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CELTX 2.0 Announced!

CELTX 2.0 Announced!

The Popular Screenwriting and Pre-Production Software Gets a Face Lift

By Kendal Miller | March 02, 2009

Celtx 2.0 was announced recently and is currently available for download. For those of you who don't know, Celtx is a popular open source screenwriting, and pre-production application. The new version of Celtx is exciting on several fronts on of which is the new "Studio" system for more integrated collaboration on projects. Secondly the new toolbox feature enabling user built plugins to be built and installed enabling even more features for an already great software package. The software remains free although Celtx developers have added a $50/ annual fee to make use of the online services. All in all it looks like a well rounded upgrade that will allow for future expansion. I'm particularly interested in some users adding toolboxes for automatic page counts, and further expanding the pre-production toolset. Listed below is the full set of new features and changes: Read More

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After Effects Apprentice Video Tutorial #3

An introduction to typsetting in After Effects.

By Chris and Trish Meyer | March 01, 2009

We've recently released After Effects Apprentice (2nd Edition). The DVD-ROM that comes with the book includes an hour and a half of video tutorials that provide gentle introductions to major features inside After Effects, such as text and expressions. In this third video, we show the different ways to create and style type, including tips on areas such as kerning that will help your text look more professional. Click on the Play Video link below, and enjoy!(Note: For those who are hearing-impaired, lynda.com has added Closed Captioning to these tutorials. They are available here. We are also in the process of creating video training for all of the After Effects Apprentice lessons; they will also appear on lynda.com. If you do not have a lynda.com subscription, click here for a free 7-day pass.)After Effects Apprentice was designed for students looking to learn After Effects from scratch, as well as those who do not use AE full time (such as editors or web designers). It starts gently with an introduction to keyframing, and progresses through the important features (such as masks, mattes, effects, text, audio, 3D space, shape layers, expressions, parenting, and building advanced hierarchies of compositions) until you end up keying, stabilizing, and compositing a shot in high def. The second edition has been fully revamped for After Effects CS4, and includes integration with Photoshop CS4 Extended and Flash Professional CS4.The content contained in After Effects Apprentice - as well as the CMG Blogs and CMG Keyframes posts on ProVideoCoalition - are copyright Crish Design, except where otherwise attributed. Read More

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Greenscreen Primer Part 1

Greenscreen Primer Part 1

With Greenscreen, 80 percent of your post budget is lost on the set...learn how to get it back!

By Alex Lindsay | March 01, 2009

I pulled my first Greenscreen in 1996 working on "Star Wars: Episode 1" pre-viz. The footage was rough (pre-vis handycam footage) and the After Effects Color Difference Key was a complete mystery. Now, the Pixel Corps, we shoot an average of two hours of greenscreen footage a day, mostly 4:4:4 uncompressed. While the tools have progressed significantly, the process itself, and the rules, have changed surprisingly little.In this article, I'll cover the major issues you need to solve when shooting greenscreen footage. There will be future installments to discuss theory and keying technique. I will argue about 90% of the professionals out there do not use most of the information I will lay out here... and it makes their process much more difficult. I will say, everything we do in the Pixel Corps is designed to lower costs and accelerate delivery speed while constantly improving quality. We're not particular to be particular. We do everything because it shaves time or improves quality. Read More

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Animating Text in Apple’s Motion

Animating Text in Apple’s Motion

A primer for After Effects artists.

By Chris and Trish Meyer | March 01, 2009

If you're familiar with animating text in After Effects, you might glance at Apple's Motion and think that it offers many of the same features for flying text around. While that is true, if you look a little closer you'll find that Motion can create some really great looks that you just can't get with After Effects. In this article, I'll review the text capabilites of both programs, and lead you through in detail how to typeset and animate text in Motion. At the end, I'll discuss some additional details that separate the two programs. (Note: This article compares Motion 3 and After Effects CS4. Motion 4 has added some new text capabilities.) Read More

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FxFactory Pro and MOTYPE Review

FxFactory Pro and MOTYPE Review

Effects plugins for FCP, Motion, After Effects and Avid

By Steve Hullfish | March 01, 2009

Most people I know in this industry love new gear. And in the world of desktop video applications and editing, new gear is now less and less about the physical stuff with buttons and knobs and more about "the code."If you want access to a lot of new stuff, the easiest way to get high quality stuff to play with is to load FxFactory for Final Cut Pro, or FxFactory Pro with its 142 plug-ins already included. These plug-ins can be used in FCP, Motion, and After Effects. A similar product - Factory Tools - is available for Avid. Read More

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See the Beat: Video-driven composing

See the Beat: Video-driven composing

A Review of Abaltat Muse

By Mark Spencer | March 01, 2009

First things first. I'm not a musician. I don't play one on TV. I'd like to be - I did just start playing acoustic guitar. But if you heard me, you'd agree - I'm no musician. But I am a video producer/editor. And a motion graphics designer. And I frequently need music for my work.Which makes me an ideal candidate for Abaltat's Muse. Read More

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Past Issue: February 2009

The first PVC Pipeline | Production newsletter is out of print - but not out of sight...

By Chris and Trish Meyer | February 26, 2009

The articles below were included in the February 2009 edition of the PVC Pipeline | Production newsletter. If you haven't already subscribed for the PVC newsletters, we suggest you do so now to ensure that you are notified as soon as they are available.The articles in the first PVC Pipeline | Production newsletter included: Read More

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Quicktip Day 26: Saving EDL Comments in Avid

Quicktip Day 26: Saving EDL Comments in Avid

Send instructions to online from your Avid offline via EDL comments

By Scott Simmons | February 26, 2009

Quicktip #26 (February 26, 2009) Making EDL comments in an Avid EDLIf you are sending an edit to online via an EDL you can add comments for the online editor that can appear in the EDL. First select a clip you want to add comments via Segment mode:Then click on the edit sequence name above the record monitor and choose Add Comments...:Type in your comments in the Comments window: Those comments will show up in the EDL: If you can't see the comments make sure the Comment box is checked in the Comments tab under EDL Settings. Read More

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EX1/EX3 IR Filter Shoot-Out

The EX1/EX3 built-in Hot Mirrors suck. Or do they? One way to find out...

By Art Adams | February 26, 2009

The Sony EX1 and EX3 are great cameras for the price, but they do have some fairly obvious issues with IR/far red when used with neutral density filters in front of the lens. This test taught me far more, though, than just what filters to use to eliminate a color problem on these cameras: I learned never to make assumptions about how a piece of equipment works until I've tested all possible options. Read More

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Fake Tilt-Shift Cinematography

I've seen this in stills and it's very convincing. Next week I'm doing to do it in motion.

By Art Adams | February 23, 2009

Traditionally used to create the illusion of impossibly deep focus, tilt-shift effects are now being used to do the exact opposite--with surprising results. Read More

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HPA Technology Retreat 2009

Three solid days of "Tech Treat".

By Adam Wilt | February 23, 2009

How is the Tech Retreat like (and unlike) a location shoot? Why does New York's Metropolitan Opera put ten minutes of solid white at the tail end of each live HD cinemacast? Read More

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The GT35pro meets the RED camera

The GT35pro meets the RED camera

I took my HV20 and the GT35pro out to a RED camera test recently

By Scott Simmons | February 20, 2009

The GT35pro meets the RED camera from Scott Simmons on Vimeo.

A few weeks ago I was lucky enough to take part in a RED camera test with my friends at Compass Cinema. We went out to local camera rental house CameraTrux and where they had set-up their RED with an assortment of lenses as said "test away!" Since I'm a post guy I take every opportunity I can to play with cameras and things outside of the edit suite so I took my HV20 and the GT35pro adapter along for the ride. When it wasn't too annoying I tried to shoot some footage along side the RED to compare and contrast with the footage from the GT35pro. I shot footage of the still life as well as the chain link fence outdoors. It's funny when you think about a 4K camera with some really great lenses being intercut with an under $1,000 consumer HDV camera and vibrating lens adapter and how it shouldn't seem possible but they actually go together pretty well with the video compressed down for web viewing. The RED footage is a transcode through Clipfinder to 1080 ProRes and the back-to-back shots have been color corrected with Colorista to make them match better ... except for the fence outside. I couldn't seem to get those tones to match closer. I need to keep reading Steve's great book The Art and Technique of Digital Color Correction While they look pretty good here on Vimeo I did a test where I took a similarly dark shot of the still life and the red-berry bush outside and did some grading on the RED raw R3Ds in REDAlert vs. the Canon HDV files in Final Cut Pro ... It's quite the difference in latitude and what you can do with the image. As was to be expected. Read More

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F35 IR Filter Shoot-Out

We test IR filters from three major manufacturers to see which does what on the F35

By Art Adams | February 18, 2009

Technically the Sony F35 isn't sensitive to infrared, but it is sensitive to far red. The difference will save you a lot of money on filters. Read More

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avc-i camcorder hpx300 panasonic

Panasonic’s AG-HPX300: full-res camcorder with AVC-I under $11K

Will the HPX300 be the "it" camera for 2009?

By Adam Wilt | February 15, 2009

Panasonic announced the AG-HPX300, a 1/3", 3-MOS shoulder-mount P2 camcorder with a 17x Fujinon interchangeable lens (the Euro version will be the AG-HPX301E). In many ways, it's a companion to the HVX200A and HPX500: six scene files, 1080i/p recording, 720p variable frame rate recording, SD recording in both DV and DVCPRO50 formats, 24p capability, and two P2 card slots, but there are three things that put the 300 in a class of its own:Full-resolution, 1920x1080 sensors.AVC-Intra (I-frame, 10-bit, full-raster, 4:2:2) recording.MSRP of US$10,700, including EVF and 17x lens.Let me repeat: full-res sensors and AVC-I recording for under $11K. Read More

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Designer Templates for Final Cut Studio

Professionally designed templates for Final Cut Pro and Motion

By Mark Spencer | February 11, 2009

Students, customers, and colleagues have been asking me for years to design templates for Motion and Final Cut Pro. I always resisted, because I didn't want to do it unless I could do something that would really stand out. Over the past several months I have been working with Ripple Training and a professional design team to do just that. Read More

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Zacuto Zwing-away Review

FreshDV's first look at a very unique mattebox accessory

By Matthew Jeppsen | February 11, 2009

In our coverage of CineGear 2008, FreshDV got a peek at an early mockup of Zacuto's Zwing-away adapter, a 15mm rods accessory that converts a standard mattebox into a swingaway. We've finally gotten a chance to look at the production model, and posted a video review. Watch the review below or by subscribing to FreshDV's free audio/video podcast feed. Read More

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RED Hot Mirror Shoot-Out

We test Hot Mirror filters from three major manufacturers to see which does what on the RED

By Art Adams | February 11, 2009

Not all infrared or Hot Mirror filters are made the same, and not all work the same way on different cameras. In this test we looked at filters from Schneider, Formatt and Tiffen to see how they perform on the RED ONE. Read More

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Sony upgrades 3G HDV camcorders to universal, for a small fee

Sony upgrades 3G HDV camcorders to universal, for a small fee

Now you can upgrade your Sony 3G HDV camcorder to 25p and world-class compatibility!

By Allan Tépper | February 10, 2009

Readers of my recent articles in ProVideo Coalition, past articles in Latin American magazines, and those who have attended my seminars are aware of the many 25p production advantages over "24p" (23.976p) production, especially when the video is shot on HDV and the workflow is to take advantage of HDMI or HD-SDI capture. Up until now, producers in the USA (and other 60Hz American countries) who have chosen progressive Sony HDV cameras and appreciate the advantages of 25p had no choice but to go through "unofficial channels" to purchase the 25p/50Hz version of the camera. The ones I know are all very happy with the choice and with the workflow. However, they aren't so happy that after spending so much extra for the camera and optional worldwide warranty, they still don't have the flexibility of the 60Hz (59.94Hz) modes, in order to be able to shoot at "30p" (29.97p) or even "60i" (59.94i) for a slow-motion shot. Although most of them prefer 25p for their own productions, some of them are also often subcontracted to "shoot only" for other producers who aren't so informed about 25p, and often request video to be shot at "30p" or "60i". Fortunately, Sony USA has now recognized the need for a universal version of their 3G (3rd-generation) of HDV camcorders, which now encompass the HVR-S270, HVR-Z5 and HVR-Z7. See details about Sony's upgrade program later in this article. Read More

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On Artbeats.com: Projecting Video

Projecting a 3D layer onto others in After Effects.

By Chris and Trish Meyer | February 10, 2009

An interesting technique is to cause a piece of footage to appear to be projected onto other items, as if it was coming from a video or film projector. This can be done with the 3D capabilities of After Effects, but it requires knowledge of a little-known parameter: Light Transmission. In this tutorial on Artbeats.com, we show how to set up a 3D environment that takes advantage of Light Transmission to create this look, plus share some tips on how to improve the final image, including sharpening (or blurring) the projection, and using "negative light" to crop unwanted light from spilling around the edges of the image.

Click here to download the PDF of "Projecting Video" from Artbeats.com.

The content contained in our books, videos, blogs, and articles for other sites are all copyright Crish Design, except where otherwise attributed. Read More

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New That Post Show up and online

New That Post Show up and online

By Scott Simmons | February 10, 2009

There's a brand new version of the audio podcast That Post Show up and online. If you haven't heard the podcast then this would be a good time to start listening. It's described as "an open conversation and roundtable discussion with experts in new media, film and moviemaking, about the process of film and creating media." I was on episode three and they are all the way up to episode 6 now with Plug Ins and Post Production. Guests for this episode are, of course, host John Flowers, Kenn Bell of the Dog Files, Mark Christiansen of our very own Pro Video Coalition Production Values channel, and friend of the Edit Shane Ross. You probably know Shane from his blog Little Frog in Hi-Def but you also know him from the thousands of Internet forums he frequents about editing and post-production. The show is also sponsored by Red Giant Software and as a part of their show sponsorship you can get 40% off Colorista and Warp from now until March 2. Check out That Post Show's website for the code. That's a great deal on a must have piece of software if you want to do any kind of color correction in Final Cut Pro. The Edit did a review a while back and it is highly recommended. So tune your podcasting application (here's an iTunes direct link) and give That Post Show a listen. You might learn something. Read More

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