 f you’re an editor working with Apple’s Final Cut Pro, you’re probably well aware of the controversy and debate surrounding its latest release, which the company has dubbed Final Cut Pro X. If you haven’t heard about all the drama, pull up a chair and, in this temporary departure from the normal Tech Tips format, I’ll fill you in on how Apple CEO Steve Jobs and his minions in Cupertino seemingly tried to pull a fast one on an entire industry in an effort to make the craft of editing easier and
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 G-Technology™ Demos a Two-Drive 8TB G-RAID™ Thunderbolt® External Storage Solution With Blazing
Throughput for Post Production; New 4TB Hitachi GST Hard Drives are First to Ship in G-Technology’s
G-RAID and G-DRIVE™ solutions
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 Red Giant today announced the release of Trapcode Suite 11. Designed by Peder Norrby, Trapcode’s original creator, Trapcode Suite 11 is a major upgrade to the industry standard VFX tool set for high quality broadcast design and 3D motion graphics.
With this release, Trapcode Suite 11 includes a new release of Form 2, featuring full support for OBJ files, enabling artists to import OBJs directly into After Effects for significantly enhanced 3D modeling and design. Trapcode Suite 11 also in
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 Squeeze 7 / Sorenson 360 is a true one-stop shop for multimedia producer-professionals, providing key encoding capability and support for nearly every distribution format known to man, including VC-1 to Silverlight on a Mac.
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 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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 Lacking some of the bells and whistles of its pricier competitors, but Datavideo's DN-60 compact flash card recorder gets the job done at a fraction of the cost.
If you've got an aging DV or HDV camcorder whose heads are beginning to fail, or perhaps you simply want to step into the digital age, but your older camera still delivers great footage, then strapping a direct-capture-device onto that prized piece of video history may be exactly what the geriatrician ordered.
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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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 Just before an Avid-hosted event last night on the Warner Bros. lot, editors who gathered there were discussing the shortfalls of FCP X as well as the direction of Adobe and Avid. The buzz was palpable.
Inside the Steven J. Ross theater, Avid brought the troops together to emphasize its commitment to the professional market, hammering home that their focus is us: the editors. It was good to hear at a time when some industry people and businesses are feeling abandoned after the release of FCP
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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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 First things first, I (Jason Konoza) do not currently own an Apple computer. However, I’ve decided to now ’make the switch’ for my next editing computer to be a Mac product. After seeing the Final Cut Pro X preview at the NAB Supermeet this year, this seemed like a solid choice. Now, after 2 weeks of reading testimonials of FCPX, now I’m not so sure…
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 The newest tool we have in our bag of tricks is the Matrox Convert DVI Plus. What I thought would be just another scan converter has become a swish army knife to our video needs. The ability to take a raw DVI source signal input and send it out – SDI, Component, and Composite is worth the money. No longer do we have to route the video through multiple pieces of equipment to get it our screens.
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 Remember Apple's grammatically incorrect slogan a few years ago, Think Different? Well, Final Cut Pro X definitely requires us to think differently.
Available only in the App Store for $299, Final Cut Pro X represents a major shift not only in how professional applications are marketed but indeed even in the price points of software geared to the professional market. Ah, there's the rub. Final Cut Pro X forces us to ask, what kind of professional?
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 Last Saturday afternoon, I and several other professional editors spent the day clustered around an iMac. We weren’t there to create the next great American film, or even for a juicy, double-golden-time-weekend gig of any sort. We were there to try and figure out if Final Cut Pro X was truly as bad as we, and seemingly everybody else, seemed to think it was.
We spent 30-45 minutes attempting to create a bin and put selected clips into it.
We never succeeded.
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 It’s only been on the Mac App Store for a few days, but Final Cut Pro X has already stirred up a whole messy pot of controversy. Despite its status as the top paid and top grossing app in the store, the program has dropped to a measly two-and-a-half star user rating, with more than 200 one-star reviews. Professional editors by and large have mixed feelings on the software, and for good reason: Many key features from Final Cut Pro 7 are missing. You can’t import projects from previous versions. T
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