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by PVC Experts

Written by a collection of the best writers in the industry and covering topics ranging from editing to motion graphics to live production. This channel features an incredibly diverse collection of authors and articles. Find out more about each of them...

In third grade, Richard Wirth was already reading anything he could find about television while dreaming of becoming a professional in the world of television and film production. Stops on the life timeline at American Forces Television, the Motion Picture Association, several mid-western pr...

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Keith Collea Shares the Power of Stereoscopic 3D

3D Road Show instructor is passionate about this tool that allows people to tell their stories in new and innovative ways

By Christine Purse | November 18, 2011

Keith Collea is a versatile and knowledgeable stereographer who has constructed 3D landscapes across a gamut of independent and studio features. He has worked on indies such as The Gene Generation and The Mortician 3D as well as big-budget productions like Pirates of the Caribbean: On Stranger Tides 3D and The Monkey King 3D, Asia's largest 3D production to date. Read More


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Workarounds For FCP X Shortcomings?

Yes, it's not mature yet, but there are third party solutions.

By Terence Curren | November 18, 2011

In this latest episode of "The Terence & Philip Show" we start by discussing the release of Final Cut Pro X 10.0.1. We know what features are in this release and what else is coming in "early 2012? but what will Apple do for Version 2?We also cover, Intelligent Assistance's new release of Project X27 for transferring Final Cut Pro X XML to Final Cut Pro 7 XML for use in Color, Soundtrack Pro, Premiere Pro CS 5.5, OMF export and beyond. This leads to a discussion about the various flavors of XML and the differences in data structures between the two versions of Final Cut Pro. The differences between the publicly available FCPXML and the internal AXEL XML format used by Apple internally and for the Automatic Duck OMF/AAF export from Final Cut Pro X.We briefly discuss the Automatic Duck changes in that context.Back to the Final Cut Pro X discussion we talk about how fast Final Cut Pro X is in practical editing, and where the deal breakers may be for certain editors.Click on the link below and join the conversation. Read More


The GoPro HD Hero2: A Real-World Wide-Angle View

The GoPro HD Hero2: A Real-World Wide-Angle View

An In-Depth Look at GoPro's Latest Little Dynamo!

By Jeff Foster | November 15, 2011

Anticipation…Last weekend I had a great time taking the new GoPro HD Hero2 for a spin and running it through its paces. This compact sports camera may be small in features but it is certainly HUGE on fun and opens your mind to a multitude of creative ways it can be used. Note that I've not used the original HD Hero and I have nothing to compare this experience to, other than what I've read and heard from colleagues about their joys and frustrations in the past. But what I can share with you is my experience with the new HD Hero2 - from the excitement of opening up the box to the enjoyment of washing off the mud.(If you're looking for the technical specs and my overview of pros/cons, then please see the last page of this review) Read More


Learn About File-Based Workflows from Expert Gary Adcock

Learn About File-Based Workflows from Expert Gary Adcock

The typical workflow is quickly moving to an all file-based in both production and post-production

By Laura Pursley | November 11, 2011

AJA offers you some of the best tools in the business to enable efficient and powerful pipelines with the most flexibility. For output and mobile file playback and distribution needs, you can transfer timelines back to Ki Pro for AV, projection, and playout needs. From camera, you can acquire to one of AJA's Ki Pro family of products for Apple ProRes workflows. With KONA desktop and IO Express mobile solutions, you can acquire and edit in everything from Sony MXF files to R3D files, covering resolutions all the way from SD to 4K. Read More


Motion Tracking and Green Screen with After Effects & Mocha AE

Motion Tracking and Green Screen with After Effects & Mocha AE

Track, insert and matte - while retaining reflection integrity on shiny surfaces

By Jeff Foster | November 06, 2011

Amazingly, a lot of people don't even know that they already OWN Mocha AE… it ships along with After Effects CS4 and higher and is a stand-alone application for providing planar motion tracking. You've probably already seen the trick of using Mocha AE to track and insert an image or a video clip inside an iPhone, but how about dealing with fingers on the screen and reflections on the surface? Sure, you could root out the fingers with the RotoBrush tool in After Effects and get pretty decent results, but that's a fairly time-consuming workflow if you can avoid it.This tutorial will show you how to take a video clip of an iPhone or iPad or any other handheld touch device set to a solid green screen, and insert your video clips or animations into to it perfectly, while realistically retaining the bright reflections on the shiny glass surfaces.*NOTE: You can follow along with this tutorial by downloading the free project folder with included source files (After Effects CS5.5) at this link from my web site HERE. Read More


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Film Is Dead!

...and a bunch of other topics on the latest Terence & Philip show.

By Terence Curren | November 04, 2011

In this episode Philip & I cover a series of topics starting with large sensor cameras in production, the November 3 announcements from Canon Professional video, RED and Avid. Then on to the death of film, the cinema experience, and the problems of 3D.We've been predicting the demise of the Mac Pro in the current form fact for some time, and during this early October recording, we discuss what has this week become rumor: the demise of the heavy iron workstation. (And the value of SSD.)I report from the Monitor shootout day sponsored by the Hollywood Post Alliance, and HPA sponsored workflows.We also get onto the future of Apple after the loss of Steve Jobs (just like everyone else!), leading to a discussion of who invented what?The implications of Siri for postproduction: specialist tools vs generalists tools.To join us just click on the player link below. Read More


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Sharing Assets: Adobe CS Production Premium’s Unique Workflow

A case where the whole is indeed greater than the sum of its parts.

By Jeff Sengstack | October 22, 2011

When you look at Adobe CS Production Premium's video production tools - Premiere Pro, After Effects, Encore, Audition, and Photoshop - many if not all could be considered industry leaders in their own right. But it's how they share assets that makes the suite such a powerful performer.Applications in Adobe CS Production Premium share assets in several ways. The goal? To save you time, reduce your work load, and ensure your assets retain their original quality throughout the video production process. Read More


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The FCP X update? It matters….is now the time to jump on board?

More Info About the Final Cut X Update(Sponsored by FMC)

By PVC News Staff | October 19, 2011

FCP X has caused quite a controversy in the video community; between massive changes in software design and a struggle for professional workflows, the new version (while amazing) has been a rocky release for Apple. This new update starts to address some of the criticisms from professionals. Why Apple's update should matter for you: The update for FCPX shows one thing very clearly: Apple is listening. Major "missing" keys have begun to be addressed. This update? XML and Roles.Apple made it possible for developers to get XML in and out of FCPX - meaning projects soon can be imported in and out of FCPX. Legacy projects, workflows with other post production tools, now have the necessary hooks for developers to provide workflow paths. DaVinci Resolve, Cat DV and other third party applications are taking advantage of this.Hand in hand with that, are the ideas of Roles - assigning a ‘type‘ or role to a clip. Roles like: dialog, effects, music (and more) make it possible to export separate stems based on your tags. Additionally, These roles make versioning (such as based on language) a breeze, flexibly turning on and off the correct clips in a project.Learning how to integrate these new features (or the shift in thinking necessary to edit in Final Cut Pro X) should be in your near future. FMC Training is dedicated to providing the most professional, comprehensive, certified training in the country and can recommend a customized learning path for you.Why Apple's update shouldn't matter for you:Perhaps you've decided that Final Cut Pro X doesn't work for you- Maybe you are a Final Cut Pro 6 or 7 user, who thinks Final Cut Pro X is a mistake.If you choose not to go to Final Cut Pro X, the smart money is on switching to a different editorial system, knowing that Apple's development for anything other than Final Cut Pro X has stopped. That leaves the major players of Adobe with Premiere Pro and Avid's Media Composer.What's most important, is being aware that your career shouldn't ever be defined as being locked to a single tool, being proficient with many applications including gettingcertified may be your best choice to keep yourself relevant in such a fluid job environment.Read more... Read More


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Straightforward Primary Color Correction in Premiere Pro

To do the bulk of color correction in Premiere Pro, all you need to use are one or two video effects and two or three scopes.

By Jeff Sengstack | October 15, 2011

Color correction falls into three categories: primary, secondary and "looks." Primary color correction changes all pixels in a clip's frame. Secondary corrections are limited to a region within the frame; be it an object, a person's face, or a tonal or color range like the sky. Looks are moods you try to set using color. For example: harsh and cold or soft and warm.Secondary color correction and looks are methods you might use on occasion and have extra levels of complexity. Primary color correction, the focus of this tutorial, should be used on virtually all video projects and is easier to do than you might think. Read More


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The CRT Replacement Is Here…Finally!

Sony Trimaster OLED monitors really deliver.

By Terence Curren | October 04, 2011

With the death of CRTs, those of us who needed to critically evaluate video images in a standardized display universe were left with no adequate replacement. Most of us have been nursing along our aging CRT monitors and hoping something of equal or better quality would arrive before our trusted displays give up the ghost. Well, that product has finally arrived, and I predict that Sony is going to own the pro monitor market for delivering it. Read More


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The Templatorization of “Creativity”

Is there any room left for new ideas, or are we doomed to work on repeats of previous projects forever?

By Terence Curren | September 28, 2011

The trend toward basing creative endeavors on templates has been with us for many years, culminating in Hollywood's use of its history as templates for its current production.Whether this is a good or bad thing depends on whether you value your personal creativity, or you're pushing a budget to get a project finished.Click on the link below to play the latest Terence & Philip Show as we confront the good, the bad and the ugly of formulaic content creation. Read More


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How Do We Thrive In The Multi-Screen Viewing Environment?

An ever increasing number of viewers watch TV while using their iPads and laptops, and also checking messages on their phones. What are the opportunities and threats in this new world?

By Terence Curren | September 06, 2011

In this show Philip & I tackle Transmedia, the successor to "multi-media". Transmedia is the extension of a program to more ways for the audience to interact with the program, story and characters. There is no doubt that the multi screen viewing environment is here to stay. Is Transmedia the future of television or the replacement?Click below and join Philip and I in episode 34 of The Terence & Philip show. Read More


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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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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


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


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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Reviewed: Class on Demand - Avid Media Composer for Final Cut Pro Users

It's already helped me make a quick transition.

By Marco Solorio | July 14, 2011

With the recent release of Final Cut Pro X from Apple, it became quickly apparent that my facility was not going to be able to adopt the new software from them. This coupled with the fact that Apple has completely slaughtered their line of pro apps, it was clear that Final Cut Pro in general was a thing of history for us. Read More


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Is This The New Model of Financing Your Project?

Financing is scarce. The world is changing. How do you navigate the new waters?

By Terence Curren | July 06, 2011

Sponsored movies of the 70?s and 80?s were the precursor to Branded Entertainment, and it's a major way of getting funded today. But is it the future? Philip and I discuss examples and why it might be more successful in the new paradigm of commoditized content creation.Click on the link below and join the conversation on the latest episode of The Terence & Philip Show. Read More


Korg IMS-20 Tutorial 3:  Sequencing for Synth and Drum tracks

Korg IMS-20 Tutorial 3:  Sequencing for Synth and Drum tracks

Here's some detail about how to create a nice sequence, including the long-awaited journey into the world of Deepest, Darkest What-the-heck-is-the-difference-between-the-drum-and-synth-tracks-land.

By George Sanger, The Fat Man | June 24, 2011

In Tutorial 1, we struck a glancing blow at the step sequencer by showing where it is and how to change the length of a sequence's loop, and then waving our arms vaguely and mumbling "and then you just turn some knobs and you're done." We also claimed that the difference between drum and synth sequencing is "pretty much 'nothing,'" but promised to get into it later.Now it is later. The Future. And indeed we get into it. This time we learn just what all those knobs do, except for the 'voltage' knobs, which got some of our famous hand-waving this time, and we promise to address on Patch Bay Day, which is now the New Future. And in this tutorial we explore the differences between synth and drum channels, which pretty much comes down to this: 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