinema is holding their second bi-annual film contest entitled "One Shot One Kill". Now, despite the name, this is not some violent or horror themed film contest. ‘One Shot' refers to ‘One Take' or at the very least the illusion of one take. Here's all the details from DSLRcinema. Read More

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Phonetic dialog search returns as Soundbite from Boris

Still powered by Nexidia, it's Get under new management

By Scott Simmons | August 25, 2011

A few weeks ago we published a couple of stories about the demise of the phonetic dialog search tool Get for Final Cut Pro. It looks like the comment from Nexidia that it would return was true as Wednesday night at the LAFCPUG meeting Boris Soundbite was introduced. Read More

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Magic Bullet Suite’s MisFire and Adobe CS5.5 Production Premium

How To Make Your Video Look Old...But Not Tired

By Clint Milby | August 24, 2011

The Unsung Hero of Magic Bullet I say unsung, because there's not any mention of it being part of the Magic Bullet Suite. Once I loaded the Suite and opened it up for the first time in Premiere Pro CS5.5 -- there it was. I went back to the RedGiant website and searched and found just a small amount of information on their blog. Read More

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Why FCP X’s secondary monitor should be 1920x1200, not 1920x1080

Depending upon your prior experience, you might call it a program monitor, a Canvas, or nowadays even a Viewer.

By Allan Tépper | August 15, 2011

While the jury is still out as to whether we can actually trust a calibrated Rec.709 or sRGB monitor connected directly to a Mac for critical gamma and color evaluation for grading from Final Cut Pro X (the way we can do conditionally as explained in my other articles with Adobe Premiere Pro CS5 and 5.5), some editors who don’t yet demand that capability (or are awaiting complete integration between FCP X and the professional i/o devices from AJA, Blackmagic, Matrox, or MOTU) are looking to purchase a second monitor to use that feature in FCP X. Of course, I’m referring to the feature which Apple called “Digital Cinema Display” in classic FCP jargon, which displayed your “Canvas” (“program monitor” in traditional pro video jargon, plus some other functions) full screen onto a secondary monitor connected directly to your Mac computer. In FCP X, the jargon has changed, so it’s called showing your “Viewer” on a secondary monitor. In this article, I’ll explain why (even though you’re probably editing 1080p) your secondary monitor for FCP X should be 1920x1200, not 1920x1080. I’ll also recommend some monitor candidates for that.

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FCPX, Is It Prosumer Or Not?

Some people get really testy when you suggest it's iMovie Pro...

By Terence Curren | August 11, 2011

In this episode of "The Terence & Philip Show" Philip & I consider the concepts of editing introduced with Final Cut Pro X, and who it might be made for. Is it designed for "pros" or dilettantes? One thing is for sure, Philip doesn't like me using the word "Prosumer"! Click below to join the heated conversation... Read More

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Upgrading to After Effects CS5.5?

A quick review of what's changed in recent versions

By Chris and Trish Meyer | August 09, 2011

As Adobe and their various vendors have been offering a variety of discounts and incentives this year (as well as floating the idea that you'll need to own at least CS5 to get discounted upgrade pricing on the next Creative Suite), we're guessing a lot of After Effects users who have been getting by with older versions may be thinking about upgrading. To help inform your potential upgrade decision and ease the subsequent transition, we thought it would be helpful to round up some resources - many free; some costing just a nominal sum - that explain what's changed between versions. In addition to links to relevant articles and reviews, we're including a selection of free videos from relevant courses on lynda.com (if you have trouble playing any of them, reload the page); if you don't already have a subscription to watch the rest of the courses, click through this link to get a 7 day free pass to evaluate these courses and others as part of your potential new subscription.We're going to assume you have at least After Effects CS3, which was released in 2007. We'll give an overview of major changes in CS4, CS5, and CS5.5 in each of these three pages. Read More

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Mac Mini w/Thunderbolt: preferred platform for many new editing systems

By Allan Tépper | August 08, 2011

Whether they are planning to edit video with software from Adobe, Apple, or Avid, the new Mac Mini with Thunderbolt has become the preferred platform for many people, including several of my consulting clients who are tired of waiting for new MacPros to be released and can’t stand the glare from the ultra-glossy iMac. The Thunderbolt capabilities in the new Mac Mini (helpful for fast external RAIDs and the upcoming professional interfaces from AJA, Blackmagic, and Matrox) together with the available i7 processor and 8GB -or even 16GB- RAM upgrades from third-parties, plus direct dual monitor capability (which gives the editor the choice to purchase one or two high-quality matte displays) really seem to make the Mac Mini much more sensible for serious audio/video editing than in the past. In this article, I’ll cover all of the details about such a system.

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Streamlining Color Correction in Premiere Pro

The dark art of color correction is not all that opaque.

By Jeff Sengstack | August 07, 2011

Premiere Pro has a full complement of tonality and color correction tools including about 40 tonality and color correction video effects and four vector and waveform scopes. Most video editors gaze upon all those possibilities and end up choosing the path of least resistance: automated effects. As for scopes...forget about it. Who can make heads or tails of them? Turns out, the dark art of color correction is not all that opaque. Read More

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Nexidia comments on the demise of Get for Final Cut Pro

Expect the dialog search tool to return under a different name

By Scott Simmons | August 04, 2011

After posting a little news item the other day about the demise of Get for Final Cut Pro I spoke at some length with Drew Lanham of Nexidia and he clarified a few things about the software we called Get as well as what may be in store for the technology that powered Get. Read More

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Attend the FCPX Now What? Event

A panel discussion about what? FCPX of course.

By Scott Simmons | August 03, 2011

Are you in Burbank on Thursday August 18, 2011 at 7pm without anything to do? Do you care enough about the waves that Final Cut Pro X has made in the post-production community that you'd like to attend a panel discussion about FCPX and what we do now? Then register for the Keycode Media Final Cut Pro X: Now What? event. Registration is free but they say capacity is limited. Read More

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Why Jump On Board With FCP X?

Embracing change [Sponsored by FMC]

By Scott Gentry | July 31, 2011

FCP X has received a lot of scrutiny since Conan O'Brian. However, it seems that gradually more and more editors are starting to roll with the changing tides. Embracing change is always a challenge, especially when we can be so set in our routine ways.The new Final Cut Pro is not only a software upgrade but a whole new change in editing mindset. Apple has always been a leader in innovation and technology and with its track record we do believe it will support their new product and overtime even use it to alter industry trends yet again. But, If you are not convinced and are wondering what path to take. Here for your options on crossing over, upgrading yourself or migrating to the new technology. Read more... Read More

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Have you got phonetic search tool Get for FCP? Good, cause it’s gone

Apparently the software has been discontinued ... for some reason or another.

By Scott Simmons | July 29, 2011

Remember the super cool phonetic searching tool for Final Cut Pro Get? This was an amazing software tool made to complement FCP that could phonetically search your media and return search results to FCP. It was powered by technology from Nexidia that made it all possible. Hopefully you have a copy if you need it because it seems that Get for Final Cut Pro is no more. Read More

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FCP X ! The Response A Month Later

Did Apple handle the launch well, or was it a huge fail?

By Terence Curren | July 29, 2011

In this latest episode of The Terence and Philip Show, we discuss how the postproduction landscape has changed a month after Final Cut Pro X was revealed. How has the competition responded and how the Final Cut Pro community has reacted? Lots of discussion on the launch and subsequent response to Final Cut Pro X, touching on every aspect of the release.Why is there an emotional connection with creatives and their tools. Where do Final Cut Pro 7 users go? Who is really focused on NLEs in professional postproduction? Click play below and join us for this in-depth discussion. Read More

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Notes from using Premiere Pro in a real-world, client-in-the-room edit

Premiere Pro has come a long way and is a real alternative for FCP users looking for a quick switch.

By Scott Simmons | July 26, 2011

Adobe Premiere Pro has been back in the post-production public consciousness for quite a while. Now at version 5.5 it feels like Adobe began really pushing it when the Mercury Playback Engine was added in 5. I've been toying with it off and on for quite a while now but with the recent release of Final Cut Pro X I wanted to give it a real-world, client in the room test. In the end it was both very good, kinda bad … and a little bit ugly. Read More

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Anthro Elevate Wrap, Verte’ Chair, Zido Cart Review

The makings of the perfect office.

By Scott Gentry | July 21, 2011

A few months ago the folks at Anthro Technology Furniture asked us to give an extended road test to three of their products-the Anthro Elevate Wrap table, Vert© chair, and Zido adjustable cart. We put all three to work in real-world office and studio settings, and the overall experience has been a striking reminder that good equipment extends beyond lenses, cameras, and digital technology. Successful creative professionals use every tool that improves efficiency and productivity, including furniture. They make their work space work for them. Read More

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The Cure for Rolling Shutter?

Adobe's Ellen Wixted Gives Us The Ins and Outs of CS5.5 Production Premium

By Clint Milby | July 17, 2011

One of the highlights of NAB 2011 for me was having an opportunity to sit down with Sr. Product Manager for Adobe CS5.5 Production Premium and Adobe Audition, Ellen Wixted. Ellen took some time out of her busy schedule to visit with us, and tell us why the latest creative suite is the answer to the problem of rolling shutter.

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100 Final Cut Pro X Questions Answered

These are questions asked before, during and after recent FCPX webinar

By Scott Simmons | July 17, 2011

Recently I hosted a Final Cut Pro X Hands On Tour webinar for FilmmakingWebinars.com. It was a great event with 90 minutes of FCPX for over 800 people attending. (An archive of that can be purchased btw). People often ask questions before, during and after the webinar. Here's 101 of them that were asked, answered to the best of my knowledge. Read More

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Cutting It Close Live! FCPX show archive online

Last night's round robin FCPX discussion is now online

By Scott Simmons | July 09, 2011

Watch live streaming video from cat5tv at livestream.com

Last night's Cutting It Close Live! webisode on Final Cut Pro X is now available on Mastering Multicam author Mitch Jacobson's Category-5 Livestream channel. It was a couple of hours of good FCPX discussion. Read More

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