 We’ve all been following the Final Cut Pro X saga since its release back in June. And we’ve all read about those many big things that FCPX seems to be missing … like XML in and out, third-party hardware support and the inability to import old FCP7 projects. But one thing that I’ve found after using FCPX for around two months now is there are a lot of little things that I’ve come to enjoy as an FCP7 user that didn’t make their way into FCPX.
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 Years ago I bought a Macintosh. It was blue, white, and had this new thing called a firewire port. And the software I bought to edit with? Adobe Premiere.
But fortunes change. Adobe had to abandon Premiere for Mac, so I switched to Final Cut Express nearly a decade ago. Then I upgraded to Final Cut Pro. Then the aging G3 turned into a G4. Then finally a G5. And Final Cut Pro. . . er, Final Cut Studio, followed me wherever I cut.
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 Glyph RAIDs have been a favorite of professional audio producers and musicians for years and are built with the speed and reliability to handle video as well. In fact, we have been using Glyph RAIDs with Adobe CS5.5, Avid Media Composer 5.5, Avid ProTools, Sony Vegas Pro, Grass Valley EDIUS 6 and more!
Whether you're looking for an affordable and reliable RAID solution like the GT062E, a portable RAID for a laptop workstation like the PORTAGIG62, or a protected RAID with hot-swappable driv
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 Lacking some of the bells and whistles of its pricier competitors, but Datavideo's DN-60 compact flash card recorder gets the job done at a fraction of the cost.
If you've got an aging DV or HDV camcorder whose heads are beginning to fail, or perhaps you simply want to step into the digital age, but your older camera still delivers great footage, then strapping a direct-capture-device onto that prized piece of video history may be exactly what the geriatrician ordered.
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 CS5.5 expands options for independents, with fully-accelerated editing on laptops, native support for DSLR video cameras, and Audition now on the Mac with deep audio correction and enhancement tools.
Adobe released version 5 of its Creative Suite collection back in May 2010, built around fourteen core applications in design, Web, and production suites, spanning the creative workflow across print, web, video, interactive, and mobile. For video production work, CS5 emphasized performance to
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 Taking advantage of adverse industry reactions to Apple’s recent release of Final Cut Pro X, which lacks many critical features considered essential within a professional workflow, Avid has been quick to directly address deep-seated concerns of the post community. On July 13, the company held a specially arranged industry gathering at the Stephen J. Ross Theatre on the Warner Bros. Studio lot in Burbank, where Avid CEO Gary Greenfield and COO Kirk Arnold
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 As a video professional you need an editing platform you can rely on to connect to anything, anywhere; work with your favorite apps; and deliver high-quality video to all the devices your viewers and clients use - the web, mobile devices, Apple TV, Blu-ray discs, even tape. The award-winning Matrox MXO2 devices have you covered. You get highly-reliable, broadcast-quality video and audio input/output and HDMI video monitoring with the unique Matrox HDMI Calibration Utility as well as 10-bit realt
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 In this special Tekserve event, presented by Evan Schechtman of @radical.media and Outpost Digital, and co-sponsored by Manhattan Edit Workshop, we took a look at the history of digital video editing—with a particular focus on Apple's Final Cut Pro X, and how this just-released software sets the foundation for the industry's next big revolution.
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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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 If you're an event videographer who uses Final Cut Pro 7, you've probably been pretty comfortable that you chose the right tool for the job. Final Cut Pro 7 is highly functional, flexible, and it has great third-party hardware and software support. Beyond notable feature gaps such as full-featured Blu-ray authoring, it pretty much does what that you need it to do.
That said, it's been four years since the last significant upgrade, and Final Cut Pro 7 is a 32-bit tool in a 64-bit world. Log and
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 Adobe Premiere Pro has been back in the post-production public consciousness for quite a while. Now at version 5.5 it feels like Adobe began really pushing it when the Mercury Playback Engine was added in 5. I’ve been toying with it off and on for quite a while now but with the recent release of Final Cut Pro X I wanted to give it a real-world, client in the room test. In the end it was both very good, kinda bad … and a little bit ugly.
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 Both Eugene and Paul have quite an intimate knowledge of Final Cut, so we thought it would be interesting to hear there thoughts on the new video editing offering, in parallel.
Here’s two articles, wrapped into one. First you’ll hear from Eugene, followed by Paul. It’s pretty interesting to see that they both have very similar concerns and thoughts, but that they both decided to deal with it in very different ways.
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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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 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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