 When I reviewed Final Cut Pro X last July I had some conflicting reactions. While I felt that the initial release was largely Final Cut Pro in name only, I also recognized that Apple challenged us (angering many) by bringing some very interesting new ways of working to the editing world. But because the original version of Final Cut Pro X lacked some very basic features, it felt a bit schizophrenic and, quite honestly, like an application that was released too soon.
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 Over the past few weeks, I've been getting up to speed on using Telestream's Wirecast Pro for Mac to broadcast the weekly TUAW TV Live show. In this review, I'll describe some of the features of the latest version (4.1.3) of Wirecast Pro, and how it will be streamlining the production of the show.
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 Due to its advanced codec, multiformat file support and unparalleled speed, the Grass Valley™ EDIUS® high-definition (HD), nonlinear video editing software is quickly becoming one of the dominant solutions among editors working in the digital news and professional video production industries. At NAB 2012 Grass Valley will demonstrate the latest version (EDIUS v.6.5), with a comprehensive 3D editing workflow and native support for raw footage captured with digital cinematography cameras from RED
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 In the past half-year, I’ve used FCP-X nearly exclusively for my corporate video editing. In that time, I’ve had to to deliver a wide range of work for a very diverse group of recognizable national clients – often under very tight deadlines. I doubt I could have hit these deadlines while delivering the same quality without FCP-X. That’s based on looking back at what I’ve done, the deadlines, the programs and client requirements and how FCP-X often helped me work faster and more efficiently than
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 Using This Guide
This guide contains the task-oriented instructions, conceptual information, and reference information you need to use the features of your Avid editing application. The contents of this guide is also available in the Help.
This guide is intended for all users, from beginning to advanced.
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 Most of us just use our cocktail napkins as sketchpads for fevered start-up dreams or as liquid relief platforms for Cupertino-induced headaches.
Not Jason Rose.
He uses them to wipe the screen of his massive touch-enabled, video editing system.
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 Breaking with their corporate tradition of releasing a major Creative Suite update every two years, Adobe has released a mid-cycle product, Creative Suite 5.5. This contains significant new features and improvements that should be of vital interest to all media creators. In this review, we will look at the new features in Production Premium 5.5, a subset of the entire Creative Suite, which consists of Premiere Pro CS5.5, After Effects CS5.5, Audition CS5.5, Photoshop CS5 Extended, Flash Catalyst
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 New features make Matrox Convert DVI Plus even simpler and more convenient to use. Automatic input detection is particularly important for A/V integrators who might regularly deal with a variety of input devices in the course of their work. Now any computer running at any resolution can be connected at the input, and Matrox Convert DVI will automatically output at the desired, preprogrammed resolution.
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 When Adobe Photoshop Senior Product Manager Bryan O'Neil Hughes showed me the new content-aware features of CS6, my mouth opened like an imbecile out of complete disbelief. You can basically move objects around your image freely and effortless. It's black magic!
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 WOW! When I first got a look at the new HP Z1 I fell in love. Over the past year I've become a big fan of iMacs with Thunderbolt. The iMac is sweet, but for NLE we have a problem, it only comes with ATI graphics. For best results with Adobe and Avid, you must have an NVIDIA GPU with tons of CUDA cores. The new HP Z1 delivers on this and more. You get you choice of FOUR levels of Quadro cards that can be added, including our go to GPU for professional post, the Quadro4000!
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 AJA Video Systems delivered v3.0 firmware for its Ki Pro and Ki Pro Mini 10-bit 4:2:2 flash disk recorders today. Packed with features that give users greater flexibility and capability for filmmaking, broadcasting and everything in between, v3.0 firmware is available as a no-cost download for current Ki Pro and Ki Pro Mini customers.
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MAKE THE SWITCH! SWITCH FROM APPLE OR AVID TO ADOBE CREATIVE SUITE 5.5 PRODUCTION PREMIUM OR ADOBE PREMIERE PRO CS5.5!(expires 3/2/2012)
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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 Back in January news broke that reality television producers Bunim/Murray were switching their post-production facilities from Final Cut Pro to Avid Media Composer. This probably didn’t come as a great shock to anyone who follows post-production as the release of Final Cut Pro X had left many people (especially those in the broadcast world) a bit stunned at its lack of broadcast features. There was a lot written about this subject but I had a few more questions so I spoke with Bunim/Murray’s sen
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 Avid has a long history of being a professional editing tool. They have long been the industry standard, however that all changed when Apple released Final Cut Pro. Apple was able to take 50-60% of Avid’s market. Today’s Market players are still Apple, Adobe and Avid. Adobe has gobbled up much of App le’s market with their aggressive marketing, and Avid with their cross-grade promotion is cutting into Apple ‘s share of the post-production market, but does Avid have what it takes to make not only
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