 Final Cut has jumped a couple of versions – it’s now called Final Cut Pro X, and this (apart from a likeness to ‘OS X’) is probably because the version is 10, whereas my previous up-to-date Final Cut was 7.0.3.
This X version has been incredibly contentious, with some Final Cut professionals panning the software and even demanding (and sometimes even getting) their money back. The main causes for concern seem to be FCPX not being able to open legacy projects – which I concur is a pretty incredi
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 With the radical change going on right now in the world of Final Cut Pro, I’ve had some FCP7 users ask me about maintaining an end-to-end ProRes workflow in Premiere Pro. There are questions whether it’s even possible. Well, I’m here to show you it IS possible, and how to make it go.
What do I mean by an “end-to-end ProRes workflow”? This means ingesting ProRes clips, dropping them right to the timeline, rendering previews when necessary to a new ProRes file, and outputting back to a ProRe
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 Vimeo releases Vimeo PRO, a new video service designed for small businesses.
As you probably know, online video has grown leaps and bounds in the past several years. Recent studies have shown that video will take up nearly half of all Internet traffic by the end of next year. Along with the DSLR and all-in-one NLE packages, video sharing website Vimeo has been one of the most empowering tools for indie filmmakers.
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 Videoguys recommend Quadro Mobile GPUs
The Adobe Mercury Playback Engine in Premiere Pro CS5.x is amazing. When you combine it with a mobile Quadro card you will be able to edit multiple layers of assorted HD footage foramts in real-time. Avid wants a Quadro card for Media Composer as well. We really like the new Quadro 3000M with 2GB of GDDR5 memory and 193 CUDA cores!
The NVIDIA® Quadro® Mobile Workstation product family is a complete top-to-bottom range of solutions with unmatched
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 Some artificial history, with a few good points
Imagine, for a moment, there is a piece of software. Let's call it "Edit Pro". This software has been going for years, steadily being improved, until it has thousands of features. It's a bit of a house of cards, and probably needs a major overhaul, but it mostly works and millions of people use it every day and love it deeply.
Now imagine, if you will, there's a competitor called "Avid". This competitor, over the last three years, has h
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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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 Over the past few months we've taken some heat on some NLE user forums for our recommendation to NOT use Sandy Bridge CPUs for building your NLE workstation. We didn't take this lightly and we understood the frustration it would create for people wanting to build a new NLE workstation. You want to use the latest technology and take advantage of the speed and performance per dollar of the Sandy bridge CPUs.
Our Sandy Bridge concerns where not about the CPU, but rather the available chipsets
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Still frustrated by the introduction of Final Cut Pro X? Baffled by the trackless timeline? Flummoxed by the lack of support for XML, EDLs and VTRs (not to mention OLEDs)? Irritated by the missing pro features? Evan Schechtman feels your pain. The founder of Outpost Digital and CTO of @Radical Media in New York doesn't think FCPX is ready for prime time, either. But if the widely perceived failings of FCPX are making you consider abandoning Final Cut completely as an editorial platform, he ha
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 Welcome to Getting Started with Adobe Premiere Pro. Whether you’re brand new to editing, have some experience with Premiere Pro, or are coming from another editing application, you’ll need good information in order to be successful. I’ve selected specific high-quality articles and video tutorials so that you’ll have the material to be successful in your efforts.
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 Ghosts of the Abyss. Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour. The Polar Express. Up. U2 3D. Coraline. Success stories, one and all, but aren’t these films mostly mass-market, high-budgeted studio projects? Why should 3D films like these matter to someone creating a low-budget feature today? Is it even possible to produce a genre film with a low budget—say, between $500,000 and $1 million—in 3D? Some forward-looking 3D experts say that it’s not only possible, but even inevita
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 Roland, a company that I have a lot of experience with from my past, makes the R-44, a portable four-track digital audio recorder. I still own an antique Roland GR-300 guitar synthesizer that I bought back in the 1980s, and I used Roland keyboards and recording gear quite a bit back in the days when I dabbled in the recording studio. In my experience, Roland products always have been reliable and innovative, so I thought the R-44 would be worth checking out to see how it compares to the high-end
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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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 WOW! It's been a crazy summer so far and things are just starting to heat up! Apple, Adobe and Avid are creating so much excitement and news in the NLE world.
A couple of weeks later and FCPX continues to frustrate professional editors, while offering exciting new technology and performance to others. You can follow all of the FCPX articles, reviews and discussions from all over the internet on the Videoguys blog
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 pple’s launch of FCP X and the End of Life of the previous Final Cut Pro product line has created a situation where many people are unsure how to continue. If you were reliant on Final Cut Pro 7 or earlier for your work, where to now?
There’s no clear answer to this, so let’s work through the most obvious options.
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 A year ago – even six months ago – there was no sign of dissruptive change in the film and television post production industry. Obviously things were changing, the highest-end gear was starting to make it’s way to the lower tiers (Smoke for Mac, DaVinci Resolve) but all that was changing there was the accessibility of existing tools for a wider audience.
Then something happened. Actually that something was two things in one. Final Cut Pro X…
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