 FCP X or in the more unforgiving circles iMovie Pro has divided opinion. It has alienated many people who were die hard FCP 7 users, like me, due to the lack of key features and no backward compatibility with the older system. I have more of less moved over to Premiere due to increasingly impressive features (I am also eyeing the new Avid MC6 which has taken a giant leap forward with the new release, but more on that in a future post) but I am still checking out FCP X. I own it and would never d
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 It's the NLE Ninja here and I'm back to show you 8 tips that can help you work faster in Premiere Pro CS5.5. Also, at the end of this tutorial is a preview for Music Video Effects Volume 4 which will all be done in Premiere Pro. Watch, learn, subscribe, favorite and enjoy!
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 Apple imploding. Adobe ascending. Avid opening up. Who could have seen it coming? Here's Walter's look at what happens when the blinders come off.
Walter Biscardi has been part of Creative COW since before there was a COW, in its prior incarnation. He holds the record for most posts at CreativeCOW.net, coming up on 24,000 of them. His article "FCPX: What Pros Find Missing in Final Cut Pro X" is one of the most popular in the past six months at the COW, with another co-written by Richard Harr
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 XML (eXtensible Markup Language) has become a common method of data interchange between postproduction applications. Standard XML variations are like Romance languages: one version is as different from another as German is from French; thus, translation software is required. Apple's Final Cut Pro X was updated to include XML interchange, but this new version of XML (labeled FCP XML) is completely different from the XML format used in FCP 7. Stretching the language analogy, FCP 7's XML is as diff
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 If you are a media production professional, you’ll want to take a good look at the HP Z800 workstation. When paired with a NVIDIA Quadro GPU accelerated video card we’re talking about a system that achieves an outstanding level of performance. Whether you are an editor of motion pictures, a compositor, visual effects artist or create high-end 3D animation, the HP Z800 workstation has a design that’s ideal for the special needs of production and post-production professionals who are searching for
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 Recently, there was a lot of online static about Adobe changing its upgrade pricing. There were some conversations, overheard statements, and misinterpretations on what they were going to do. Many thought the only option to upgrade for CS6 was going to be a CS5 customer. I started digging into this a while back and have had a few conversations with folks to get clarification.
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 As a followup to my previous post, I received this question (or something like it) in a few emails: “do you think this same trend will hit the non-broadcast arena?”
The answer is, it depends.
It depends on what kind of work you are doing. Final Cut Pro X is not an unusable editor for many folks. Undesirable for some, but it is capable of editing programs together. People who are editing for the web or for DVD delivery, are probably going to have very little cause to think about switching a
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 After months of testing, playing, discussing, testing, playing, and then discussing some more, we’ve decided that moving forward Biscardi Creative Media will support both Adobe Premiere Pro and Avid Media Composer workflows moving forward.
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 MOTU, Inc. introduced the HDX-SDI with Thunderbolt™ technology, a professional video interface that turns a Thunderbolt technology enabled Mac or PC into a powerful HD/SD video production workstation equipped with all the video and audio I/O needed for professional capture and monitoring.
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 What PC to build, updated January 2012
A question often asked is what system to build for NLE.
The previous article about this topic dates back to March 2010, so it was due an update because there were so many new developments in the past two years, including CS5.5
Basically you can think along three roads, a budget PC, an economical PC and the warrior PC. Notice that MAC is not mentioned here. There are three reasons for that, one is I'm not qualified to really advise on MAC's
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 HD Video Pro recently named Adobe Creative Suite 5.5 Production Premium as my top product of 2011. With the release of their Mercury Playback Engine, as well as Apple’s release of Final Cut Pro X, Adobe has slowly but surely taken back some of the NLE marketshare that Apple has dominated over the years. With the ability to throw almost any codec at Premiere Pro and edit natively, Adobe has recently partnered with Automatic Duck to help improve the workflow integration into the system.
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 2011 is drawing to a close and before I start making predictions for 2012, I thought I’d have a look back at 2011 to revisit some of the video industry developments that I thought were the most significant for the segments of the event and corporate video production industry that I work in and cover as a video industry journalist. Now let me be upfront with my biases because they certainly shape my preferences and the perspective in which I see video industry developments.
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 Digieffects has updated and optimized their plugin effects to be Adobe CS5/64-bit compatible and have added some great new tools to their suite of tools! Both Damage v2.5 and Delirium v2.5 are fully compatible with the latest versions of After Effects, Premiere Pro, FCP and Edius. Even better news, this is a free upgrade for registered v2.0 owners!
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 6 months later, and the "discussion" of FCPX has still not quieted down. A recent ep of "That Post Show", as well as a post by Philip Hodgetts, has thrown some fuel into the fire. I was going to post on Philips post, but that has already turned into a god awful mess.
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 Richard Harrington describes how he reached the decision to switch from Final Cut Pro to Adobe Premiere Pro and why part of his post-production department is running on Windows.
The past few years has forced me to rethink a lot of my business decisions. What I'm going to lay out for you is how I reached the decision to switch from Final Cut Pro to Adobe Premiere Pro, as well as why part of my postproduction department is running on Windows.
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