 Whether you're making the switch or just adding Adobe CS5.5 or Avid Media Composer 5.5 to your editing system you'll be happy to know that the Matrox MXO2 Hardware is "Triple-A rated" and Now Supports Apple, Adobe & Avid!
The Matrox MXO2 Mini with MAX was the FIRST I/O device recommended by the big 3 NLE vendors Apple, Avid and Adobe and the only one that gives you faster then real-time H.264 encoding! That is why we say Matrox MXO2 family of products are AAA rated. No other hardware compa
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 The Ki Pro Mini is made by AJA and is a compact professional digital recorder designed to be attached to any camcorder that has either a professional HD/SD-SDI out or a HDMI output. With the Ki Pro Mini it is possible to improve the image quality by recording to a superior codec (Apple ProRes) with higher bitrates over the default codec and bitrate of the camcorder. The Ki Pro Mini gives you a file-based solid-state workflow via the two CF card slots. The Ki Pro Mini is basically a miniature ver
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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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 Apple has kicked up what may be a game-changing firestorm with the release of the long-awaited next incarnation of its editing software called Final Cut Pro X. At the NAB Show—even though they were not an official exhibitor—Apple managed to steal headlines by announcing Final Cut Pro X (properly pronounced "10" rather than "ecks") during the Las Vegas user group's 10th annual SuperMeet gathering.
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 The new Fast Forward Video (FFV) sideKick HD is a versatile recording solution designed to ease production workflow and satisfy the demands of both producers and postproduction editors. The camera-mountable sideKick HD captures video directly from HD/SDI or HDMI outputs at bit rates up to 220 Mbit/s, with 4:2:2 sampling and 10-bit resolution in multiple codecs starting with ProRes on removable 2.5" SSD drives. Recording directly to high-quality NLE formats eliminates time-consuming transcoding,
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 Final Cut Pro X is truly a dramatic rewrite of Apple's mature and well-developed video-editing software. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and it also loses many key features that are simply an absolute necessity in the professional world, like XML export. On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats.
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 It’s been a week since FCP X arrived and started a fire storm of criticism from so many of the users who’d supported Apple’s flagship video editing software for so long. It now seems to have become apparent that Apple has simply abandoned this small, demanding and high-profile market in favour of a much broader and more valuable consumer market.
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 Working for a company that is constantly managing change, you can understand the issues that arise when a new piece of software comes out and changes your world completely.
Especially when that software is the main tool of choice for so many editors in the creative industry. In fact, for some, the only piece of software they may have ever used.
I am, of course, talking about Final Cut Pro.
Earlier this week Apple finally announced the shipment of FCP X.
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 There has been a lot of collective wondering going on lately. People keep asking me and many others why we are so upset by the release of Final Cut Pro X. Why is it a bad thing? Both apps can still be installed ... right? The price is more affordable ... right? The needed updates will come eventually ... right?
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 was busy as hell for the early part of last week, crashing together a 30 minute doc. The footage for the programme was shot and delivered on a mixture of cameras and formats including HDCAM (tape), XDCAM HD (disc), an HDSLR (clips on hard disc). The tape and disc footage was captured into the edit system's direct attached local storage from one of a rack full of bloody expensive HDCAM and XDCAM decks (ingested via HD-SDI for audio/video, RS422 for timecode and deck control) and encoded using a
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 If Adobe Premiere, Avid Pinnacle Studio, MAGIX Movie Edit Pro, Sony Vegas and similar fare define the entry-level sector of the market, then the high end is probably dominated—with apologies to Apple's Final Cut Studio—by Avid Media Composer, which is the NLE of choice for a large number of film and video projects. And with the recent introduction of Media Composer 5.5, Avid has wrapped into the product a number of new features and functions of direct relevance to the HDVP community.
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 I met with some folks from Apple yesterday, just a day after Final Cut Pro X was released, and almost as soon after the new release started coming under fire. "Judd" and "Luke" are both well versed in FCP X's new features and provided a pretty compelling demonstration showing why FCP is well suited for broadcast and independent film work.
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 Dynamic Linking and Project Communication in Adobe Creative Suite
Written by DVi Contributors on June 15th, 2011
You have a project that required just Adobe Premiere Pro and Adobe Encore to make a DVD. It’s all set up with menus and buttons that match up with the Premiere Pro chapter markers, etc. and it works fine. But the client wants some changes… more sophisticated color grading, and motion graphics for the lower thirds. So, you open up this Premiere Pro project in After Effects and go t
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 Industry infatuation with Apple’s ProRes continues to build, from ARRI’s adoption of ProRes for its Alexa digital cinema camera to AJA’s unveiling at IBC last September of its latest ProRes field recorder, the Ki Pro Mini.
Industry infatuation with Apple’s ProRes continues to build, from ARRI’s adoption of ProRes for its Alexa digital cinema camera to AJA’s unveiling at IBC last September of its latest ProRes field recorder, the Ki Pro Mini.
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 PluralEyes has really made a name for itself with editors as the DSLR workflows have been explored more and more. PluralEyes is a software solution that allows you to automatically sync up the separate audio and video files from, say, a 5D Mark II DSLR with an audio file from a handheld digital recorder, like the ZOOM.
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