 Recent innovation in cameras has changed the fundamental ways in which movies are being produced. Now it is possible to capture gorgeous, high-resolution digital cinema footage at a much lower price point than in the past. Recently, a couple of new and exciting digital cinema cameras were unveiled – Canon debuted their Cinema EOS C300, and RED Digital Camera Company introduced their 4K-capable Scarlet-X camera – both of which shoot to formats which are already natively supported in Adobe Premier
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 Dave Newman asked Shane Ramirez, our editing manager here at Media Design to relate his thoughts on the new Adobe Premiere Pro platform vs. our old version of Final Cut Pro (7). I asked him which platform he would be using for his latest project, since he was trained originally on Final Cut, and his answer was Premiere Pro CS 5.5, and with his comments, we can perhaps determine why.
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 When you look at Adobe CS Production Premium’s video production tools - Premiere Pro, After Effects, Encore, Audition, and Photoshop - many if not all could be considered industry leaders in their own right. But it’s how they share assets that makes the suite such a powerful performer.
Applications in Adobe CS Production Premium share assets in several ways. The goal? To save you time, reduce your work load, and ensure your assets retain their original quality throughout the video production
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 Award-winning director and storyteller Vincent Laforet switches to Adobe Premiere Pro CS5.5 to free time for creativity “Adobe Premiere Pro CS5.5 is helping me become a more effective director, because I can see what I have shot-wise on the spot and make better creative decisions from there.”
Vincent Laforet
Photographer, storyteller, director
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 Step up to the toolset the pros use, Adobe® Premiere® Pro, part of Adobe Creative Suite® 5.5 Production Premium software. Get seamless integration with Adobe Photoshop® and After Effects®, and edit almost anything thanks to broad native tapeless and DSLR camera support.
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 I finally downloaded the FCP-X trial and explored the application for a full day. Prior to this, I used it briefly for two hours. But now, while spending all day trying to make something with it, I discovered that I disliked just about everything about it. Every minute I spent using it made it worse because it was backwards from the way I like to work. But I guess that is how it is designed…to be unlike any other NLE, and to do things very differently. But is the different way better? Not f
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 On 9/20/11 Apple released their first update to FCPX 10.0.1. While it shows some progress, it doesn't address the main issues and reasons so many Pros have left Apple for Adobe and/or Avid. The comments below have been added to our Videoguys' Options for Final Cut Editors blog post, but I felt they were also worth sharing as a new blog post.
For me the most important thing in the update isn't actually included in 10.0.1 at all. Rather it is this very important information found at the bo
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 At the urging of a friend, Walter got back to work on these Transitioning videos as he is now jumping into the Adobe Premiere Pro application.
As Walter noted in his blogs, for the Final Cut Pro editor migrating over to Adobe Premiere Pro CS 5.5, the transition really could not be much easier. I often refer to PPro as “Final Cut Pro 8? because it feels like the natural progression from FCP 7.
But there are a few quirks within the application that will drive you absolutely bonkers. So befor
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 This week the Adobe video solutions team is over in Amsterdam at IBC, Europe’s largest show for broadcasters. We announced new video delivery solutions and we’re highlighting our recent momentum that enables media professionals to create, deliver, and monetize premium video more efficiently and across more platforms and devices. Adobe is committed to helping our customers and partners streamline their entire creation to delivery video workflows for any screen and ultimately – help them find new
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 It’s been several weeks now since Apple released their new version of Final Cut for the masses. Having seen a demonstration of Premiere Pro CS5.5 in use at a recent video production conference, I was fairly impressed at what I saw. But as we know from even Apple’s NAB demo of Final Cut Pro X, demonstrations are not the real thing. However, seeing Apple’s demo of FCPX made me realize I didn’t want to go down the path of the iMovie-style interface, so even before Apple’s release of FCPX I was kee
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 There’s been so much talk about a “new paradigm” and “a new beginning” lately courtesy of Apple. Defenders of the “new paradigm” are quick to point out that this is an entirely new application, nothing like it has ever been done, therefore, Apple had to break with all convention to create Final Cut Pro X. It’s stripped down now, like Final Cut Pro 1, but give it time and the things we “need” will be added back over time. It has so much “potential for the future.”
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 When Apple called a hurried press conference at this year’s NAB Broadcasting Conference in Las Vegas there was the usual feeling of excitement over an Apple announcement but also a question over the impromptu style of a major editing product launch – the announcement had to be to do with the next version of Final Cut Pro. When FCP X was finally shipped a couple of months later and received so badly by so many professional editors Apple’s editing competitors must have felt that their moment had a
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 Final Cut Pro X has been out in the wild for over a month. Some of the hysteria has died down, but professional editors – those working in film, broadcast and at post facilities – have started to make some decisions regarding their next move. As a 1.0 application, FCP X doesn’t fulfill the needs required in many established workflows.
FCP X is a love-hate relationship. The people who are drawn to it feel that it’s the next revolution in editing technology. The folks ready to switch to some
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 Since the beginning of Final Cut Pro Xmageddon (or should it be FCPXpocalypse?), I’ve been looking to see how the other post production software vendors would respond. It’s not often that a large corporation such as Apple would make itself so publicly vulnerable about a popular product. I believe the opportunity is there due to Apple’s long standing “no talkie to anyone from the public or apparently anyone who is editing a current film or television show and instead talks through trainers and wr
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 Three years ago, Ottis Jones knew nothing about video production when he started producing for The Old Fashion Gospel Hour in Hendersonville, TN. It was a TV ministry set up by a local church, and as most ministries are, it was run by volunteers. Over the years however, the ministry has grown so much that it gets broadcast in several communities in 3 states. It was no easy feat for Ottis to put together a studio that could produce broadcast quality HD footage, especially with no experience, but
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