Key companies are completing workflows and adding useful features to leading editing systems.
The job of synchronizing dailies and pushing out Timecode burn-in copies to Producers and those who need them, can be simplified and partly automated. It boils down to three simple steps:Â Synchronize any dual system audio with the video clips;Â Build a sequence;Â Add a TC filter to all clips in the sequence.
What to do with Final Cut Pro XML
There are dozens of third party applications that add functionality to Final Cut Pro using XML to communicate with Final Cut Pro. I’ll get to them later in the article, but first let’s look at what you can do with Final Cut Pro XML with nothing more than a text editor.Â The good thing is that you don’t have to understand XML to use it!
When to stay in the native codec of the source, and when to convert to something else
There is some confusion, and probably more than a little difference of opinion, in when to stay in the native codec of the source, and when to convert to some other codec for editing and output. In this article I plan on providing some reasonable guidelines, specific examples and what the exceptions might be.
Uploading Movies for YouTube with maximum quality
What people tend to forget is that you are sending YouTube a master for them to compress, therefore send the highest quality you can, that fits with their limitations.
What is XML and what does it mean for Final Cut Studio users?
You’ve probably heard the term XML and never been able to quite pin down what it means, because every time you see the term it seems to mean something different.
How2 Upgrade to Final Cut Pro 4 the Right Way
In this article, DV Guru Philip Hodgetts walks you step by step how to upgrade to Final Cut Pro 4 — the right way so that you’ll save yourself mistakes and headaches.
Why are my Final Cut Pro Productions darker on my clients’ PCs?
Gamma correction for Mac and PCs
Great Titles with the DV Codec
A heavily illustrated article showing how to avoid major problems caused by video interlacing and the DV codec to produce the best possible titles.
Media 100 844/X Lowers Price, Expands Line-Up
Just ahead of the release, Philip Hodgetts spent an afternoon interviewing Media 100 CEO John Molinari and VP of Corporate Communications, Mike Savello.
It’s official. Media 100’s new ‘Pegasus’ 844/X has been announced and Philip Hodgetts has given us the definitive analysis of the new product. You won’t find a more in-depth report.
In 1994 Media 100 revolutionized the video post production industry by bringing broadcast quality finishing to the computer desktop for the first time as the initial step in democratizing video. Can they do it again? How does the new Mission and Vision fit with the original vision that drove Media 100? Or was the sale of Cleaner and other software products to focus on the “Pegasus” project a mistake?
Is there still a business for Media 100 in editing?
The Non-linear Editing market is in a very interesting position right now.Â Â On the cusp between the first wave – integrated hardware based solutions – and mass market commoditization.
Displacement Mapping in Adobe After Effects
Two of the less well known features of After Effects’ Production Bundle are the Time Displacement Filter and the Displacement Filter. Both use the values of one image to affect the target image. In this tutorial, Philip Hodgetts first looks at the affect of the Displacement Filter first, then moves on to Time Displacement before discussing a source of gradient images suitable for Displacement and Time Displacement Mapping.