Dragon Color: Does Tungsten or Daylight Make a Difference?
RED cameras have typically shown more accurate color response under daylight than under tungsten light. Dragon, however, is supposed to be a different beast altogether. Is it? Let’s take a…
Exclusive: AJA's Jon Thorn answers questions about the Cion
Jon Thorn is Senior Product Manager at AJA.His post here is part of a discussion on our community message boards. Every product I have ever proposed or been involved with…
PXW-FS7, Part 3: Moving the Grip, More Lenses, Company Moves, and More
My exploration of the PXW-FS7 large-sensor shoulder-mount camera continues. If you haven’t already seen ‘em, my First Look and Part 2 articles provide background information for what I’ll discuss. Moving…
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Tutorial: A Dynamic Look at Adobe Dynamic Link
Adobe Dynamic Link is a fantastic feature that allows live interaction between different software applications. It is a really valuable tool that I really can’t imagine being without. Although there…
User Perspective: Adobe Premiere Pro CS5.5
Several months ago, I made the journey from San Marcos, Texas up to Dallas to convene with a long-time friend and colleague of mine, Stuart Reid. Stuart and I were…
Five Ways I Think FCP-X is Changing Editing for the Better.
In the past half-year, I’ve used FCP-X nearly exclusively for my corporate video editing. In that time, I’ve had to to deliver a wide range of work for a very diverse group of recognizable national clients – often under very tight deadlines. I doubt I could have hit these deadlines while delivering the same quality without FCP-X. That’s based on looking back at what I’ve done, the deadlines, the programs and client requirements and how FCP-X often helped me work faster and more efficiently than I was working before.
Adobe CS5.5 DVi Workshop: MultiCam Editing
Pete Bauer of Contrail Media explains the basic procedures for working within the multi-cam editing environment, and then guides you through a sample sequence involving four source video clips as they are mixed into one. A quick review of the process is included at the end of Pete’s tutorial. In less than 15 minutes, this video tutorial covers the essential steps you’ll need to know in order to use the Multi-Cam Editing tools in Adobe Premiere Pro CS5.5.
Canon USA Announces Cinema EOS C300 and EOS C300 PL Cameras
Two identical cameras, one with EF mount, one with PL mount; Super-35 4K CMOS sensor,records 1080p30 to Compact Flash cards using existing Canon XF 50Mbps 4:2:2 MPEG2 codec. At Paramount…
Final Cut Pro vs. Adobe Premiere CS 5.5, That Is The Question
I asked Shane Ramirez, our editing manager here at Media Design to relate his thoughts on the new Adobe Premiere Pro platform vs. our old version of Final Cut Pro (7). I asked him which platform he would be using for his latest project, since he was trained originally on Final Cut, and his answer was Premiere Pro CS 5.5, and with his comments, we can perhaps determine why.
Review: Manfrotto 504HD/ 546GBK Video Support System
The three levers, tilt, pan and slide plate lock, all have 6-position spring loaded lever arms allowing easy re–positioning at 60º intervals, although the latter two are not retained, so can easily be wound clean off the head. They all look readily replaceable in the event they take a fatal smack.
I have read somewhere that there is an issue with the slide plate lock lever swinging above the head plate and thus not allowing a “hippy” camera system to lock, or only with difficulty. As that lever only requires a 90º swing from full lock to off, and vice versa, and the lever arm is repositionable in 60º increments, if you can’t configure the lever arm not to swing above the head plate, you simply haven’t grasped how these levers work. This is a non-issue, and it’s simply not true.
Now Available: Sony Vegas Pro 10.0e
Several changes to Sony Vegas have been seen since NAB this year. At NAB, Sony previewed Vegas Pro 10.0d and a couple months later, 10.0e is now available. So what…
FCP X: Looking Forward While Looking Back
What FCP 1.0 might tell us about FCP X (and why theOklahoma Land Rush of 1893 is still instructive today) It’s now more than a week since the great FCP…
Dynamic Linking and Project Communication in Adobe Creative Suite
Dynamic Link goes one way for a given instance. But if you are using unique assets to make sure no sequences, comps, or clips — even if nested — are trying to make a round trip that would result in an endless loop (in which case the Dynamic Link with the circular reference is error-trapped and simply won’t work), then Dynamic Link has functionality in both directions. Several versions back, it was only one way. An After Effects composition could be put into Premiere Pro, but not the other direction way back when. That’s changed now though.
Video Workshop: An Introduction to Adobe CS5.5, Part One
An interview with Dennis Radeke, Senior Business Development Manager at Adobe. This video, and the two that follow it, compose our Introduction to Adobe CS5.5 workshop. We’re calling it a…
Video Workshop: An Introduction to Adobe CS5.5, Part Two
An interview with Adobe vendor Gary Bettan of Videoguys.com. In the second part of our Intro to CS5.5 workshop, I talk with one of the most widely recognized dealers in…