From the BBC: Secrets of a top TV editor
I recently got an email from filmmaker and journalist Gavin Rees pointing to a video on the BBC website...
RED+FCP+Color: Making It All Work
I had previously reported that 2K REDCODE footage (2048×1152), shrunk to 93.75% to fit an HD timeline in FCP,...
Very funny and true video on Edit Etiquette
Joy Moeller – EditQuette from Art+Copy Club of Kansas City on Vimeo. Shane over at Little Frog in Hi-Def...
Will your AJA IoHD give your DreamColor monitor a free ride?
If you own an IoHD device from AJA which you use as your input/output device for Final Cut Studio,...
Will your Matrox i/o interface give your DreamColor a free ride?
If you own an MXO2, MXO2 Rack, or MXO2 Mini which you use as your input/output device for Final...
How AJA’s new Hi5-3G may fix your DreamColor connection
The 30-bit (10-bit per channel) HP DreamColor monitor is quite attractive for the price, yet quite demanding regarding the...
How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!
In this article, you will learn that the best way to connect can go way beyond the physical connections...
You CAN have a large timecode display in Final Cut Pro
Avid Media Composer has long had a handy little tool called the Timecode Window. Accessed via Tools > Timecode...
Canon 5D MKII Cut / Color / Compress Tutorial
Final Cut Prose Episode 4 – Cut Color Compress 5dmarkii footage from Peter Salvia on Vimeo. Editor Peter Salvia...
Offlining 24p in Apple’s Final Cut Express
About a year ago I had a client that was working on thirteen episodes of a show, and much...
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Production
Review: Mofage Talos Damping Magic Arm
Post Production
