Shane Ross/Little Frog in Hi Def

EDITGROOVE…FOR FCP

ANOTHER cool tool for FCP released today, EditGroove. This bit of software manages preferences and user settings for multiple users…on one machine or across a network. If you are working on one machine one day, then move to another, you can load your keyboard layouts….

Technorati Tags: add-ons, Final Cut Pro, Tools

Rarely do I snark at other publications for their missteps, but this one really caught my attention. In its latest issue, Information Week has an article entitled “Which Video Software Package Should You(Tube) use?”. While it does contain a few tidbits of useful information, the recommendation of Adobe Premiere Pro CS4 as “The Pro’s Choice” displays a lack of knowledge of what the majority of professional editors use to ply their craft.

Don’t get me wrong I have nothing against Premiere Pro, but for starters the CS4 version, which the article refers to, hasn’t even been released yet. This obviously precludes it from having been evaluated by professional editors. What I find more remiss is the failure to mention the real tools of choice for the majority of professional editors such as offerings from Avid Technology and their Media Composer, Sony, with its hugely popular PC editing package Vegas or Apple’s Final Cut Pro.

Anyone with even a peripheral knowledge of the professional editing tools market knows Premiere is not “the pro’s choice”. And while it does offer professional level features, it is certainly not as widely used in professional circles as products from the vendors mentioned above. This is reflected in the reader comments, which turn out to be the most educational and frankly, most entertaining part of the article.

Information Week should stick to subjects it knows best, otherwise it might become known as “Bad Information Week”.

Technorati Tags: Adobe Premiere Pro, Avid, digital video, editing software, Final Cut Pro, Reviews, Sony Vegas

Adam Wilt/Pro Video Coalition

Adam Wilt Reviews the Panasonic AG-HPX170P 1/3”, 3CCD P2 Camcorder

The first review on the net of the successor to Panasonic’s hugely popular HVX-200. Adam gives his usual in-depth analysis of what is expected to be one of this year’s “next big things” in digital cinematography. This article will be of particular interest to indie-filmmakers, production houses and cinematographers…(more)

Richard Recco/QC Central

Cineon/DPX Pro for Final Cut Studio 2 3.0.3

This is a professional set of QuickTime components to read and write Cineon or DPX images. Features include:- Full Integration with Final Cut Pro 6 and Compressor 3
- Solid playback with FCP 6. (If system meets recommended requirements.)
- Sequence Presets for Cineon or DPX based projects
- 32-bit float pixel support during import and export. (more)

IFSS/International Film School, Sydney

Dual-System Sound Sync Options

One particular production workflow that can be a sticking point for many projects is working in post with dual-system sound requiring synchronization.

Dual-System (aka Double-System) sound is simply that where the audio has been recorded separately from the picture, to a physically separate recording device and medium. The main unit used in the school for dual-system is the Marantz solid-state field recorder. This records 2 channel audio to compact flash memory cards in standard 48k 16bit…. (more)

Merinews - India

Video editing: The visual cut

VIDEO EDITING has become an inseparable part of today’s media and entertainment industry and hence the increased demand for video editors. The secret behind making art aesthetically appealing lies in the techniques of editing… (more)

Technorati Tags: adam wilt., cinematography, digital filmmaking, HPX170, HPX170P, hvx-200, indie film

Today we have the 3rd installment of our 3-part interview with cinematographer John Leonetti, ASC, about his experience shooting his latest film, “Hybrid”, with the RED ONE digital cinema camera. In this last segment John and I talk about the state of screening dailies in present day Hollywood and whether he had a DIT (digital imaging technician) on set while shooting “Hybrid”. I then get down to brass tacks and ask John my two most pressing questions; his feelings about the future of celluloid and if he thinks the RED digital cinema camera is revolutionary enough to change the balance of power in Hollywood.

iPod/iPhone/iPod Touch - Small
Windows Media Format

Link to Part I
Link to Part II

Technorati Tags: 4K, Cameras, cinematography, digital film, high definition, RED digital cinema, red one, tapeless workflow

Today we present part one of a two part segment on Red Rock Micro’s M2 Cinema Lens Adapter. 35mm lens adapters have really given independent filmmakers on limited budgets the opportunity to get a cinematic look while shooting on video. Since it’s introduction, the M2 has garnered much praise and now has quite a following from those working in the “pro” sphere, with filmmakers utilizing the adapter on music videos, commercials and feature films.

In this first part of our spotlight, Los Angeles based independent filmmaker and director Stefan Gildden gives us some insight on why he decided to purchase the Red Rock Adapter and what type of work he uses it for. He then takes us through each component of the product as mounted on his Panasonic HVX-200. Finally, we talk about some precautions that should be taken into consideration when shooting with the Red Rock M2.

iPod/iPhone/iPod Touch
Windows Media Format

Technorati Tags: 35mm, cinematography, digital cinema, film look, hvx-200, indie, lens adapters, micro X, red rock micro

In today’s world of whiz bang, high-tech, digital editing, the power of the lowly overlap cut has been all but lost in the tumult. I’m sure many of you have heard the term overlap, pre-lap or post-lap before, but you may not know exactly why one would use this technique when creating a sequence. Understanding this subtle, simple and effective tool, which editors pull from their bag of tricks every day, will make you a more seasoned and better editor.

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Technorati Tags: audio, avid media composer, Editing, Final Cut Pro, J-Cut, L-Cut, overlap, post-lap, pre-lap, Sound, techniques

Today I profile storage supplier Dulce Systems, specifically their new ProRX RAID solution for Final Cut Pro and other high data-rate creative applications. Dulce has a reputation as being one of the best and most reliable vendors in the storage marketplace, and as this profile demonstrates, they have long and extensive knowledge of mass storage products and their customers needs. I sat down with their DoTS (Director of Technical Stuff) Robert Leong who gave me the details on the ProRX. Enjoy.

Click Here for a Window Media Version of this segment

Technorati Tags: avid media composer, disk array, Dulce, fiber channel, Final Cut Pro, network storage, RAID, Storage, XSAN

For those working on the Mac version of Avid’s Media Composer 3.0 with XDCAM EX footage shot with Sony’s new PMW-EX1 camera, there is an issue with importing that you should be aware of. This video Quick Tip will walk you through it. Take a look.

Technorati Tags: avid media composer 3.0, Cameras, digital cinema, EX-1, format conversion, HD, PMW-EX1, Sony, tapeless workflow, workarounds, XDCAM EX

Here is the second part of my interview with Joe Fordham, director of the new short “The Glitch” and his cinematographer Tom Gleason. Here Joe tells us how he met his composer Laurent Watteau, who lives and works in Paris, online through the message boards at Film Score Monthly.com. I also ask Joe how he plans to get his film in front of an audience and any advice he might have for those thinking of making their own indie film.

Technorati Tags: cinematography, composers, digital cinema, directing, distribution, Editing, film festivals, film music, film score, Final Cut Pro, indie film, Visual Effects

Camera Operation and Post Production Guide for Final Cut Pro.

As a new Sony PMW-EX1 owner, I was jazzed to receive my copy of Call Box Live’s Guidebook to the EX1, an in depth look at Sony’s first mass market CineAlta™ HD camera. For independent film-makers this camera has been causing a bit of a stir. One reason might be that CineAlta™ is the same technology found in Sony’s motion picture camera line, including the 250K F35. With multiple frame rates, full 1920×1080 24p acquisition mode and HD-SDI output, Sony was clearly looking at putting a dent in Panasonic’s dominance of this part of the market, and they really loaded the camera with features pretty much beyond comparison in the price range. The hubbub continued at NAB 2008 when Sony announced a new sibling to the EX1 the EX3, which sports several additional innovations, and has interchangeable lenses.

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Technorati Tags: Cameras, EX1, Final Cut Pro, instructional DVD, Sony PMW-EX1, tapeless workflow, Tutorials

Today we present Part II of my interview with Dan Lebental, film editor of Paramount Pictures and Marvel Entertainment’s, IRON MAN.

In this segment Dan talks about his experience cutting on the Avid Media Composer, working with the visual effects team (upwards of 800 people) at ILM and the economics and intricacies of cutting a film with nearly 1000 visual effects shots. We go on to discuss the state of, and need for, industry accepted digital post production workflows. Finally, we talk about cutting IRON MAN utilizing the Avid DNX36 codec, and his first experience cutting a studio feature in HD. Enjoy.

Technorati Tags: avid media composer, blockbusters, digital editing, digital film making, Editing, editors, feature films, features, Hollywood, Iron Man, movies, Visual Effects