‘Gone Girl’ workflows with Premiere & After Effects
You can view Adobe’s panel discussion with the editorial and post-production team behind the movie Gone Girl from director David...
Kicking the Tires on the Adobe Premiere Pro CC 2014.1 Update
It was announced at IBC and shipped at Adobe MAX (I wonder if this will become the norm?) and...
Let’s Edit with Media Composer – What’s New in Version 8.2
Media Composer 101 has been rebranded to Let’s Edit with Media Composer! Enjoy all the new tutorials at the...
iPad Air 2 is semi-matte!/My MacBook Air is now matte too!
Frequent ProVideo Coalition readers know that I strongly prefer matte screens, whether its for media production or general use....
Review: ThunderBay IV 4-bay 12TB Thunderbolt system
Back in June, I published my first look article on the ThunderBay IV 4-bay 12TB Thunderbolt system with the...
Interactive Title Design in Final Cut Pro X
Did you know you can do interactive, realtime title design directly inside Final Cut Pro X? This is the...
Why We Need Color Correction
The tools of our trade have been commoditized. Everyone can perform the job of seasoned video and film professionals,...
Sneak peeks at Adobe Max 2014: Editing, animation, audio, and design
In addition to a new family of iOS mobile apps and enhanced Creative Cloud 2014.1 desktop tools, Adobe previewed...
Know the Pro: Stu Maschwitz
This article series, to be posted once a month, will focus on one person in the Film or Television...
Locking Fonts in Final Cut Pro X
Why would you want to “lock” a font? That's a question we tackle in this week's MacBreak Studio, where...
