 There are three constants in life—death, taxes, and oversized workstations. Why are workstations so large? They need breathing space for their powerful components, which could overheat if they aren’t cooled properly. As a result, no one had successfully designed an all-in-one workstation. Apart from squeezing everything into what is essentially the back of a monitor, there’s this vexing problem of how to disperse the heat. If the components are just inches from your face, you would have to liste
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 Doug has been following the ‘NLE Wars’ with quite a bit of interest for some time now. Like many, folks who have been using FCP for years, including all of his own current work work, as well as a number of feature films in the past, He is very concerned about the end-of-life for FCP/FC Studio in the wake of the release of FCP X, and he's really, really, not motivated to switch to another platform. Switching costs time, switching costs money. Switching means that a video that could take a half a
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 If you've been a fan or customer of Videoguys over the years, then you know that our go to recommendation for external video storage are the G-Tech G-RAIDs. G-RAIDs are stylish, external RAID devices that have unsurpassed reliability and performance. They attach to your Laptop or Workstation via eSata, USB2 or Firewire 800/400. G-RAIDs have been our top recommendation since they were first introduced and we awarded it Top New Product in 2004.
The G-Tech GRAID 4th Generation keeps up their
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 Dennis Kutchera went to Vegas with a goal - to be tantalized by the new colour-grading options - in essence, to cheat on his beloved Avid. What happens in Vegas, this time, comes back with some great stories.
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 Philip learnt to edit tape to tape about 16 years ago at Sky News whist working as a News Cameraman. It made his camerawork SO much better. It was a great way to learn to edit. No “Apple Z”, you had to make hard decisions and stick with them. You also had to be FAST.
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 As a long-time Final Cut Pro user, David Lawrence has been looking for a new NLE, since FCPX isn't an option for his editing style and needs. When word leaked out of a CS6 trial release, David took Premiere Pro 6 for a spin. And WOW! is what his impressions were. Read on for more details.
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 Noted cinematographer Matthew Cherry has selected FFV's new sideKick HD™ camera-mountable straight-to-edit digital video recorder (DVR) to work in tandem with his Sony CineAlta® PMW-F3 camcorder. When paired with the F3, the sideKick records the camera output at broadcast-quality data rates and streamlines the studio's editing workflows by capturing video directly into native NLE formats.
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 A Filmmaker reader recently emailed me with a simple question. After going to film school, making some shorts and working conspicuously within his means, he’s now written a script purely from the imagination — not censoring himself by thinking of things like money and production requirements. The resulting project, I take it, is too big for his usual DIY methods. He asked, “What do I do now?”
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 Adobe launches CS6 Production Premium with a revamped UI, a faster and more efficient After Effects, and SpeedGrade – a professional color grading application
It goes without saying that the production industry has seen some significant changes in the past couple of years. Disruptive camera technology (RED ONE, Canon 5D Mark II, etc.) has created a new industry in which low-budget filmmakers can now compete with studios in delivering a professional looking film.
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 CS6 Production Premium is a milestone release, and we at Adobe think it will change the way editors work. Why? CS6 pairs a major overhaul of the editing experience in Adobe Premiere Pro with the biggest release of After Effects in more than a decade. We’ve added a raft of new features to Adobe Audition, so it’s easier than ever to make your productions sound as good as they look. Plus, we’re adding key new tools to your kit: Adobe Prelude, which is designed to simplify logging and ingest of file
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 Matrox® Video Products Group today announced support for the upcoming release of Adobe® Creative Suite® 6 Production Premium and Adobe Mercury Transmit with the Matrox MXO2 family of I/O devices and the Matrox Mojito MAX I/O card. The award-winning Matrox I/O products provide broadcast-quality video and audio input, output, and monitoring to enable traditional tape-based workflows including deck control for frame-accurate batch capture and print-to-tape. They are also the only I/O solutions on t
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 Adobe has more than usual riding on CS6, the latest version of its Creative Suite package for production and post. CS5.5 launched at NAB last year just as Final Cut Pro X was landing with a thud among users who didn't care for the radically rethought interface and slimmed-down feature set. Adobe's Premiere Pro NLE already had some momentum, thanks to broad native format support on the timeline and a substantial performance boost through NVIDIA GPU acceleration, and the company enjoyed a surge of
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 What's new in CS6 Production Premium?
Adobe® Creative Suite® 6 Production Premium software offers a sleek, fresh editing environment in Adobe Premiere® Pro; 3D tracking and extruded text and shapes in Adobe After Effects®; new Content-Aware tools in Adobe Photoshop® Extended; and faster editing in Adobe Audition®. New additions are Adobe Prelude™ for logging and ingest and Adobe SpeedGrade™ for color grading and finishing.
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 The annual National Association of Broadcasters or NAB is just a few days away. Rumors have been spreading across the internet like wildfire. The first was the Supermeet.com and CPUG announcement that showed Marc-Andre Ferguson was going to show a “super secret” presentation at the Supermeet. This was later titled “Smoke is changing. Everything.” The rest of the description said we could be the first to see “new technology that connects effects and editing like never before.”
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 HD PVR is the world’s first High Definition video recorder for making real-time H.264 compressed recordings at resolutions up to 1080i. HD-PVR records component video (YCrCb) from video game consoles and cable TV and satellite set top boxes, with a built-in IR blaster to automatically change TV channels for scheduled recordings. Audio is recorded using two channel stereo or optical audio with five channel Dolby Digital.
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