 If Workflow is the Answer, then it’s one hell of a Question…!
For a very long time post production workflow has been built upon consistencies - consistent delivery, consistent format, consistent platforms, consistent tools, consistent viewing environments. But then along came a veritable tsunami of digital detritus that washed ashore - in a very short span of time - a greater diversity of tools, formats, platforms and systems that all previous years put together.
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 Breaking news from the show floor this morning at IBC 2011: Due to the tremendous response for our current Final Cut Pro Crossgrade promotion, today we’re pleased to introduce that beginning October 1, 2011, we’ll be offering a Final Cut Pro crossgrade price for qualified customers on an ongoing basis. The new crossgrade will allow Final Cut Pro users to purchase Media Composer, for $1499 USD—making the benefits of fast, open, collaborative workflows more accessible than ever before to Mac OS na
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 Io XT Provides Complete Video/Audio Capture and Playback in a Feature-Rich, Portable Device
Io XT connects to a Thunderbolt enabled Apple computer via a single cable. An additional Thunderbolt port is provided, allowing daisy-chaining to other Thunderbolt peripherals like high bandwidth storage and high-resolution displays through a single interface; simplifying the connection of multiple devices and creating a very portable package. In addition to the wide range of supported capture and pla
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 "When talking about FCPX, the greater topics of philosophy, ethics, religion, personal well-being, the time space continuum, the consequence of true and real change, the past, the present, the future and, of course, our collective video careers, are often touched upon." Jeremy Garchow invites you to read the FCPX forums here at the COW to gain a greater sense of how people might feel about it if you have not frequented them lately. Yes, there is a lot of work to be done, and there are many holes
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 Apple's recent obsolescence of Final Cut Studio has forced a lot of us to reexamine which editing platform we want to use for future work. Ironically, Adobe Premiere Pro is a much easier transition for FCP 7 users than Final Cut Pro X due to its similar interface, support for old FCP projects and ability to use FCP's keyboard shortcuts.
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 here has been so much going on over at Videoguys this summer! We want to let you know that Hurricane Irene came through and while she brought down a bunch of tress, everyone at Videoguys is doing fine and we didn't have any damages to our main offices or warehouse. We are open for business as usual!
We're sad the summer is almost over, but we are so relieved that Irene is history, we are going to give you our Labor Day coupon offer today!
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 Now is the time to upgrade your NLE to the very latest version. Often times our customers do not realize that they may qualify for an even better deal. That is why we've put together this NLE upgrade Matrix, so that you can find the right upgrade for you based on the software you already own. because we run different promotions and upgrade prices can change, we have used the MRSP price for this chart. Click through the part number for our pricing and to order.
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 If you are a student or a teacher, you qualify for special educational versions of some of our most popular video editing titles! This includes: University and college students, Primary and secondary school students, as well as Teachers, faculty and staff. You will have to provide proof that you are eligible which means sending us a copy of your student or staff ID, report card/ class schedule,
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 How To Make Your Video Look Old…But Not Tired
The Unsung Hero of Magic Bullet Suite 11
I say unsung, because there’s not any mention of it being part of the Magic Bullet Suite. Once I loaded the Suite and opened it up for the first time in Premiere Pro CS5.5 — there it was. I went back to the RedGiant website and searched and found just a small amount of information on their blog.
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 Avid listens to their customers.
A few years ago Avid did something unprecedented in our industry that many editors may have forgotten about. They took their show on the road. It wasn't actually a road show as much as it was a chance for their top management to visit with post-houses, professional editors, indie film makers and user groups. They asked what Avid needed to fix and when they asked for honest feedback, they sure got it! What did Avid do with this information? They used
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 When Adobe Premiere Pro CS 5 was launched more than two years ago, the message was clear that Adobe was taking Premiere Pro into the professional market segment. This is not your father's Adobe Premiere, it is a powerful NLE designed to handle the most challenging professional projects. They were the first NLE developer to commit to an all new 64-bit architecture and native HD format support. Adobe harnessed all of the power in your computer, multiple CPU cores, huge amounts of RAM and even you
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 Sony Upgrade and Crossgrade from Most Editing Software for Under $300 plus... TWO Special Videoguys Bundles to choose from!
ATTENTION DSLR VIDEOGRAPHERS: Upgrade Your Audio
with Samson ZOOM Digital Recorders & Sync Seemlessly On Your Timeline with Singular Software
Professional Video Storage RAID Arrays from Glyph Production Technologies Are Recommended by Videoguys.com
Introducing the NEW Avid Studio Movie Production Software
VIDEOGUYS FEATURED PRODUCTS FOR TAPELESS AC
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 Squeeze 7 / Sorenson 360 is a true one-stop shop for multimedia producer-professionals, providing key encoding capability and support for nearly every distribution format known to man, including VC-1 to Silverlight on a Mac.
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 Q: What are the latest trends you're seeing in production and post production?
A: The biggest trend in Post Production is the decision that many Apple Final Cut Pro editors are faced with, now that FCPX is available. We are spending a lot of time talking to our customers about the many options available to them. Adobe and Avid are both offering special "switcher" or "crossgrade" promotions with discounts at 50% or more. We've seen great interest from all levels of customer’s especially po
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 I began editing professionally in 1997. It started with a Sony BVE-9100 linear system, hen migrated into the world of NLE systems beginning with D-Vision, which became the Discreet Edit. Moved on to Avid Media Composer in 1999 and also (somewhere in the 2000-2002 range) I had a brief stint with DPS Velocity. However, the Avid Media Composer system and I were pretty much tied at the hip from 1999 until 2007. Then Final Cut Pro came along. It was cheaper. I needed a full HD system. The deal was d
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