 I could start this blog article, like most of the blog articles I’ve read so far about FCP X, by bitching about the features that are not there, how the UI is completely different, how I can’t use a professional monitor to color correct my sequence, how I can’t edit multi-cam, how I can’t export an EDL or OMF file, plus the many other missing features.
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 20 techniques for organizing your Vegas Pro workspace (part 2)
by Gary Rebholz
In last month's article, we discussed the first 10 of 20 techniques you can use to better organize your workspace. This time, we'll take a look at ten more techniques that I use to organize my workspace. Once again, many of these techniques work the same way in our other software applications, so while I'll be using Vegas Pro software for my examples, you can try them in your software to see if they work similar
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 PluralEyes has really made a name for itself with editors as the DSLR workflows have been explored more and more. PluralEyes is a software solution that allows you to automatically sync up the separate audio and video files from, say, a 5D Mark II DSLR with an audio file from a handheld digital recorder, like the ZOOM.
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 Final Cut Pro X is here. The speculation, the rumors, the misinformation and the hand-wringing can now mercifully stop. The hype machine is now inert and we can all get back to work. As is my custom each time a new version of Final Cut Pro is released I set about writing an article for Ken explaining what the new features mean to the rank and file editor who will be cutting with it in their day to day operation. Therefore, this article's primary focus will be to address how FCP X's new editing p
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 I was fortunate to beta test Final Cut Pro 1 back in early 1999; my company had the second training tool for Final Cut Pro a few months later with the DV Companion; I’ve been writing about editing paradigms and new workflows/new professionals for some time. I was on record as wanting Apple to do the “Apple thing” for Final Cut Pro and pursue some new paradigms for editing.
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 ATTENTION APPLE FINAL CUT PRO USERS: SAVE $300 OFF MSRP ON THE BEST EDITING WORKFLOW WHEN YOU UPGRADE TO ADOBE CREATIVE SUITE 5.5 PRODUCTION PREMIUM NOW THROUGH 6/30/11
With Adobe® Premiere® Pro CS5.5, included in Production Premium, you'll enjoy blazing fast performance, native file-based and DSLR editing - no transcoding, no rewrapping - and time saving integration with Adobe software and Final Cut Pro.
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 AJA's latest acquisition solution is a winner.
AJA is now shipping the Ki Pro Mini, a major step forward in the company’s line of direct-from-camera acquisition products. First came the I/O HD, a product I reviewed at its introduction some four years ago. At that point, its ability to transcode any input into ProRes was revolutionary but I remarked what was needed was some way to make it portable and record on the fly. Well, two years later came the KiPro, a product which remains a hot item.
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 Join Jim Guerard, vice president and general manager of Professional Video, as he discusses the massive shifts happening in the industry today, how Adobe is responding through rapid innovation, and the company's pillars of focus moving forward.
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 Podcasters and broadcasters have used the Zoom H2 and H4n digital audio recorders from Samson Technologies with great success for a few years. These very portable recorders are perfect for capturing high quality stereo sound in digital formats that can be easily edited by a variety of Mac audio apps. Now they've added HD video capture to a small handheld device, the Zoom Q3HD Handy Video Recorder
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 First off Final Cut Pro X is a new application. It is not an update to FCP 7. I think that many, including me, will continue to use FCP 7 along with FCP X after FCP X arrives. I hope that there is a workflow between FCP 7 and FCP X.
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 Adobe has surprised those of us who have long been accustomed to a major release roughly every 18 months. Just a year after launching the CS5 titan, they announced not only a new version of the Creative Suites, but a new release schedule and a subscription option for their suites.
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 The biggest buzz at NAB by far has been the anticipation of Apple’s sneak peek at Final Cut X. Nobody seemed to care about the missing Final Cut Pro 8 or 9 as they camped outside the Super Meet for hours trying to get their place in line or buying or selling tickets. It certainly seemed more and more like a Bruce Springsteen concert than a computer user group meeting, with scalpers trying to get $100 for the sold-out show.
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 Editors are always being asked to do more in less time. But the answer isn’t to just work faster; we need to find ways to work more efficiently. Sure It helps us meet deadlines, but more importantly, working efficiently gives us more time for creative exploration.
Here are 7 quick tips to make you more efficient:
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 The Adobe application’s handling of DSLR and other card-based media is straightforward and quick, as it should be.
Let’s face it, a lot more editors, artists and animators have Premiere Pro loaded on the systems they use every day than are actually using it. And yet over the last few years—and in particular over the past year, since Adobe started demoing real-time playback of all kinds of files, including 4K RED .r3d source, in Premiere Pro on systems with CUDA-enabled nVidia cards—there’s
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 Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of the Adobe® Creative Suite® 5.5 product family. Adobe Creative Suite 5.5 delivers important advances in HTML5 and Flash authoring, enabling designers and developers to create compelling content and applications. Creative Suite 5.5 products also feature significant innovation in the areas of video production and editing. Finally, Adobe Creative Suite 5.5 delivers exciting new capabilities in the exploding area o
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