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Post Production

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A Final Cut Pro X timeline OMF’d into Adobe Audition

No real commentary here other than seeing track how it turned out

By Scott Simmons | June 29, 2011

We all know that Final Cut Pro X doesn't yet support import / export of XML data. And there's no OMF export out of the box either. Automatic Duck is offering OMF export via their Pro Export FCP. As a test I exported a short OMF sequence out of FCPX and into Adobe Audition. Someone was asking about what the tracks looked like in the end. This was that result. Read More

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Apple publishes urgently needed FCP X FAQ

By Allan Tépper | June 29, 2011

Apple has just published the following FAQ for FXP X, in which the company answers previously unanswered questions and commits itself to adding certain missing features. Here they are. Read More

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PluralEyes for FCP X: a public statement from the creator Singular Software

By Allan Tépper | June 29, 2011

The creator of PluralEyes, Singular Software, has received lots of questions about PluralEyes and Final Cut Pro X. There are nine questions, which cover compatibility, availability, policies, and price regarding PluralEyes for FCP X. Here are the answers. Read More

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Red Giant’s newest Plot Device: Magic Bullet Looks 2

New and upgraded component applications, one-click suite install, aggressive pricing

By Mark Christiansen | June 28, 2011

Red Giant Software today unveiled Magic Bullet Looks 2 in dramatic fashion, boosted by a fun, humorous trailer called Plot Device that shows off what the software can do. Included in the new suite are nine individual point products also available individually, including the brand-new Cosmo for automated touch-up and an version 2 upgrade of the widely popular Looks software.Full suite cost is $799, but current owners of previous versions pay as little as $199. Watch for more in-depth coverage to follow! Read More

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It’s All About the Lenses…BABY!

The LensBaby System Rocks The Big Boys In Price and Versatility

By Clint Milby | June 27, 2011

Ever since getting the 7D in 2009, I've been on the look out for glass. Shooting only video cameras with a fixed lens and not being a fan of 35mm adapters, the whole idea of buying additional lenses eluded me. However, being a gear head myself, I quickly dove into it. Old lenses seemed a way to go, as I never shoot auto, and while still expensive, they are far less than new lenses. Read More

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The Final Cut Pro X video to end all FCPX videos

Give this one a watch asap as it might not last all that long.

By Scott Simmons | June 27, 2011

I have no title for this from Jeffery Harrell on Vimeo.

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!!! : Read More

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Free Upcoming Final Cut Pro X Webinar, free FCPX podcast

We all keep talking about Final Cut Pro X

By Scott Simmons | June 27, 2011

As if there's isn't enough Final Cut Pro X stuff out there on the web a week after its release, I want to pimp a couple of things that I've been involved in regarding Final Cut Pro X. First is the return of That Post Show (iTunes link) with a full edition devoted to FCPX and second is the FilmmakingWebinars.com Final Cut Pro X Hands On Tour. Read More

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How to pick Mac video editing software after the FCP X launch

Adobe Premiere Pro CS 5.5, Apple FCP X 1.0, or Avid MC 5.5? Multicam, pro i/o, closed captions?

By Allan Tépper | June 23, 2011

After the launch of FCP X 1.0, Mac users can finally analyze which video editing software to choose depending upon key features. Now there is finally a recent version to compare from Adobe (Premiere Pro CS 5.5), Apple (Final Cut Pro X 1.0), and Avid (Media Composer 5.5). Since Apple has ceased to support FCP 7 as of the release of FCP X, the possibility of using FCP 7 under MacOS 10.7 (Lion) is unpredictable. [UPDATE: Apple has stated that FCP7 will run under Lion.] This article will cover three key features which may be critical to your current or upcoming projects: multicam (or the capability of auto syncing clips from multiple cameras, whether or not some of them have stopped recording during the event), full use of a professional i/o interface (like the ones from AJA, Blackmagic, Matrox, or MOTU), and the inboard capability of incorporating and viewing closed captions. Since as of October 2010, closed captions are legally required in the USA even for certain web videos (details ahead in this article), this will be of increasing importance to many editors. Read More

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FCP X Good or Bad?

It is definitely a game changer, but will it work for you?

By Terence Curren | June 22, 2011

Philip had FCP X one week prior to release and answers my burning questions in this 30th episode of The Terence and Philip Show. What's missing?What's new?Who can use this?Who can't?What was Apple thinking?Click below and join the conversation. Read More

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Those Burning Final Cut Pro X Questions Answered

The answers aren't all good but based on rumors they were expected.

By Scott Simmons | June 22, 2011

Well here we are into the first official evening of Final Cut Pro X's release out into the world. It's been a busy day and a Twitter search will show a good bunch of love, a whole lot of hate and a little bit in-between. There were a blessed few who got advance copies and they've written some FCPX must read articles. If you want to try it yourself then $299 and the Mac Apps Store will get you a copy. I first want to answer the Burning Questions that I had just the other day. Read More

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After Effects News Roundup

After Effects News Roundup

It's been a busy two weeks

By Rich Young | June 21, 2011

The last two weeks have seen a return to action in After Effects news with many more news items on tutorials, plug-ins, etc. and more action on the Premiere front too while FCP X waits in the wings. There's also some notes on related news. News roundups for May (part 1, part 2) can be found at AEtuts+. Read More

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Anatomy of a Spot: T-Mobile

What's the best camera to use when shooting in an elevator? A small one. Hellooooo Canon 5D...

By Art Adams | June 19, 2011

Over time I've come to respect the Canon 5D. It's not the most user friendly of cameras, and it has some fairly serious faults, but if you can avoid the pitfalls it can make very pretty images. Read More

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DSC Labs Hawk Chart: The Simplest Color Chart That You Can’t Live Without

Wouldn't it be great if someone designed an easy-to-use color chart that could be quickly and easily used in the field? Well, someone did. And they call it The Hawk.

By Art Adams | June 17, 2011

It wasn't until I worked at the DSC Labs booth at NAB that I discovered The Hawk... and it blew me away. It's a very simple chart, but it offers a colorist (professional or amateur) the most critical information necessary to accurately neutralize your raw, log, or even WYSIWYG images. Read More

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My burning questions about Final Cut Pro X

If rumors are right they may be answered next week.

By Scott Simmons | June 16, 2011

As we sit what might be less than a week out from Final Cut Pro X's release (if the rumors hold true) there's been a new firestorm of controversy that erupted after fcp.co posted some YouTube videos from a recent LAFCPUG meeting where FCP guru/trainer made this statement about FCPX 1.0: "It will not be ready for professional use." And he has since followed up on that comment. Comments should always be taking in context. With the context of what I have seen about FCPX here are the questions that I will answer first when I download my copy. Read More

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Panasonic AF100 joins forces with Sony encoder for 25p Euro spot in Miami

The Sony encoder in the nanoFlash allowed for 4:2:2, 25p recording from the AF100

By Allan Tépper | June 12, 2011

Recently I was put in charge of the technical workflow for an HD 1080/25p real estate commercial spot to be shot in Miami, Florida, and broadcast in several European countries. I suppose my years of writing articles and giving seminars about 25p workflow in (ex) NTSC countries had something to do with my being chosen. This article covers: why director Rub©n Abruña chose the Panasonic AF100 rather than the Sony FS100, the lenses used, how the Sony "Beyond XDCAM-HD" encoder in the nanoFlash recorder achieved a superior 4:2:2 recording, the technical workflow used in the production and post, and even how we were able to display the final 25p spot on the client's segregated HDTV set (which normally rejects anything 25Hz or 50Hz) without having to convert the signal. You'll also be able to view and hear all four language versions of the 30-second spot: Castilian, English, French, and Italian. Read More

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Untapped features in Sony NXCAM’s new HDMI output

Uncompressed 1080 50p/59.94p, timecode, and even RGB 4:4:4 from your camera's HDMI port!

By Allan Tépper | June 09, 2011

Sony's latest NXCAM cameras fortunately feature unprecedented new features with their live HDMI outputs, including uncompressed 1080p at 50p or 59.94p, timecode, and even RGB 4:4:4 capabilities as an alternative to the standard YUV 4:2:2 modes. They also offer special pulldown modes for 23.976p (2:3), 25p (2:2), or 29.97p (2:2) (model dependent) with flags to help an external recorder reverse-telecine and recover the original, pure progressive signal. This is great for those of us that -for certain projects- want to record an even better signal than what's possible inside of the camera with AVCHD. However, today's external HDMI recorders don't yet support these new features. This article is about which NXCAM models include these new features, more details about them, and the response from each external recorder manufacturer about the likelihood of supporting these features, either in their current -or future- models. We'll also explore which new NXCAMs say farewell to 29.97p. Read More

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Single Chip Camera Evaluation screening tomorrow morning at CineGear

Single Chip Camera Evaluation screening tomorrow morning at CineGear

The 12 cameras you might shoot on compared in depth - dynamic range, resolution, rolling shutter, skin tones, etc.

By Mike Curtis | June 03, 2011

I was the post supervisor on the SCCE (Single Chip Camera Evaluation) for the past several months - we shot on 12 cameras (Alexa, film, F35, Red, AF100, Sony F3, Phantom Flex, Weisscam HS-2, Canon 1D MkIV, 7D, 5D Mk II, and Nikon D7000), and ran them through an extensive battery of tests - sharpness, sensitivity, over and underexposure latitude, low light performance, compression artifacts, color reproduction, skin tones, and the best shutter artifacts test I've ever seen. Saturday June 4th at 10:15am. Read More

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Adobe’s Speech Analysis is still chugging along in Premiere Pro CS5.5

It's still far from perfect but as a time-saving tool it saved me quite a few keystrokes

By Scott Simmons | June 01, 2011

When Adobe introduced CS4 they also introduced a new feature that many thought would be the suite's first real killer feature: Speech Transcription. I think the fantasy might have been this: gone was the day of paying a human to transcribe footage as the machines could finally do it for us. That wasn't the reality as the results were often a garbled mess. The humans continued to do a better job. Adobe's transcription accuracy has been improved since version 4 and with CS5.5 it's actually usable. I used it recently and I'm convinced it saved a lot of typing. Read More

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Audition: Made for Video (Part Two)

Premiere Pro's new audio/video workflow.

By elaine montoya | May 31, 2011

In Audition: Made for Video Part One, I demonstrated how developing a workflow can save you time and money - when time is of the essence. We took a look at the workflow I use each month when producing our online show, motion+connect as a means to understand the value of ‘workflow' - as well as providing an example of how this applies to ‘real-life' projects. Then, we added Adobe Audition to the mix. We explored how to bring single clips, multiple clips, and complete sequences from Premiere Pro to Adobe Audition - with and without video. We took a look at the roundtrip process of bringing audio back into Premiere, as well as the process of going back and forth between the two applications to make changes, sweeten the audio or master the final mix.In part two of Audition: Made for Video, we're going to take a look at some of the features of Adobe Audition that we use on a regular basis when producing motion+connect.Here is a look into my own real-world workflow using Audition. Read More

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Animate a character in After Effects

Animate a character in After Effects

A survey of resources [updated]

By Rich Young | May 31, 2011

After Effects provides a variety of tools to animate characters, including Painting, Puppeting, and Parenting. Fortunately, there's an equally wide variety of tutorials available online on using these tools. Here's a survey of just some of those tutorials from Daniel Gies, Angie Taylor, Todd Kopriva, Stuart Preece, Rex Crowle, Pete McEvoy, Ryan Boyle, Marcin Zeglinkski, and Dave Scotland, plus additional tips, expressions and scripts from other After Effects and animation luminaries going all the way back to Walt Disney himself. Read More

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