 It’s an exciting time to be a filmmaker. Amazing tools, amazing prices. There’s a funny thing about having many wonderful options though—it can lead to unhappiness. Studies show that, when presented with unlimited options, people become paralyzed in their decision making. Unlimited options create the expectation of 100% satisfaction, which inevitably leads to disappointment. This is why you’ll happily watch the last three-quarters of Ballistic: Ecks vs. Sever on HBO because it’s “better than wha
Read More
 November 3rd, 2011. It was the day camera enthusiasts the world over were waiting for. Video camera juggernaut Canon was set to release their new flagship camera; a piece set to compete with the best from Sony, Panasonic and even Red Digital Cinema. The rumors started to fly early; everyone had their wishlist: a 4K sensor, interchangeable EF and PL mounts, maybe even a RAW recording option. Canon was trying to compete with Red, weren’t they? Anyone who has ever used a Red One or Red Epic camera
Read More
 Philip Bloom feels this is a really important blog post as he is reading in so many places some worryingly ill informed comments from people. It’s less worrying when it’s about a GH2 or T2i that cost less than $1k but when we are talking about AT LEAST 10 times that Philip thinks it’s important that he put down his thoughts about this exciting new camera that is perfect for some but not for all…The Scarlet is now out in the big wide world so it’s about time Philip wrote this!
Read More
 If there’s one thing I’ve learned in this industry over that past 20 years is that no matter how much I think I might know what new technology is coming around the corner, the fact is, there’s always a few surprises when new stuff actually is announced.
Last Thursday (November 3, 2011), there were three major announcements from industry players, in this order: Avid, Canon and RED. To my surprise, none of the announcements played out as I would have expected. This is neither good or bad, it ju
Read More
 With the release of Media Composer version 6, Avid is making good on its promise to pursue a path of openness and 64-bit performance. Available November 15, the release includes support for third-party hardware, a redesigned interface, and extensive support for stereoscopic editing.
Avid Segment Marketing
Manager Angus Mackay
With the release of Media Composer version 6, NewsCutter version 10 and Symphony version 6 - all available on November 15 - Avid is making good on its promise to
Read More
 Award-winning director and storyteller Vincent Laforet switches to Adobe Premiere Pro CS5.5 to free time for creativity “Adobe Premiere Pro CS5.5 is helping me become a more effective director, because I can see what I have shot-wise on the spot and make better creative decisions from there.”
Vincent Laforet
Photographer, storyteller, director
Read More
 While everyone has seen the complex animated 3D title sequences and lower thirds for popular sports shows, chances are that few outside the world of pro video are familiar with the software that is used to create them. One of the leading applications in this area is Red, from BorisFX.
Read More
 Premiere Pro in Adobe CS 5 was a watershed release. The program was written from the ground up in 64-bit environment that is fully exploited on the Mac OS X and the very stable Windows 7 system. The kind of hiccups running Premiere in a 32-bit funky Windows XP operating system are mostly banished. Refinements to this aspect of the engine in CS5.5 is that the 64-bit addressing of using the CPU cores has been further optimized improving overall stability when editing projects with large files, i.e
Read More
 Boris FX, the leading developer of integrated VFX and workflow technology for video and film, today announced that Boris RED Version 5 is now available for Grass Valley EDIUS 6. Boris RED is a plug-in application for transitions, professional text, and advanced composites inside of EDIUS and other leading video editing software applications. An indispensable tool for post-production and broadcast professionals, RED offers a wide range of features right on the EDIUS timeline and adds a standalone
Read More
 As we enter an age where our raw footage is either so compressed that recompression for an online edit seems like a very silly option, or so beautifully flexible that we shouldn’t be binding it with the permanence many budgets and minds associate with a transcode to ProRes, the stage is being set for raw workflows based in metadata. This is where Adobe Premiere Pro CS5 shines.
Read More
 Here's a detailed Adobe CS5.5 Premiere workflow example and intro that we've been using over the past few months with solid success with both Canon HDSLR footage and RED Epic footage. It shows Dynamic linking with After Effects as well as REDCine X.
Read More
 Hundreds of thousands of Apple Final Cut Pro and Final Cut Express customers rely on Boris FX text, visual effects, compositing, and workflow tools on a daily basis. As we announced at NAB 2011, we fully intend to support the newly-released Apple Final Cut Pro X to the maximum extent possible.
Read More
 When Premiere Pro CS 5.0 came out I really didn’t think nonlinear editing tools could get any better. The new Mercury engine in Premiere Pro was amazing. The ability to edit multiple formats in the same timeline without any decrease in performance just blew me away.
We all know time is money. As budgets get smaller and the projects get bigger the post production specialist needs efficient tools that work smart and fast. So what could Adobe do with their new version to make me like it even
Read More
 In the past few years, a barrage of new video acquisition formats and recording methodologies have sprouted like mushrooms after the rain. The major shift has come in the form of tapeless, file-based acquisition that uses equipment that has its roots in the information technology industry. As video post-production has scrambled to keep up, editors have been left with little choice than to become ersatz compression specialists and computer technologists. We all wear a few extra hats these days
Read More
 The Adobe application’s handling of DSLR and other card-based media is straightforward and quick, as it should be.
Let’s face it, a lot more editors, artists and animators have Premiere Pro loaded on the systems they use every day than are actually using it. And yet over the last few years—and in particular over the past year, since Adobe started demoing real-time playback of all kinds of files, including 4K RED .r3d source, in Premiere Pro on systems with CUDA-enabled nVidia cards—there’s
Read More
|
|