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Media Composer 101 - Advanced - Creating Animated Background Beds

A job normally reserved for After Effects can easily be done in your Media Composer timeline.

By Kevin P. McAuliffe | February 27, 2015

In this lesson, Kevin P McAuliffe shows you how easy it is to create a background bed for your text, right in your Media Composer timeline.  Using Timewarp, BCC Colorize (which comes with your MC subscription plan), the built in MC Blur effect, and a simple title, you can add some style, and save yourself all the time it takes to export your footage to a program like After Effects.

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Sony FS-7 Gets A Firmware Update

Adds support for 4K (4096x2160) and ProRes codec added

By Brian Hallett | February 27, 2015

In the FS-7 firmware V2.0 the versatile camera will add 4K (4096x2160) recording in XAVC-I which is an improvement over the UHD 4K the camera currently records (3840x2160).  

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Blackmagic URSA Used On Television Mini Series “Gallipoli”

Creating a stunning opening sequence

By Brian Hallett | February 25, 2015

"Gallipoli" is one of Australia's most anticipated television series inspired by the book "Gallipoli" by Les Carlyon.  The series follows the lives of World War I solders from the initial military landings to the troop withdrawals from the shores of Turkey in one of the most devastating battles of World War I.  

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Understanding & using the breakthrough XAVC Long GOP códec/file format

Understanding & using the breakthrough XAVC Long GOP códec/file format

The third category of Sony’s XAVC is the most enticing for me.

By Allan Tépper | February 25, 2015

Back in 2012, Sony deployed the first version of XAVC, one that can offer color depths of 8-bit, 10-bit, and 12-bit and chroma subsampling of 4:2:0, 4:2:2, or 4:4:4. That first version is i-frame and found on very high-end cameras. Then Sony released the consumer version, XAVS S, which is Long GOP up to 4:2:0 and 8-bit and is found in such cameras as the A7S. But the most enticing version (for me) is the professional XAVC Long GOP, which offers up to 4:2:2 10-bit in cameras like the PXW-X70 at up to 50 megabit/second. More ahead…

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Creating a Night Sky in Motion

This Week on MacBreak Studio

By Mark Spencer | February 24, 2015

Because the night...belongs to us!

I couldn't say it better than Patti Smith and Bruce Springsteen but this week on MacBreak Studio, I do try to show Steve Martin from Ripple Training how to "take back the night" by creating a night sky scene from scratch in Motion, using... Read More

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HPA Tech Retreat 2015 - Final Thoughts

What just happened? Plus, Mark's fiendish quizzes

By Adam Wilt | February 17, 2015

[Updated 10:53 PST 18 Feb: Quiz 5 winner]

The HPA Tech Retreat is an annual gathering of some of the sharpest minds in post, production, broadcast, and distribution – and the 2015 Retreat is now over. As Leon Silverman and Jerry Pierce like to ask, what just... Read More

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Media Composer 101 - Advanced - 4K Workflows Part 3: DaVinci Resolve Roundtripping

Let's take a look at how easy it is to have DaVinci Resolve team up with Media Composer to get your 4K projects looking awesome!

By Kevin P. McAuliffe | February 17, 2015

In the last of our 3 part introductory look at 4K workflows inside of Media Composer Subscription, we take a look at taking your Media Composer timeline, sending it via AAF to DaVinci Resolve, have Resolve open your DNxHR media, and then send it back to Media Composer for final client approval!

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Managing Sound Effects in Final Cut Pro X

This Week on MacBreak Studio

By Mark Spencer | February 17, 2015

How do you preview sound effects in Final Cut Pro X?

If you've been using the Sound and Effects Browser, Steve Martin from Ripple Training has a great tip for you today. In this week's edition of Mac Break Studio, he shows us a method for storing, filtering, and... Read More

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48 reasons why GarageBand is kryptonite for video production

48 reasons why GarageBand is kryptonite for video production

GarageBand’s lack of 48 kHz sampling rate even limits audio producers from making soundtracks for video

By Allan Tépper | February 17, 2015

The market is full of capable digital audio editing applications. I am familiar with many of them and have covered several. Many are capable of recording —and all are capable of editing and delivering — a final product of 44.1 or 48 kHz (or more) with a single glaring exception: GarageBand from Apple. That makes GarageBand kryptonite for video producers, and even for audio producers who either want to shoot themselves on video or ever produce a soundtrack for a video producer. Ahead we’ll review what this all means, including what audio sampling rate is, and best practices for a producing a music video.

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Blackmagic Design Announce New Intensity Pro 4K Capture Card

A new super fast PCIe card that allows Ultra HD capture & playback

By Brian Hallett | February 16, 2015

The Intensity Pro 4K is a new super fast PCIe card that allows you to capture and playback SD, HD and Ultra HD video on Windows, Mac and Linux PCI Express computers

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Calling Mr. Blue Sky

Secondary Color Correction in Final Cut Pro X

By Mark Spencer | February 16, 2015

In this Under 5 episode, Steve Martin from Ripple Training demonstrates how to boost the color in the sky using Final Cut Pro X's Color Mask and Color Board.

 

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Davinci Resolve: Roundtripping with Final Cut Pro X

A workflow overview in under 5 minutes

By Mark Spencer | February 16, 2015

In this Under 5 episode, Alexis Van Hurkman from Ripple Training shows you how to export a project out of Final Cut Pro X as an XML, import it into DaVinci Resolve while maintaining the effects and assets of the Final Cut Project, and then send the final result back to Final Cut Pro... Read More

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Accelerated File Uploads for Production & Post

Using UDP-based transfer protocols to speed file delivery.

By Chris Potter | February 15, 2015

As production and post workflows become increasingly distributed, the ability to send large source files quickly and reliably is becoming more important.

Unfortunately, upload speeds can be a huge bottleneck for people that want to move source files from one place to another over the Internet. Upload speeds aren’t increasing nearly as fast as file sizes. What may possible with HD source files is not possible when you move to a 4K workflow.

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HPA Tech Retreat 2015 - Day 3

Acquisition, creative intent, the cloud, not your mama's post, and more

By Adam Wilt | February 12, 2015

At the Tech retreat today: technical aspects of 4K capture, grading colorspaces, ACES 1.0, and... wait for it... drones for dummies!

[Update 19:15 PST: Final again (save for any additional corrections); added missing Josh Pines preso and "Snowflakes to Standards" panel; added closing... Read More

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HPA Tech Retreat 2015 - Day 2

Year in Review; Washington Update; UHD; CES; Broadcasters, and more

By Adam Wilt | February 11, 2015

 

From Mark Schubin's Intro and Year in Review, through Pete Putman's CES Review, it's day 2 of the Tech Retreat. Plus, we get to debate integer vs. fractional frame rates again, a topic that will never die.

[Updated 18:58 PST: Final except for fixups.]

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Blackmagic At Sundance Film Festival

Four films shot with Blackmagic Cameras and countless others using DaVinci Resolve

By Brian Hallett | February 11, 2015

Everyone loves a camera that makes a show at the Sundance Film Festival, and Blackmagic embraces that rebellious, independent spirit that makes their cameras and software a perfect match for passionate Indie Film-makers world-wide.  

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Interweaving in 3D space in Motion

This Week on MacBreak Studio

By Mark Spencer | February 10, 2015

Can you wrap a light streak around text in Motion?

That's the question on this week's MacBreak Studio with Steve Martin from Ripple Training that I attempt to answer, using an example from an earlier episode on creating light streaks.

In that episode I... Read More

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Media Composer 101 - Advanced - 4K Workflows Part 2: RED 4K Offline/Online in v8.3

Navigate the Ins and Outs of shooting in 4K and finishing in HD in Avid Media Composer

By Kevin P. McAuliffe | February 08, 2015

In the second part of our look at 4K workflows inside of Media Composer Subscription, we take a look at a RED offline/online scenario working totally in 4K, with a little help from REDCINE-X PRO.

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Canon 5D Update Leaked

As well as a new wide lens

By Brian Hallett | February 05, 2015

Canon's latest update to the 5D line has been leaked. Some of this news we have seen, like the 50.6MP CMOS Sensor, and some of this news is new.  For me, I hadn't seen the new 11-24mm F4 lens until today, which by the way is very wide.  

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Blackmagic Design Releases DaVinci Resolve 11.2

Improved Cinema DNG processing & adding Avid's new codec

By Brian Hallett | February 04, 2015

Blackmagic Design releases DaVinci Resolve 11.2 adding new codecs, cinema DNG tone improvements, and edit page improvements that move the color correction software closer to an NLE that can handle more than simple edits.  

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