MOX and Open-Source Video
Earlier this week Brendan Bolles launched an Indiegogo campaign to support a six month development effort that would result...
My Ultimate Field Monitor
A few months ago, I put together the ultimate field monitor — for my purposes, anyway. I’m so happy with...
Visual Effects Workflow with Final Cut Pro X
How does Final Cut Pro X fit into the visual effects workflow of a feature film? Quite comfortably, as...
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...
Small LEDs Create BIG Panels
The new series of Phottix LED lights are small, affordable LED lights for small crews – and here I...
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,...
PVC Favorites
Production
Review: Mofage Talos Damping Magic Arm
Post Production
