 Thanks for the positive comments on his previous post. As a review of Final Cut Pro X, Oliver Peter's wanted it to be even-handed. It was intended to let you know about the program without injecting too many of my own opinions. After all, FCP X does work for many potential users and my goal as a reviewer is to try to determine whether or not a product achieves the objectives its designers set for it. I wanted you to be able to have the basic facts and decide for yourself. This post is different,
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 Ghosts of the Abyss. Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour. The Polar Express. Up. U2 3D. Coraline. Success stories, one and all, but aren’t these films mostly mass-market, high-budgeted studio projects? Why should 3D films like these matter to someone creating a low-budget feature today? Is it even possible to produce a genre film with a low budget—say, between $500,000 and $1 million—in 3D? Some forward-looking 3D experts say that it’s not only possible, but even inevita
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 Roland, a company that I have a lot of experience with from my past, makes the R-44, a portable four-track digital audio recorder. I still own an antique Roland GR-300 guitar synthesizer that I bought back in the 1980s, and I used Roland keyboards and recording gear quite a bit back in the days when I dabbled in the recording studio. In my experience, Roland products always have been reliable and innovative, so I thought the R-44 would be worth checking out to see how it compares to the high-end
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 Apple has kicked up what may be a game-changing firestorm with the release of the long-awaited next incarnation of its editing software called Final Cut Pro X. At the NAB Show—even though they were not an official exhibitor—Apple managed to steal headlines by announcing Final Cut Pro X (properly pronounced "10" rather than "ecks") during the Las Vegas user group's 10th annual SuperMeet gathering.
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 Article Focus:
On July 13th, 2011, AVID hosted an evening dedicated to providing a simple message: Avid is listening to its professional users and committed to that marketplace in developing the new features that editors want. The Steven J. Ross theatre on the Warner Bros. studio lot was packed with nearly 550 editors. Join Debra Kaufman as she highlights the evening's events.
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 Avid Studio is a welcomed step up for advanced video editing enthusiasts chafing at the limitations of consumer tools.
Video editing for consumers is a tricky business, since the software needs to be easy to use for beginners, and yet have enough depth to allow enthusiasts to grow and experiment. There are simple tools to quickly trim clips and upload online, but if you want to make interesting and creative productions then you need something better - a more complete interface with a tradi
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 Mac users prepare to usher in a new generation of connectivity via Thunderbolt or dabble in USB 3.0 via third-party cards. PC vendors add USB 3.0 ports. Still, the majority of users are currently relying on storage connectivity via FireWire, USB 2.0 or eSATA. Furthermore, the ever-decreasing cost of storage, the ever-increasing need for capacity brought about by solid-state workflows and the demand for ever-increasing throughput due to higher-data-rate video formats make RAID a necessity.
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 I will summarize to the best of my ability, what I heard and experienced at the Avid Event held at the Warner Brothers studio, Stephen J. Ross Theatre, July 13, 2011. To the best of my ability because I didn’t take notes, didn’t tweet, and had three Heinekens.
The evening started off with a video showing all the movies and TV shows that used Avid in their post.
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 On Wednesday evening Avid held its Committed to the Professional event on the Warner Brothers Studio lot in Burbank California. The event was announced just over a week ago in a blog post by Avid’s CEO. I would have loved to attend the gathering but since it was in California and I’m in Tennessee it just wasn’t meant to be. But there were some tweets that came out of the event by the #livetoedit hashtag.
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 Final Cut Pro X is truly a dramatic rewrite of Apple's mature and well-developed video-editing software. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and it also loses many key features that are simply an absolute necessity in the professional world, like XML export. On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats.
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 Connor Crosby is a teenager who loves making short films, documentaries, comedies, and more. He knows his way around the Final Cut Studio suite and now he published his thoughts on the new FCPX:
Final Cut Pro X is a great non-linear editing application; but, it’s missing a lot of features. It’s a 1.0 version, which means things will be missing and there will be bugs. There are tons of great features such as Smart Collections, audio/video skimming, live preview of effects, background rendering
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 This review is an attempt to assess Final Cut Pro X, what may now be the most written about nonlinear editing tool in the history of nonlinear editing tools. To some, this review may feel unfinished. In that respect it is very much like Final Cut Pro X itself. Writing a review of a piece of software that is clearly designed to do so much could go on forever. But I can't touch on everything here. Forgive me if I skip over certain features entirely (like FCPX’s color correct, actually a very nice
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 MORE THAN JUST INEXPENSIVE HD MONITORING FOR AVID MEDIA COMPOSER - LIGHTNING FAST H.264 ENCODING TOO!
Avid's support of Matrox MXO2 Mini was the talk of NAB and IBC 2010, giving Media Composer users a very inexpensive HD monitoring solution. But that's not the only benefit Matrox products offer Avid users. Matrox MXO2 Mini with the built-in MAX H.264 encoding accelerator option lets you deliver H.264 files for the web, mobile devices, and Blu-ray at speeds up to five times faster than softwa
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 If you're a Final Cut editor contemplating making a change in the wake of Apple's FCPX roll-out, you're not alone. Here's one long-time Final Cut user who tried out Adobe Premiere CS5.5 on a paying gig. He found a lot to like, and not much to miss.
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 Industry blogs and Twitter feeds have been exploding over the past two weeks, as pro editors vent their frustration over features — mostly having to do with import/export functions and other collaborative workflow issues — that have gone missing from Final Cut Pro X, even as Final Cut Pro 7 has been deleted from the Apple catalog. Apple promises that various fixes are in the works, but some users have threatened to switch NLEs entirely rather than wait out the chaos. That means an opportunity fo
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