If you're in Boston then you're almost there
By Scott Simmons | June 24, 2010
Tomorrow is the 1st Ever 1st Annual Boston SuperMeet. If you haven't gotten your tickets already you're almost too late but apparently (as of this writing) there's about 50 or so left so if you want to attend Friday's event then you might want to reserve your tickets now. Doors open at 4:30 and the location is the John Hancock Hall of the Back Bay Event Center. There's a full rundown of the agenda as well as a list of all the prizes to be given away in the world famous raffle at the official SuperMeet website. If you'd like to snap one of the remaining tickets for free then enter the code editblogvip in the Discount Code link on the ticket purchasing page.
You can't make use of that DSLR's video capability without the post production.
By Scott Simmons | June 20, 2010
This coming Tuesday, June 22, I'll be hosting a free webinar discussing DSLR post-production. The program will kick off at 10:00 AM Pacific, Noon Central time and run for approximately 90 minutes. It's free to attend the event, all you have to do is register.UPDATE: This webinar is now available On Demand for $25. Click here to purchase the webinar and other supporting materials.
Veteran Avid editors will notice quite a few new things with this upgrade
By Scott Simmons | June 08, 2010
With any big software upgrade there's going to be changes. Some visible, some not so visible. Personally, I love those changes ... as long as they add new or needed functionality without getting in the way. One of the big things we often worry about with big upgrades are interface changes that might clutter up a clean design or impart on the editor additions or subtractions that might seem more like a step backwards. Of course much of this type of thing is subjective. One editor's productivity enhancement is another editor's unnecessary feature. With that said, here's a look at some of the bigger interface enhancements that I noticed upon first working with Avid Media Composer 5.0.
While Grinder may seem redundant it's fast, cheap and easy to use
By Scott Simmons | May 28, 2010
Red Giant Software has just dropped a new tool into the family of Magic Bullet products and it might be of great interest to the DSLR shooter. Magic Bullet Grinder is a simple application tasked with transcoding your Canon 5D/7D/1D files out of their H.264 native state and into something a bit more usable. It also can create lower resolution offline versions of the same clips for editorial should you be in an offline to online position. While simple, Magic Bullet Grinder works quite well and has a few tricks up its sleeve.
App updated to encode better video.
By Scott Simmons | May 23, 2010
There's another entry into the iPhone video editing app category that has just hit the iTunes app store in the last day or so. VeriCorder Technology's 1st Video (which I previewed here thanks to HandHeld Hollywood just after NAB) aims to one up the previous king of iPhone video editors, ReelDirector, by providing a bit more functionality and moving it beyond a novelty or a toy.UPDATE: 1st Video has received an update to output better video:This is good news if you're planning on buying the app as the video quality was one of its weakest points.
A great list of FCP freebies got me thinking about what are the must have paid tools as well
By Scott Simmons | May 16, 2010
The DV Show dropped a great post over the weekend that answered a question from one of their readers: "I'm looking for some plugins or tools to enhance my productions. I mainly use Final Cut Pro and was wondering if there are any free or low cost alternatives to make my videos look better." With that they listed 14 Must Have FREE Plugins & Tools for Final Cut Pro. It's a fantastic list of a number of great tools that will be right at home in any editor's toolbox. But this post got me thinking about some of the paid plug-ins and tools that are great in the FCP editor's toolbox as well.
Euphonix's entry into the more affordable color grading surface is a strong one
By Scott Simmons | May 01, 2010
A bit earlier this year Euphonix began shipping its highly anticipated MC Color control surface. This unit was designed for use with Apple Color and has been welcomed by Color users to add another option to their hardware based control surface choices. Until the MC Color came along your choices were either one of the JL Cooper units or the more affordable Tangent Wave. At $1,499 the MC Color doesn't break what I think is the magic $999 mark (magic in the sense that it will put a control surface in the hands of a lot more users) but it's right along side the Wave in price and less than the JL Cooper offerings. The MC Color is also a very new unit. There's a few glitches and bugs than can probably be worked out in software but the hardware is what it is at this point and there's both a lot to like and a missing feature in the hardware itself. But there's one thing that's certain, the MC Color makes the Color application much more useful than a mouse alone.
1st Video attempts to make an almost professional editing app
By Scott Simmons | April 19, 2010
NAB '10 - Vericorder 1st Video from Hand Held Hollywood on Vimeo.
VeriCorder Technology was showing an entry into the iPhone video editing app with 1st Video. Hand Held Hollywood grabbed a little demo video of the app in action. It has apparently been submitted to the app store for approval so it may come to life any day now.
An in-depth session about the unique challenges of music videos and multiple artist performance takes
By Scott Simmons | April 07, 2010
Are you attending the Post|Production World conference at this years NAB next week? Interesting in music video workflow? In addition to the Avid Media Composer for Final Cut Pro Editors class that I am teaching I'll also be leading one called Music Video Workflow on Wednesday from 10:00 AM to 1:00 PM. This will be a useful class for editors who are new to the unique challenges of editing multiple take music videos or to the production person / company to offers music videos as part of their turnkey production services.
If you're at all curious about Avid Media Composer then this class can help
By Scott Simmons | March 28, 2010
I'm very excited for my trip to the National Association of Broadcasters convention this year as I'll be leading a couple of the In Depth sessions of the Post|Production world conference. The first, on Tuesday morning from 10:00 am to 1:00 pm and part of the Avid Editing Workshop is, Avid Media Composer for Final Cut Pro Editors. The second, Wednesday at 10:00 am, is Music Video Workflow. You must register to attend the educational part of the NAB show (unfortunately it's not free) at the Post|Production World conference.This particular post will discuss the first class: Avid Media Composer for Final Cut Pro Editors.Avid Media Composer for Final Cut Pro Editors isn't meant to be an epic battle royal© between the two applications where we compare and contrast item by item, or feature by feature. Instead it's meant to take a look at Avid Media Composer through the eyes of an editor who either spent their whole editing career on Final Cut Pro or an editor who has an idea of what Avid is all about but still spends most of their time cutting on FCP.
By Scott Simmons | March 25, 2010
Logorama from Marc Altshuler - Human Music on Vimeo.
Yesterday the word went around Twitter that the 2010 Oscar winning animated short film Logorama was available on Vimeo. It's 16 minutes long and a very clever piece of filmmaking. If it gets pulled from Vimeo it's also available in 2 different parts on YouTube as well as VodPod. The Wikipedia page has a bit of good info on the short.There's also the official site were they list many of the awards that Logorama has won ... surprisingly (at the time of this writing) leaving off the Oscar!
By Scott Simmons | March 20, 2010
I played around with the new Canon EOS Movie Plugin-E1 for Final Cut Pro this morning and I noticed a few other odds and ends after some discussion about the tool with folks on Twitter. Canon has a very detailed information page of their own which is helpful as well. If you haven't downloaded yet then you can grab the plug-in here.
Use the FCP Log and Transfer tool to directly transcode and import into FCP
By Scott Simmons | March 19, 2010
We all know this fact: The Canon DSLRs (5D, 7D, 1D) use the H.264 codec for the video they shoot and wrap that into a .mov QuickTime. While Final Cut Pro does work with .movs, these H.264 versions are clunky to edit requiring much rendering when in a FCP timeline. H.264 wasn't designed to be a robust edit format anyway so the files need to be transcoded into something more edit friendly.Enter the new EOS MOVIE Plugin-E1 for Final Cut Pro. You can download it from Canon's website my selecting Mac OS X from the Drivers / Software Selection on the website.
Easily manage all of your time at the 2010 NAB Show
By Scott Simmons | March 17, 2010
Going to the 2010 National Association of Broadcasters convention? Have an iPhone? Then you've got to grab the free NAB Show iPhone app (iTunes link). They've crammed a lot of information into this little program and you can find just about anything and everything about NAB 2010 right in the app.
Jon Chappell talks about a tool that might save your butt
By Scott Simmons | March 11, 2010
If you're a serious Final Cut Pro user then you are probably aware of Digital Rebellion and the tools that they make. Be it their popular Video Footage Calculator, Preference Manager for Final Cut Studio or the recently released FCP Versioner (which I reviewed on PVC) these tools tend not to be flashy but rather very, very useful. They have also recently release FCS Maintenance Pack. Jon sent me a copy and after using it I had a number of questions about the product. A question and answer session follows.
Is this a workflow you might be interested in?
By Scott Simmons | March 07, 2010
There's a forum topic over at Reduser.net that I've been following for quite a while. It's called new Jamfuze info new Jamfuze info and is a discussion about a Macintosh software product, written by a user, that works to process RED .R3D media into mfx files for direct importing into Avid Media Composer. That thread eventually moved into a discussion of a similar product that might include processing of Canon 7D (and I assume 5D, 1D, Rebel T2i) footage as well. What might become 7Dfuze was born.
It was our first true multicam show with the 5Ds and the results were nice
By Scott Simmons | March 03, 2010
It's no secret that Canon 5Ds are everywhere. They've shot music videos, short films, commercials and more Vimeo videos than anyone can imagine. One place where I haven't heard about a lot of usage (as of yet anyway) is in multicamera concert production. There's very real reasons why you wouldn't want to use any small-form-factor DSLRs (with no gen lock, timecode input or external monitoring) in a multicam production. But that doesn't mean that they can't get the job done.
Watch only if you're an editor.
By Scott Simmons | March 02, 2010
2010 Winter Olympics Recap - Avid / Pow! Pix from BoB Coon on Vimeo.
Here's a great piece of editor porn that popped up on Twitter from Alan Dennison. Watch only if you're an editor. Otherwise you probably won't care.
A nice lesson about a great spot
By Scott Simmons | February 26, 2010
If you watched the Super Bowl just a couple of weeks ago then you probably say the Old Spice The Man Your Man Could Smell Like spot. If you didn't see it it's embeded above. IMHO it was one of the most clever ads of the night. It looked practical like it was done in camera with the exception of a couple of elements that had to have been cgi. The creators of the spot were recently interviewed by Leo Laporte on TWIT where they discussed the creation of the stop. It's very clever how they pulled it off.The video is after the jump. It's just under 20 minutes long.
From the Editblog archives: October 08
By Scott Simmons | February 24, 2010
When you talk about media management in Final Cut Pro it's often not a big issue to many as you digitize a few tapes or import some P2 media, add graphics, music and you're done. FCP's bad media management never rears its ugly head. But when you start working with many different clips across a lot of hard drives then the frustration can grow. And let's not even talk about multiple editors working on the same job in different locations. Say you are cutting for a director that has an exact copy of your media on his computer and all he wants to do is open the project file, watch the edit, make notes and then send it back… you must both go through the reconnection dance each time you open the modified project. It's a pain and a waste of time.