What Goes On In Vegas
Sony Vegas Pro 9.0 provides an intuitive environment for editors
My article “The Cutting Edge” in the December 2009 issue of HDVideoPro surveyed the range of PC-based NLE programs available.
Director David Fincher and cinematographer Jeff Cronenweth, ASC, unmask Facebook with the help of RED’s Mysterium-X sensor
Master storyteller David Fincher proves his penchant for the zeitgeist with his new film The Social Network.
Cinematographers adopt on-set color-management systems to maintain their original vision
Of all the disasters that can happen on set and on location, perhaps one of the most hair-raising has to do with color.
The Suite Spot
Adobe’s unified, all-in-one CS5 Master Collection allows you to move into new platforms
Now is the time to augment your “in-house” creative skills, and the Adobe Creative Suite 5 (CS5) Master Collection has something for everyone.
Video Assist: Running A Temperature?
Correcting the color temperature of your on-set monitors
I recently worked on a project where I had to deal with monitors that were in the shot.
The Desktop DI, Part II
NLE systems, stand-alone compositors and plug-ins help editors become colorists
Rob Carroll, President & CEO of Cine-tal, a manufacturer of color-calibration software for television and feature-film production, likes to think long-term. “Our business has been through a lot,” he says. “We spent years understanding and improving compression technology.
The Desktop DI, Part I
In part one of a two-part series, HDVideoPro explains DI versus color correction, as well as examines new desktop DI hardware
The story of digital intermediate (DI)—desktop or otherwise—begins with the DP. If you ask a typical Hollywood director of photography about color correction, he or she usually will reply, “Shoot for the look you want and don’t expect the colorist to ‘fix it in the mix.’”
Connect The Dots
From DP to DI, new clues in the postproduction industry signal a paradigm shift
Many great video people lost a lot of money investing in $100,000+ “online” tools like CMX and ADO just before the advent of Avid and the Video Toaster and the bottom of an entire market fell out.
ProRes Version 2.0
Apple releases three new flavors to Final Cut Pro 7’s lossless editing codecs
Perhaps the most significant upgrade to the suite is the expansion of additional ProRes codecs in Final Cut Pro 7.
Misinformation: Clean Machine
Does it take a big machine to play back live HD?
In my last column, I described the process of getting clips in many different formats onto a single timeline for playback in a live show.
Video Assist: Self-Storage
Can most common hard drives handle high-def?
What’s going on with storage, and when is it going to get better?
The State Of Post
The postproduction industry is seeing rapid change in both film and digital workflow
“The industry is always going through a metamorphosis,” offers Dennis Ho, president of Hollywood-based post house Digital Jungle Post, on the current state of postproduction.
Video Assist: Just Checking?
Many standards to choose from
In a previous issue, you were talking about color bars and laying them down on a master tape.
The Cutting Edge
Profiling the latest nonlinear editing systems to challenge Final Cut Studio’s buzz
In the earliest days of nonlinear editing, programmers attempted to regain traits of film editing, such as grabbing a clip from a flannel-lined bin and feeding it into a Steenbeck or Movieola edit machine.