 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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 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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 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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 We get asked all the time about what laptops we recommend for video editing. This is a more difficult question to answer, because unlike a desktop, you are very limited in what upgrades and changes you can make after you buy it. So we are not going to recommend any specific models, but rather what brands of laptops we recommend and the model family they fit into.
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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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 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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 Cyrus Sutton is a surfer. And he's reviewing Final Cut Pro X for Gizmodo. Why? Because he's one of the best surf flick directors in decades. His movies exude a summertime vibe I wish I could bottle up for winter.
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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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 It has been a very exciting summer, as the industry and editors react to the release of FCPX. You can keep up with all the latest news, reviews and posts from all over the internet on the Videoguys blog
We've also updated our "Videoguys' Options for Final Cut Editors" blog article to include the latest and greatest info from Apple, Avid & Adobe.
Matrox has jumped on the crossgrade wagon as well. Now you can save $175 or more when you purchase an MXO2 w/Max with either the Avid crossg
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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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