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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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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

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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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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

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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

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Motion 5: Top 5 New Features

Motion 5: Top 5 New Features

Everything has changed - and nothing has changed

By Mark Spencer | June 21, 2011

The new Motion 5 has arrived - and here's the funny thing: while it looks radically different, contains features that represent a completely new paradigm, and will change the way motion graphics are created - it is at the same time no different at all. How can that be? Read on for summary of what I consider the 5 biggest changes in Motion 5, and why they change everything - and nothing at all. Read More

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mocha Pro Demo at Editors’ Lounge

An awesome planar tracker... and a LOT more!

By Terence Curren | June 16, 2011

Mary Poplin demonstrates the power of mocha Pro (yeah, they spell it with a lower case "m") at a recent Editors' Lounge in Burbank. If you are interested in the power this app brings to tracking, rotoscoping and compositing, check this video out. Oh yeah, and the tracking data is supported in Boris Continuum Complete, so you can even use this data in your favorite NLE. Read More

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Audition: Made for Video (Part Three)

Asking the questions that need to be asked.

By elaine montoya | June 03, 2011

In part one of Audition: Made for Video, I demonstrated how developing a workflow can save you time and money - when time is of the essence. 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 took a look at some of the features of Adobe Audition that we use on a regular basis when producing motion+connect.In the final segment of Audition: Made for Video, we're going to take an in-depth, step-by-step look at the process of integrating Adobe Audition and Premiere Pro, where the pitfalls are in the current release, and hopefully provide insight as to why these issues exist from a technical perspective. Read More

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Video Is Just Another Form Of Literacy

Is this good or bad for post professionals?

By Terence Curren | June 01, 2011

With production and post costs plummeting, will everyone use video as another form of writing?In this episode of The Terence and Philip Show, the discussion revolves around the question of whether or not "video production" is ‘just another form of literacy'. Click below and join our conversation. 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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Audition: Made for Video (Part One)

A complete roundtrip audio workflow solution for those of us working in broadcast, film, vfx, and motion graphics.

By elaine montoya | May 27, 2011

Adobe recently released Production Premium CS5.5. With this new release, there are some amazing new features designed specifically for motion graphic designers, vfx artists, and editors. I was fortunate to get a chance to try out early versions of several of the applications, and couldn't wait for the release date this past April. My reason? In addition to the numerous updates to applications in the Production Premium suite - including ‘major upgrade' features like the new Warp Stabilizer, Camera Lens Blur and Light Falloff features in After Effects - I was really excited about the inclusion of Audition into the Production Premium and Master Collection suites.Here is a look into my own real-world workflow using Audition. Read More

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Internships in Post, Good Idea or Bad?

Do they help you enter the entertainment field, or are they just an excuse for free labor?

By Terence Curren | May 18, 2011

In episode 27 of "The Terence & Philip Show" Philip and I are joined by former intern and current Alpha Dogs' employee Isai Espinoza in a discussion about the value of Internships to both the employer and the intern. How to get the best out of an internship, and what's in it for the employer are the main subjects. In typical fashion, this quickly leads to a discussion about breaking into the business, and what it takes to make it.Click below to join our latest conversation. Read More

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Native Format Editing in Adobe Premiere Pro

The promise; the reality; how to do it.

By Colin Brougham | May 15, 2011

In the past few years, a barrage of new video acquisition formats and recording methodologies have sprouted like mushrooms after the rain. The major shift has come in the form of tapeless, file-based acquisition that uses equipment that has its roots in the information technology industry. As video post-production has scrambled to keep up, editors have been left with little choice than to become ersatz compression specialists and computer technologists. We all wear a few extra hats these days, but there are times when you just want to do what you do without a lot of additional work.Adobe Systems has heard the cries of editors everywhere, and kicked open the door on a completely different way of working with tapeless, file-based media. Adobe Premiere Pro CS5.5, which is available standalone or as the anchor application of the Adobe Creative Suite 5.5 Production Premium bundle for both PC and Mac, is the company's latest gambit in the evolution of non-linear editing and post-production. If you tried and dismissed Premiere sometime in the past before the software received a ground-up rewrite and gained the "Pro" suffix, it's time for a second look. In this article, I will review both the general theory of the tapeless native file format workflow, and also give specific instructions (including video demonstrations) on how to get up and running quickly.Disclaimer: Yes, I am an unabashed fan of this workflow, and can't help sounding like a kid in a candy store about some of it - but read on and you'll soon understand why. Read More

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