 We would like to thank all of our customers and friends for your support and patronage throughout the years. We hope you had a great evening with your families yesterday and remembered to shoot lots of video. In case you missed it, here is a link to our latest version of Videoguys' Tips for Shooting Family/Home/Holiday Video
As you know, today is kicks off the holiday shopping season. Below are several Tweets and Facebook posts we’ve been making about some of the fantastic #Blackfriday de
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 Here are some Holiday shooting tips to make your family videos more enjoyable to watch. (Holidays 2011 update - with Video Montage and new HD DSLR shooting Tips)
Each year around Thanksgiving we update and publish this guide. We've been doing it for over a decade. Today you can shoot video on not just a camcorder, but your iPhone or cell phone, still camera, webcam, or pocket size solid-state digital video cameras. No matter what you shoot with, you'll find the tips in this guide helpfull
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 The Art of the Guillotine is a group of industry professionals who saw the film community’s need for a comprehensive resource of techniques, tips, ideas and links for other Editors. The Art of the Guillotine encourages the interaction of all visitors to build a resource for ideas and inspiration. We extend an invitation to film editors worldwide to give us your input and feedback; what would you like to see on AOTG, help us build our community! We can’t wait for you to join us in this on-going p
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 Got FCP? Got Kona or Decklink or MXO2?
Crodssgrade to Media Composer 5.5 for $995 (while supplies last) and register before Nov 15th to get a FREE upgrade to MC6!!
Videoguys.com took advantage of a special purchase opportunity that allows us to offer Apple Final Cut owners the "crossgrade" to Avid Media Composer 5.5 for just $995 while supplies last and a FREE upgrade to the new Avid Media Composer 6. Here's how you can take advantage of this last chance offer:
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 Avid’s flagship editing product, Media Composer, has been on the scene for a little over twenty years and has looked and worked roughly the same way for that whole time.
Today saw the announcement of the first major overhaul since Media Composer’s numbering was restarted with the release of Adrenaline in 2003… And it’s a big overhaul – not only has it been rewritten entirely as a 64-bit application but it also looks different with a redesigned UI.
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 Key Features Include Native RED Epic and AVCHD Support, ProRes Encode/Decode, and 4:4:4 DNxHD
Avid announced a new "Media Composer family" today, with a fresh 64-bit code base underlying Media Composer 6, Symphony 6, and NewsCutter 10. Key features in this update include an expansion of Avid's AMA, which now supports native AVCHD, native RED Epic, ProRes encode and decode, and a new DNxHD 4:4:4 codec. Support for Avid's Artist Color hardware interface has been beefed up, and Pro Tools roundt
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 Despite the coming availability of a new generation of Sandy Bridge desktop CPUs suitable for advancing Apple's Mac Pro line, the company has reportedly been evaluating whether to continue to invest in furthering its full-sized workstation line beyond this year in the face of limited sales.
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 With few buyers for the professional-grade Mac Pro and the onset of Thunderbolt technology that can help address their needs, Apple has little reason to continue selling its pricey machine
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 If you missed our mail last month you should check it out as it got a lot of people talking. Today we have a follow-up.
Our web site has relaunched* and while the overall look of the site is similar there is a dramatic difference in how we are distributing our plug-ins.
Starting today Pro Import AE, Pro Import FCP and Pro Export FCP (both versions, for FCP7 and FCPX) are available at no charge. You read this right. Free.
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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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 Last night the Boston Final Cut Pro User Group hosted the 2nd annual Boston SuperMeet at the Stuart Street Playhouse in downtown Boston. It was a dark and stormy night, with the threat of the first snow of the winter, so it was a great night to be indoors with a bunch of other video production nerds. My coworker, Kevin McGowan, and I arrived about an hour and a half before the show so we could walk around the exhibit floor and visit some of the vendor booths. I don't have any hard numbers, bu
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 In general, the settings of a sequence should match those of the primary footage type in the sequence. Though Premiere Pro can mix footage of various types in a sequence and compensate for differences in characteristics, performance and quality are maximized when such conversions are avoided.
Creating a sequence that matches the characteristics of your footage can make playback smoother and images sharper. This video shows you how to do it.
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 In legacy versions of Final Cut Pro we learned to organize our footage via the use of labeled bins that we could refer to in order to locate specific clips. For example, bins could be labeled, interior, exterior, music, narration, foley and so on. In my case, bins were separated by species of animals and marine life. Having separately labeled bins made for a quicker and more efficient workflow. In legacy versions of FCP, I always named my clips and then imported. While time consuming, it had a p
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 Special program allows users of competitive applications to upgrade with little investment to the fastest, most format flexible HD editing platform in the industry
Grass Valley™ has announced that, as part of a special competitive upgrade promotion, users of Apple's Final Cut Pro, Adobe Premiere, and Avid's Media Composer can now upgrade to EDIUS® 6 nonlinear editing program for just $399. That's 50 percent off the regular price.
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 Mac + Thunderbolt + MXO2 + Adobe, Avid or Apple = AWESOME!! The latest iMac, Mac Mini and Macbook Pro are now very powerful NLE platforms – for every level of video editing - even for professional post. With the addition of the new Thunderbolt hi-speed connectivity port, these machines will give you the ability to add the Matrox MXO2 family of I/O devices for professional workflows!
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