The Working Pro
With Media Composer 6.5, Avid doubles down on the professional editing market
At NAB 2012, I had an opportunity to speak with Avid CEO Gary Greenfield.
Place Your Bets!
Sony Vegas Pro 11 offers GPU-accelerated performance, as well as stereoscopic 3D tools
In testing Sony Creative Software's Vegas Pro 11, I took advantage of the recent arrival of a loaner HP EliteBook 8560w laptop computer, as well as the HP Z800 Workstation (dual hexacore, 3.47 GHz CPUs, 18 GB, NVIDIA Quadro 5000).
Introducing Final Cut Pro X
Apple’s controversial makeover of its landmark NLE system
Has Final Cut Pro X replaced New Coke as the most misguided product launch in history?
Taking advantage of new features in Avid’s Media Composer 5.5 and Pro Tools 9
As the saying goes, necessity is the mother of invention. Or, more prosaically, we often can extend our creative skills through access to slightly more advanced tools than those with which we're currently familiar.
Audio Assist: Fix It In Post, Part One
Utilizing the audio tools bundled in your NLE system
I’m editing a couple of interviews, and there are some issues with air-conditioning noise and clothing noise due to a poor job in rigging a lavaliere mic.
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.
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.
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.’”
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.
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.