 While we wait for AMA support of AVCHD there is an improvement that I found that some may know but I thought I would share it here for those that missed it.
Step one - Convert AVCHD (.mts etc.) file to avi using Cineform Neo Scene. This $100 product is gaining alot of attention because other NLEs are beginning to support the Cineform Codec natively. This works with cameras like the Canon 5D/7D too. It converts the color space to 4:2:2, handles 24p correctly and is considered visually lo
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 We just found this gem on the Avid user forums!
I've created a three-part tutorial on Blu-ray burning with Avid Media Composer, Sorenson Squeeze, and Avid DVD by Sonic.
It covers the following parts:
How to export from an Avid HD project (in Avid Media Composer)
How to use Sorenson Squeeze for creating Blu-ray files
How to burn to Blu-ray using Avid DVD
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 Recently fellow editor Shane Ross and I were discussing the relative merits of grading in Avid Media Composer versus Apple’s FCP or Color, as well as using the Colorista plug-in. Our conversation got down to how each treated the image when you used the color wheels. After I did a quick test, it was obvious that FCP and Avid don’t process the image in quite the same way, even when you push what appears to be the equivalent control in the same direction. So I decided to dig a bit deeper.
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 If you are a long time Liquid user, you need to know that after several years of speculation and frustration, Avid has finally come out with the official news:
Avid has put together an incredible upgrade offer for their loyal Liquid users. You can upgrade to Media Composer 4, with all 3rd party plug-ins, for just $495!
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 For editors, there’s good news and bad news concerning camera manufacturers. The good news is that a stream of innovative, impressive and technologically amazing new cameras are being rolled out that shoot fantastic new formats for independent filmmakers, DPs and directors of all kinds. The bad news is that we have to edit the footage.
I was just becoming awesome at transcoding when Avid released its “mix-and-match” feature for Media Composer 4.0. With mix-and-match, any kind of footage c
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 Knowing both systems is VERY important in today’s post production market. Don’t be labelled as an “FCP Editor” or “Avid Editor.” Just be known as simply, an editor. You need to be known as someone who can use either tool, because that will make you far more marketable.
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 RED’s Scarlet appears to be just around the corner and both Sony and Panasonic seem to be responding to the challenge of the upstart photo manufacturers. No matter what acronym you use – DSMC, HD-DSLR, HDSLR – these hybrid HD video / still photo cameras have grabbed everyone’s attention. 2010 may indeed be the year that hybrid digital SLR cameras hit their stride.
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 This year’s “State of the Edit” report harvested some timely perspectives on our chosen craft from top industry insiders.
“We’re seeing a growing interest in what we call ‘editing for engaging experiences’ in Internet distribution, letting Internet viewers appreciate the additional benefits of Web-based delivery,” said Simon Hayhurst, senior director, product management, dynamic media at Adobe Systems Inc. “That means including all the metadata information available to the online viewer. Our
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 No, this isn’t the 5D workflow article that you’ve been waiting for. That’s still coming in another couple of weeks. In the meantime, I’ve started on another Canon 5D commercial. This time I’m cutting the project in Avid Media Composer instead of Final Cut Pro. There are a number of reasons, including some recent stability issues I’ve had with FCP. In addition, the creative treatment calls for some nice speed ramp effects. Avid’s FluidMotion is simply a much better slomo technology than anything
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 With Apple’s announcement of the iPad there’s been tons of articles, tweets and blog posts about this upcoming piece of hardware. There’s also been tons of ink spilled about just how this little device could be useful in the filmmaking process as well, some right here on this site. I had decided not to write anything at all about the iPad since pretty much everything had already been said. But I got to thinking how this device might integrate more with the post-production side of the filmmaking
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 I made this post on one of the many listservs I participate in. I thought it would be good to share on our blog as well.
One of the things I found so amazing about Avatar was the facial imagery of the cat people and the live actors. With 3D it was like you were right next to them. Sure the action scenes were intense, but it was the immersive effect of the lush planet and the creatures that made it such a powerful experience.
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 Interest in stereo 3D storytelling has been rekindled over the past couple years. Always responsive to industry needs, Avid is leading the way “back to the future” by bringing editorial solutions to your stereoscopic 3D workflows. Helping to meet the many challenges inherent in the creation of 3D content, Avid provides features that enable you to view edits directly in stereo 3D without having to leave the edit suite.
Now, Avid has the technology you need to significantly enhance the viewing
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 Continuing on an article in the last Pro Video Coalition newsletter, The Basics of Avid Media Composer for a Final Cut Pro Editor, this article will look at a number of other functions and how they differ from Final Cut Pro to Media Composer. One of the main reasons why I’m writing these articles is that Avid offers a free, full-featured demo of Avid Media Composer 4 available for download. When I wrote the first piece that demo was only for 14 days. They have since upped the time for this trial
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 Telling a riveting, end-of-the-world story can be challenging when there are over 1,400 visual effects wreaking apocalyptic chaos on screen. But for the editing team behind 2012, Media Composer® software helped them pre-visualize sequences and collaborate across two countries, from the production’s beginning to end, to craft the intricate storyline.
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 Upgrade Avid Mojo to Media Composer Mojo DX and Save 33% - Now only $4,995!! (expires 12/08/09)
Got an Avid® Mojo® or Mojo SDI interface? Gain higher performance and real-time editing with the newer Avid Mojo DX interface. For a limited time, trade in your old interface towards a Media Composer® Mojo DX system and save 33% off regular upgrade pricing.
Capture SD and HD digital material
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