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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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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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Larry Carlton Markets Recording Sessions as Though They Were Japanese Action Figures.

Larry Carlton Markets Recording Sessions as Though They Were Japanese Action Figures.

Guitar Great Larry Carlton appears to be exploring the limits of vertical-niche marketing. (http://sessionmasters.com) Sure, you could sell copies of Beatles multitrack masters for thousands of dollars, but only to a few rabid fans, and of course, acts like Larry Carlton have rabid fans, but only a few, and...hmmmm...you know what?

...This might actually WORK...

By George Sanger, The Fat Man | May 14, 2011

BackgroundIt used to be that high setup costs and low unit costs meant that a widget for sale had to appeal to a lot of people in order to generate enough sales to make a profit. In recent years, technology has allowed the manufacture of small quantities of widgets even one-offs, at pretty reasonable prices. As a result, Japanese marketing of toys has shifted considerably. Anime and Manga (cartoons and comic books) are no longer all developed and marketed in such a way as to appeal to the widest possible audience. Instead, more and more unique and oddball characters and situations are developed aimed at creating a small, but rabid fan base that feels compelled to buy absolutely anything having to do with their three or four favorite characters.The DealNow, instead of trying to sell lots of cheap things (CD's) to millions of people, most of whom couldn't care less what a 335 is, Larry Carlton (Mr. 335) is selling a few expensive things to a small, foamy-mouthed fan base. This reflects the same radical shift in marketing, made possible by new technology, that has led to recent massive success in the Japanese character-related toy market.Could this really be a viable new way in which a recording session could pay off??? Read More

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What Microphone Should I Use?

What Microphone Should I Use?

An enlightening Microphone Sound Comparison video made yesterday at Abbey Trails by "Team Fat's" Joe McDermott (http://joemcdermottmusic.com/), for his Recording Engineering students at Austin Community College.

By George Sanger, The Fat Man | May 10, 2011

This surprising video illustrates a tiny piece of The Fat Man's Laws of Studio Setup:1. Knowledge trumps ignorance. 2. Experience trumps knowledge. 3. What you hear that day in the control room trumps experience. 4. How it fits in the arrangement trumps what you hear that day. 5. What the whole thing makes you feel in your heart trumps all. Read More

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Tired of getting ripped off when buying A/V cables and hard-to-find parts?

Tired of getting ripped off when buying A/V cables and hard-to-find parts?

StarTech's not called "Hard-to-find made easy" for nothing!

By Kevin P. McAuliffe | May 06, 2011

You know, as an editor who works out of his home office, I am constantly looking for "this cable for that connection", and "that cable for this connection", and I am always finding myself running out to Best Buy or Circuit City to find the piece I need. Problem is that either they have it and it's expensive (or in the case of a cable, too long or too short), or their website says they have it, and when I drive there, surprise, surprise, they don't. So what do you do. Well, I was introduced to StarTech, believe it or not, through what I originally thought was an e-mail blast from a PR rep looking to get the word out on them, so I figured I'd give them a shot to see if they really do what they say then can, so let's see how it turned out. Read More

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