review, deliverables production and archiving that supports RED, ARRI, Aaton, Sony and other digital cinema cameras. | |
Effects to improve 3D modeling and design. Also, Trapcode’s Lux 1.2 now has 32-bpc support for deeper colour effects in After Effects.  | |
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ratio and colour gamut of current digital cameras and film stocks.  | |
I am onlining a show that has a new delivery requirement…not tape, but rather a Quicktime file with embedded audio. OK, this isn’t new…this is new to Avid. This is something I have been doing for a while in FCP land. Delivering ProRes or HQ files with 8 to 12 channels of embedded audio. This is something FCP 7 does rather easily…it was designed to do this. I have a tutorial on how to do that here. But this is something Avid Media Composer doesn’t do at all. Sure, you can export a Quicktime file, but only with stereo audio. Avid MC was designed for many things…outputting to tape, spitting out EDLs for online, cut lists for film…but not Quicktime with embedded audio.
If you're not a business don't tune out just yet. There will be some valuable info for you too. Whether you're a blogging mom, music/movie junky, a small retail business or a larger production studio you've all probably felt the growing pains of digital storage. You're left with a few option, buy another external drive, try yourself or pay someone to install a larger internal drive, buy a new computer or maybe abandon technology and go back to sticks and stones.So the worst case scenario has happened and after a day’s worth of filming for an all important client, you come back to the edit suite, connect your CF/SD card to your computer and then…. nothing happens. Your computer doesn’t detech your card or the video files have mysteriously disappeared. Your stomach takes a sky-dive and thoughts of the end of your career go through your head.
Okay, just a quick tip I worked out yesterday while I was trying to organize dailies for a documentary I am working on. The producer/directors had organized everything I needed to build out the Avid project on a hard drive: hours and hours of Quicktimes, all sorted out by subject or location. I was going to import them in one fell swoop, but I needed some way to organize the media once it came into the Avid. As it was, all the media arrived in one big bin. This is where the UNC File Path comes in.
What is Renderfarm.fi? feat. Big Buck Bunny Studio Lumikuu – YouTube.
I am very proud of how far Blender has gone. At this speed I can only imagine how much further they can go.
Blender 3D is a free 3D app to create animations, compositing, games and modeling. It is an amazing tool! And it is FREE! 
Check it out and let me know what you think.
Autodesk 123D Sculpt lets you push, pull, and pinch 3D models on your iPad. Free for a limited time. Global box-office revenue from 3D movie screens more than doubled in 2010, reaching a total of $6.1 billion, compared to just $2.5 billion in 2009, according to a new IHS Screen Digest Cinema Intelligence report. North America accounted for 36.1 percent of the total, and 32.8 percent — $2.0 billion — came from the United States.
motion graphics artists using Adobe software, and for 3D artists using 3ds Max and Maya for animation and simulations. | |
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some Canon XF cameras to pass metadata directly to the recorder via a single SDI cable.  | |
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With the radical change going on right now in the world of Final Cut Pro, I’ve had some FCP7 users ask me about maintaining an end-to-end ProRes workflow in Premiere Pro. There are questions whether it’s even possible. Well, I’m here to show you it IS possible, and how to make it go.
Sony’s RGB and S-Log upgrade option for the F3 is now shipping. At AbelCine, we’ve had the upgrade for some time; you may remember the video that we helped produce at NAB that showed off the camera’s S-Log capabilities. I get many questions about this new option and what exactly it changes in the camera, so I am putting together a three-part video series on the topic.
I’ve already seen some great questions out there regarding my last tutorial. There are a couple of advanced options that I skipped over in order to get the basics out there for everyone.
More...Below you will find a nice video with Jon Chappell of Digital Rebellion who shows off the must have "Pro Media Tools" for Final Cut Pro and FCPX. It is a suite of applications that help you work more efficiently, and more importanly, get you out of trouble. The video has been taped during the July meeting of LFCPUG, hosted by Michael Horton.
/usr/bin/avconvert --preset Preset640x480 --source /Convert/test.mov --output Converted/test.movI HIGHLY RECOMMEND THAT YOU WEAR HEADPHONES WHEN LISTENING TO THE VIDEO BELOW.
The basic thing you need to know about this microphone, is that it has two high quality mics that are spaced apart roughly the same distance as your ears are from one another. It also utilizes a sound modifier technology which captures immersive sound just like we hear it. Most, if not all mics out there are mono mics – and a normal stereo microphone cannot record the same information in the same manner. The beauty of this system is that you can handhold the Mitra mic or put it on a small tripod and let it roll. Just monitor your levels and you can have this incredibly immersive sound out of the box. You can then mix it into 5.1 if you want as well.
More...OK, to most of you from FCP land, keeping media separate by project is a no-brainer. Because FCP did that for you. In your Capture Scratch drive you had a Capture Scratch folder, and render folders, and in there you’d have different folders for different projects:
