 Many experienced editors look at the interface design of Final Cut Pro X and seemingly freak out at the radical change in front of them. The truth is that if you dig a bit deeper, many of the underlying concepts aren’t that different from Media Composer, Premiere Pro or FCP “legacy” after all. Different nomenclature and a modified way of working, but still built upon familiar foundations – IF you look for them.
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 After many years of producing and engineering for various types of media projects, utilizing single drives for the various assets, then backing up to optical disks, I decided it was time to move into the world of Raid drive redundancy. I have, at various times, used Raid 0 setups, but that speed has a trade off…protection. After much research between various vendors, manufacturers, and creative pros alike, I decided I would enter the world of small drive arrays by purchasing a 4 disk 4 Terabyte
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 Relativity Media and Bandito Brothers’ Navy SEAL action-thriller Act of Valor, starring active-duty Navy SEALs, took the No. 1 spot in America in its debut weekend. The film was independently produced by Bandito Brothers, an outfit known for their inventive filmmaking process, enabled by leveraging tools and technology by companies like AJA Video Systems.
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 Many ProVideo Coalition readers may recall my article called Untapped features in Sony NXCAM’s new HDMI output from June 2011. At that point, I surveyed several external HD video recorder manufacturers as to their plans to support the multiple new NXCAM features. (This of course includes the FS100 which Adam Wilt just reviewed, along with other NXCAMs from Sony.)
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 So the day we’ve all been waiting for has come. For over two years, we’ve been scouring the net in search of fuzzy, shadowy images that might lend some proof that Canon actually had the Mark III in the works. Like Bigfoot, Elvis and UFOs, sightings were everywhere, but alas many were hoaxes—cruel tricks that played with the emotions of would be Mark III buyers.
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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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 For both commercial and editorial video, Telegraph Media Group shoots on location, on set, and in studio environments. The team uses Adobe Creative Suite 5.5 Production Premium— including Adobe Premiere Pro CS5.5—for video editing, Adobe Audition CS5.5 for audio
editing, and Adobe After Effects CS5.5 for visual effects.
Adobe Premiere Pro CS5.5 helps the Telegraph Media Group team mix footage from sources
as varied as high-end DSLR and ARRI ALEXA cameras, Sony XDCAM, .FLV files, and Flip V
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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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 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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 Working as a one-person team, a staff member from MSNBC.COM offices in NY or Washington, shoots, produces, and edits video in the field. Each producer is equipped with a Mac laptop loaded with Avid Media Composer 5.5 editing software, connected to a Matrox MXO2 Mini MAX I/O box with built-in Thunderbolt connectivity. This allows them to convert signals on the fly, as required.
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 Beta release 3.0.1 for Matrox MXO2 I/O devices and the new Matrox Mojito MAX card is now available on our user forum. This software update adds broadcast monitoring support with the recent Final Cut Pro X 10.0.3 update. Broadcast monitoring in Final Cut Pro X 10.0.3 allows video and audio output to a variety of external monitors and other equipment using the SDI, HDMI or analog video outputs from Matrox products
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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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