 Did you know Final Cut wasn’t actually an Apple product but a Windows program written by Macromedia that Apple purchased? Did you know Apple purchasing Final Cut was a result of Adobe rebuffing Apple over a Mac version of Premiere? Did you know Apple was in danger of going under when it purchased Final Cut? Even if you already knew all of these things, the particulars of how Final Cut ended up in Apple’s hands is a fascinating story for anyone interested in video editing. John Buck’s $4.99 book
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Check out these new products from G-Tech, Avid, Matrox, Boris FX and more!
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 GPU acceleration gives the same level of render quality as Maximum Render Quality, even if you don’t check the Maximum Render Quality box.
But instead of a performance hit, you gain a 6-7x performance boost.
Let me start-off by saying that Jan Ozer is my favourite video technology writer and speaker. I first met him in Jacksonville, FL at the defunct 4EVERGroup’s Video ’07 video conventions, where we were both speakers. Steve Nathans, EventDV Magazine’s editor-in-chief, was also th
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 Many of us have been editing with FCP for a few years now and were exited when Apple finally decided to re-write FCP from the ground up finally giving us a 64bit architecture, FCP only works on the Apple Mac so if you are intrenched as most of us are in the Mac platform the alternatives are AVID and Adobe’s Premiere Pro.
Sadly, Final Cut Pro has been haemorrhaging professional customers to AVID and Adobe since the introduction of FCP-10. Walter Murch reckons he has finally reached the end of
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 Massive performance improvements are worth the upgrade alone; an outstanding update to a classy, powerful editor
It’s a little disconcerting when a software publisher releases an update but doesn’t bother to put a list of new features on its website. We half expected Vegas Pro 11 to be a damp squib, but the truth is quite the opposite.
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 We would like to thank all of our customers and friends for your support and patronage throughout the years. We hope you had a great evening with your families yesterday and remembered to shoot lots of video. In case you missed it, here is a link to our latest version of Videoguys' Tips for Shooting Family/Home/Holiday Video
As you know, today is kicks off the holiday shopping season. Below are several Tweets and Facebook posts we’ve been making about some of the fantastic #Blackfriday de
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 Avid Media Composer 6 began shipping last week after being announced just under a month ago. The release has seen quite a bit of press as it was teased back in the summer and a large part of that tease was letting users know what they could expect when this version came along. I haven’t had a chance to really pound MC6 as of yet since it just shipped but I have been kicking the tires on it for the last few days. Keep an eye on That Post Show for upcoming episodes all about MC6.
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 One of the most persuasive product upgrades in Avid’s history happened today at noon ET, when a new family of Media Composer products was released. (That makes it a day behind schedule by our reckoning, but nobody’s perfect.) If you missed the news earlier this month, you can see our full coverage at the main StudioDaily site, or you can read on for a quick round-up of the most-anticipated features in the new software.
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 OK, I’m not all about Avid now. I’m giving Adobe Premiere Pro some love too. With Apple no longer making a tool I can use, I’m exploring the other two main options for NLEs and seeing what they are capable of. Seeing how they might fit into my workflow needs. Now, while Avid does easily plug into my broadcast workflows, I do have other projects that would be cumbersome to work with in Avid Media Composer…even MC6. So those projects I used Premiere Pro to tackle.
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 Boris FX, the leading developer of integrated VFX and workflow technology for video and film, today announced that Boris Continuum Complete 8 AVX (BCC 8 AVX) is now available. BCC 8 AVX delivers 200+ comprehensive VFX and compositing filters to Avid Media Composer, NewsCutter, and Symphony. Flicker Remover and Videoscope tools, integrated Beat Reactor technology for audio-driven effect animation, a new Film Glow filter, and support for 64-bit operating systems headline the Version 8 release.
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 Recent innovation in cameras has changed the fundamental ways in which movies are being produced. Now it is possible to capture gorgeous, high-resolution digital cinema footage at a much lower price point than in the past. Recently, a couple of new and exciting digital cinema cameras were unveiled – Canon debuted their Cinema EOS C300, and RED Digital Camera Company introduced their 4K-capable Scarlet-X camera – both of which shoot to formats which are already natively supported in Adobe Premier
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 Videoguys now sell Bluefish444 I/O cards for Avid and Adobe!!
Bluefish444 has worked closely with Avid engineering and product management to tightly integrate Avid Media Composer 6 with the Create video cards. Full support for Avid's DNxHD codec combined with Bluefish444's bundled Symmetry capture, review, and playback software provides an end-to-end, extremely flexible post-production workflow solution with ultra high quality 12 bit processing.
Create|3D Ultra features 3G-SDI, 3D Stereos
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 Sorenson Media today announced the immediate availability of Sorenson Squeeze 8, which adds enhanced functionality and ease-of-use to the company’s gold-standard video encoding and transcoding application at a lower price point. In addition, the company has also introduced Sorenson Squeeze 8 Lite, which makes select features of Squeeze 8 accessible to prosumers at a further significantly reduced price.
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 Well I’ve been deliberating, experimenting and talking to other editors over which NLE to adopt following the launch of FCP-X. I’ve played with Adobe Premiere Pro CS5.5 which is really easy to transition to from FCP as it has a similar interface and editing style. I’ve experimented with FCP-X, which is very fast but has so many missing features and forces you to work in ways I don’t always like
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 When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you’re moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won’t be totally lost as there are a lot of similarities between the two application’s timelines. But there are some important differences as well. Let’s take a closer look at the Premiere Pro timeline if you’re moving from FCP 7. Did I mention how much time edi
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