In Production:DaVinci Resolve 04 – Setting Up A Resolve System

In Production:DaVinci Resolve 04 – Setting Up A Resolve System
“In Production” is a brand new video chat program where hosts Carey Dissmore and Steve Oakley discuss tools and topics related to the video production business from their unique perspective as independent production business owner/operators.

In this episode: Carey and Steve get into setting up a Resolve system and what machines will run it. We talk about GPU acceleration, CUDA vs. OpenCL, Red Rocket, laptops, iMacs, and Resolve Lite-the FREE version.


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Importing 3D models into Adobe's After Effects

Importing 3D models into Adobe's After Effects

Most people think that the only way to work with real extruded 3D elements or 3D models inside of After Effects, is by purchasing a 3rd-Party Plug-in. Well, that's just not the case. In this tutorial, Kevin P McAuliffe show's you how, with a little help from Adobe's Photoshop, you can import and work with .3DS models inside of Adobe's After Effects, and have the model be effected by the 3D cameras in your compositions.

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DNxHD and ARRIRAW Options For Gemini 4:4:4 Announced

DNxHD and ARRIRAW Options For Gemini 4:4:4 Announced:

Recently, Convergent Design made some pretty exciting announcements concerning its popular Gemini 4:4:4 recorder. Firstly, they confirmed that Avid DNxHD support would be available as a free firmware upgrade in the third quarter of this year. The supported variants of DNxHD include 1080p24/25/30, 1080i60/50, and 720p60/50 at bit-rates of 220, 145, or 36Mbps. Compared to the uncompressed option, DNxHD 220x will allow for greater record times and smaller file sizes; for example, using two 1.8″ 512GB SSDs, you can record uninterrupted for approximately 12 hours.

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Dolby Expands From Audio Into Imaging Via HDR Technology

Dolby Expands From Audio Into Imaging Via HDR Technology:
PCmag.com reports that Dolby Laboratories has begun moving into the imaging space with a technology called JPEG-HDR, which it has reportedly licensed to Qualcomm. The format allows high-dynamic range images to be encoded into a single format, according to the company, without large file sizes or compatibility issues.
Read more and see images at http://www.pcmag.com/article2/0,2817,2400829,00.asp

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Filmsourcing - Filmmakers sharing recources

Filmsourcing - Filmmakers sharing recources

Adobe announces Project Primetime video platform, Highlights available now for iPad (Update: video) -- Engadget

Adobe announces Project Primetime video platform, Highlights available now for iPad (Update: video) -- Engadget
If you've been wondering what Adobe had in the works after laying Flash Player for mobile to rest, the wait is over. The outfit has unveiled the codenamed Project Primetime, the "industry's first fully integrated video technology platform" that will offer television-esque viewing sessions across your web-enabled devices. This tech plays nice with all "major" mobile platforms -- including iOS -- as well as desktop operating systems and smart TVs. Touting a workflow that pulls together streaming, content protection, analytics and advertising, the software will allow media providers to offer live and on-demand viewing on a number of internet-friendly devices. The first portion of Adobe's project, "Primetime Highlights," is available today for the iPad and showcases a video editor (pictured above) alongside the Auditude ad platform. Don't fret, though, support for other platforms is coming later in the year. While Primetime is on display for the first time at MWC, parts of the new tech will see daylight throughout 2012. If you're looking for some more details, hit the full press release below.

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HUGO filmmakers break creative and technical ground with Adobe Creative Suite 5.5 Production Premium software

HUGO filmmakers break creative and technical ground with Adobe Creative Suite 5.5 Production Premium software:

“Adobe Premiere Pro is our Swiss Army knife. We can put virtually any file onto the timeline—or mix and match a variety. The Adobe Mercury Playback Engine decodes just about anything and plays it back so quickly that as soon as we think of an idea, we can all view it and start fine-tuning.”

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FINALLY, a reason to use a quicktime reference movie!

FINALLY, a reason to use a quicktime reference movie!:
I’ve known about reference movies for a long time, but I have never had the opportunity to use one before today. I am working on a project that is roughly 2k x 1k and uses a still sequence from cinema 4d. Final cut doesn’t really play very well with image sequences, so I used quicktime 7 to import the image sequence and export a reference movie. I saved a TON of disk space, and a fair bit of image quality as well, seeing as it doesn’t have any additional compression on it.

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"Incredible" updates from RED are coming? REDgamma3 and REDcolor3 out soon!

"Incredible" updates from RED are coming? REDgamma3 and REDcolor3 out soon!:
Some may joke that all RED's products are always in beta state but one thing is sure - the company knows how to make its products better thanks to new software versions and we can expect some improvements thanks to the upcoming REDgamma3 and REDcolor3 updates. They will be compatible with RED's cameras and REDCINE-X.

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Getting Final Cut Pro projects and/or media into Avid Media ComposerGetting Final Cut Pro projects and/or media into Avid Media Composer

Getting Final Cut Pro projects and/or media into Avid Media Composer
On any given project, there are many editors, in many disciplines, and spread across many miles. Therefore, getting YOUR stuff to work with THEIR stuff is imperative. Thus, I present to you the best ways to get Final Cut Pro projects and/or media into Avid Media Composer.

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HD Monitor Calibration - SMPTE, ARIB, and White Balance

HD Monitor Calibration - SMPTE, ARIB, and White Balance:
I haven't spent a whole lot of time revisting old entries on this site. The most widely read post here was one written January 8, 2008 about HD Monitor Calibration using ARIB Bars. It's one of the only articles on the net that specifically addresses working with ARIB which is the reason for the traffic. Because of its continued use, I feel an overhaul probing a little deeper into the topic is beneficial to anyone referencing it. The article that used to reside here will be replaced by this current entry.


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MovieChapterizer 4 – Add Chapters to QuickTime Player

MovieChapterizer 4 – Add Chapters to QuickTime Player:
MovieChapterizer opens up a world of cool chapter usage in QuickTime Player. Use MovieChapterizer to create chapter names for favorite sections of your movies. MovieChapterizer 4 provides an easy way to add chapter names into movies you can view with QuickTime Player. Use MovieChapterizer to add chapter names to numerous points in your movies by simply moving the playhead slider and entering chapter names wherever you want. Then open the movie in QuickTime Player and the chapter pop-up button allows you to navigate directly to the chapter markers.


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Pentesting Mac OS X Server With Nessus 5

Pentesting Mac OS X Server With Nessus 5:
One of my favorite tools for penetration testing is Nessus from Tenable Network Security. Nessus 5 is the latest release in the family of vulnerability scanners that is probably amongst the most prolific. Nessus 5 does discovery, configuration auditing, profiling, looks at patch management and performs vulnerability analysis on a variety of platforms. Nessus can also run on a Linux, Windows or Mac OS X and can be used to scan and keep track of vulnerabilities for practically any platform, including Mac OS X.

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DaVinci Resolve Lite – more tutorials

DaVinci Resolve Lite – more tutorials:
Here is a decent 15 minute tutorial that will help you get started with using DaVinci Resolve Lite. Dan walks through how to get set up, bring in media and work with R3D footage.

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Colour grading a TV commercial using Assimilate Scratch

Colour grading a TV commercial using Assimilate Scratch:
Freelance colorist Andreas Brueckl has some great tutorials for colour grading using Assimilate Scratch. This whirlwind tutorial reveals the process he used for a TV commercial which involved a lot of complex alpha matte based grades. This tutorial gives you some idea of the power and simplicity that Scratch can provide.

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Understanding 4K and the future of cinema

Understanding 4K and the future of cinema:

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Transfering Your Timeline From Avid Media Composer 5.5 to Premiere CS5.5

Transfering Your Timeline From Avid Media Composer 5.5 to Premiere CS5.5:
Here is a video tutorial showing how to get your sequence out of Avid Media Composer 5.5 to Premiere CS5.5 using your original media, not QT Reference files that link back to your DNxHD files.

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Final Cut Pro Z: Touch to Play

Final Cut Pro Z: Touch to Play
Ok, I’m not sure if he uses cocktail napkins but his Tactile Interface Movie Editing (T.I.M.E.) system definitely deserves a toast. The video of him tapping and swiping his way through FCP X has been viewed by over 5000 people and counting on Vimeo.

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EFX AB Compare

EFX AB Compare
This plugin lets you compare the current layer (or composition if applied to an Adjustment Layer) to a reference layer.
You can compare them using a split screen approach or visualize the differences between them. Watch the demo for more details.

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Small Tree Unveils Free Storage System Performance App at NRB 2012

Small Tree Unveils Free Storage System Performance App at NRB 2012:

STREAMS Counter Enables Post-Production Professionals to Test Storage I/O Performance (Nashville, Tennessee--February 21, 2012) Small Tree has unveiled STREAMS Counter, a storage system performance application utility, at the National Religious Broadcasters Convention.

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Sony SRMemory Workflows

Sony SRMemory Workflows:

With the Sony F65 and the SR-R1 recorder come a new set of workflow processes. At AbelCine, we are always trying to stay ahead of the curve, even as technologies such as these are evolving. Sony’s F65 and the SR-R1 both record to SRMemory cards, which is high-speed memory that enables recording of F65RAW video at up to 120 fps. To work with these cards, Sony has released the SR-PC4 and SRPC-5 transfers stations, which present a unique way of playing back and downloading content.


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Image Systems NAB 2012 preview - Nucoda expands grading solutions

Image Systems NAB 2012 preview - Nucoda expands grading solutions:

At NAB, Image Systems will present new solutions for onset and dailies, with toolsets and colour workflow capabilities extended from the production environment to the post suite:

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Pomfort - LiveGrade: Interactive Look Control via SDI

Pomfort - LiveGrade: Interactive Look Control via SDI
Pomfort's LiveGrade application uses Blackmagic HDLink capabilities for live manipulation of HD-SDI images and offers a complete solution for the creation, manipulation and management of looks.

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ARRI Group: ARRI ALEXA in-camera recording using AVID’s DNxHD MXF file format

ARRI Group: ARRI ALEXA in-camera recording using AVID’s DNxHD MXF file format
The Avid DNxHD recording function for ALEXA will be distributed as a cost-effective, downloadable software upgrade during January 2012 and is now entering Beta phase testing with selected broadcast productions. Avid DNxHD codec data rates of up to 145Mbit/s (bit depth 8 bit) and 220MBit/s (bit depth 10 bit) will be supported in the initial release. Avid’s highest quality version of the codec, Avid DNxHD 444, will record at 440Mbit/s at 10 bit depth and will be provided as an upgrade for all adopting customers later on during the first quarter of 2012.

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EDL to SubCap Converter

EDL to SubCap Converter:

When turning over VFX sequences it's useful to put titles over all VFX shots that display their shot IDs. This tool helps you use an EDL with shot locators as the source for Avid's SubCap effect.

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Auto Create Titles!

Auto Create Titles!:

Manually entering titles such as lower thirds is not very much fun. Marquee, a suite of title tools included with Avid Media Composer and Avid DS, has a unique "AutoTitler" tool.

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X2Pro Audio Convert

X2Pro Audio Convert
X2Pro Audio Convert is a cutting edge conversion application for delivering Final Cut Pro X projects to Avid Pro Tools for audio finishing.

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Alexa LUT using Avid Color Correction

Alexa LUT using Avid Color Correction
Apply the Color Correction Effect on an Alexa logC clip or put it on an empty track above to view the footage in linear space with gamma and highlight roll off.

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ARRI Group: ARRIRAW CONVERTER

ARRI Group: ARRIRAW CONVERTER
In postproduction, ARRIRAW files must be transformed into a standard file format for conforming and color correction. The most commonly used format is SMPTE DPX (Digital Picture eXchange). With ARRIRAW Converter (ARC), ARRI provides a free software tool to view and convert ARRIRAW data into DPX files for postproduction.

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Arri Alexa ProRes Workflow for Avid Media Composer 5+ – Updated – Freelance Feature Film, Commercial and Music Promo Colorist -- Jack Jones Freelance Colourist

Arri Alexa ProRes Workflow for Avid Media Composer 5+
Since starting over with this website around 6 months ago, one of the more popular pages, and reasons people end up on this website, is an article I wrote entitled “Arri Alexa ProRes Workflow for Avid Media Composer 5+”

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3net: News

3net: News
February 17, 2011 – Culver City, Calif – 3net, the 24/7 3D network and 3D television production studio, along with joint venture partners Discovery, Sony and IMAX, today announced the release of the most complete guide to 3D television production ever assembled. Featuring stereoscopic expertise from the top producers and technical advisors of the company and its corporate ownership, The 3D Production Guidehas now been made freely available to the public today via multiple websites, it was announced today on behalf of 3net and its corporate partners by Tom Cosgrove, President & CEO of 3net.

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VideoLAN - VLC 2.0 Twoflower

VideoLAN - VLC 2.0 Twoflower
With faster decoding on multi-core, GPU, and mobile hardware and the ability to open more formats, notably professional, HD and 10bits codecs, 2.0 is a major upgrade for VLC.

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A RED post production workflow

A RED post production workflow:

When you work with RED Digital Cinema’s cameras, part of the post production workflow is a “processing” step, not unlike the lab and transfer phase of film post. The RED One, EPIC and SCARLET cameras record raw images using Bayer-pattern light filtering to the sensor. The resulting sensor data is compressed with the proprietary REDCODE...

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Blackmagic Design Adds Timecode and DNxHD QuickTime Support to HyperDeck SSD Recorders

Blackmagic Design Adds Timecode and DNxHD QuickTime Support to HyperDeck SSD Recorders:

HyperDeck 2.5 Software Update public beta is available to download free of charge now! (Fremont, California--February 17, 2012) Blackmagic Design today announced the release of HyperDeck 2.5 public beta, a new software update that adds embedded timecode support, DNxHD recording to QuickTime and SDI camera record triggering to its HyperDeck SSD recorders.

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BitTorrent Live: Cheap, Real-Time P2P Video Streaming That Will Kill TV | TechCrunch

BitTorrent Live: Cheap, Real-Time P2P Video Streaming That Will Kill TV | TechCrunch
Television is going the way of the dinosaur, and the deadly comet is called BitTorrent Live. Today, Bram Cohen, the author of the BitTorrent peer-to-peer sharing protocol, demoed his latest creation at the SF MusicTech Summit.

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Infinite Z Showcases zSpace Virtual Holographic Simulation System

Infinite Z Showcases zSpace Virtual Holographic Simulation System:

Strategic Partnership Enables Company to Expand its Footprint in Design Industry Infinite Z, Inc.,® a technology provider that enables virtual-holographic 3D imagery to bring designs to life, today announced a technical proof of concept of the zSpace® immersive user experience...

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AJA Releases Feature-Packed v3.0 Upgrade for Ki Pro and Ki Pro Mini

AJA Releases Feature-Packed v3.0 Upgrade for Ki Pro and Ki Pro Mini:

(Grass Valley, California--February 14, 2012) AJA Video Systems delivered v3.0 firmware for its Ki Pro and Ki Pro Mini 10-bit 4:2:2 flash disk recorders today. Packed with features that give users greater flexibility and capability for filmmaking, broadcasting and everything in between, v3.0 firmware is available as a no-cost download for current Ki Pro and Ki Pro Mini customers.

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KineRAW Digital Cinema – China’s answer to the Alexa?

KineRAW Digital Cinema – China’s answer to the Alexa?:
Wentao Marvin takes a first look at KineRAW, a Chinese entry into the world of digital cinema. Production looks to be rolling out in February with an Super 35 version priced around $8000 (body only).

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There Is No “Crop Factor”

There Is No “Crop Factor”:

(Rant Warning) The term crop factor has spread like wildfire across the motion picture industry ever since DSLR manufacturers introduced full frame video sensors. Back in the earlier photo days when everyone was using 120 film (56x56mm) Kodak decided to introduce 35mm film (24x36mm) for smaller, more compact cameras. This was a HUGE “crop factor”…

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A Valentines present from Canon - The MXF ingest plugin for Final Cut Pro X

A Valentines present from Canon - The MXF ingest plugin for Final Cut Pro X
Hot of the press, Canon have released their plugin which takes the MXF files from cameras such as the new EOS C300 and allows the footage to be ingested into Final Cut Pro X. In fact the news is so new Canon haven't posted their press release yet. We will detail the information when it becomes available.

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DFT Introduces FLEXXITY V1.5 Post Software for MAC

DFT Introduces FLEXXITY V1.5 Post Software for MAC | Digital Production Buzz
DFT Digital Film Technology, provider of high-end film and digital post production solutions that preserve, manage, and deliver your pictures, has announced the eagerly awaited FLEXXITY for the Mac. In addition to supporting a Linux workflow, FLEXXITY (V1.5) for Mac provides the post software tools for dailies, playout, and archive applications for facilities with an existing Apple infrastructure.

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Facilis TerraBlock 5.5 Adds Support for Linux

Facilis TerraBlock 5.5 Adds Support for Linux:

Facilis Technology’s version 5.5 of its TerraBlock Shared Storage System, a new software release, has the Facilis Shared File System for Linux including integrated server spanning and mirroring and Adobe Premiere Pro project sharing.

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Creating Motion Graphics Hidden Gems: Chapter 26 – Color Management

Creating Motion Graphics Hidden Gems: Chapter 26 – Color Management:

If you’ve ever noticed that a video played back on television looks different when played back on a computer, wondered why your photos don’t look the way you remembered them, or mused how colors on video look different than they do on film, you’ve experienced issues related to color management. Photoshop users and print professionals take color management for granted as a necessity in their line of work; conversely, very few video professionals are even aware of the issue – and virtually no video content creation programs take it into account. After Effects is a shining exception.

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Free digital specification guides and short cut cheat-sheets

Free digital specification guides and short cut cheat-sheets:
If you need help remembering how fast transfer speeds are over firewire 800, or what the target bit rates are for RED-RAW or what the shortcut is for ‘add edit’ in FCP7 then look no further than worldwide-studios.com for a complete set of digital specification cheat-sheets. You’ll find info on all the latest digital camera formats as well as post-production codecs and interfaces.


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Michael Cioni talks 4K workflow and FCP proxies for The Girl with the Dragon Tattoo

Michael Cioni talks 4K workflow and FCP proxies for The Girl with the Dragon Tattoo
Whatever you are doing, stop, get yourself a coffee and spend the next 30 minutes watching Michael talk about large format workflow. Packed full of information, this recent LAFCPUG presentation is not to be missed.

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Installing Memory in an iMac

Installing Memory in an iMac:

I installed a 16GB upgrade into the iMac yesterday. It was probably one of the easiest memory upgrades I've done, but still wasn't quite as simple as it seemed in the diagrams on Apple Tech Note.

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Cine-tal Announces DAVIO 2.0

Cine-tal Announces DAVIO 2.0:

Major upgrade to the DAVIO color management and 3D stereo processor (Indianapolis, IN--February 13, 2012) Cine-tal Systems, a developer of collaboration, monitoring and image processing solutions, announces the release of DAVIO 2.0. The latest evolution of the product will debut this week in the THX and SpectraCal Exhibits at the Hollywood Post Alliance Tech Retreat. The award winning DAVIO Video Processor provides solutions for workflow color management, monitor or projector calibration, 3D stereoscopic processing and the generation of graticules and markers.

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(Affordable) ARRIRAW is Here

(Affordable) ARRIRAW is Here: I've known about these developments unofficially for months now but today Convergent Design has indeed confirmed that their new Gemini 4:4:4 recorder is ARRIRAW capable. According to CD's Press Release:


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ASSIMILATE Announces Breakthrough 48 FPS Playback of RAW RED EPIC Stereo Streams

ASSIMILATE Announces Breakthrough 48 FPS Playback of RAW RED EPIC Stereo Streams:

ASSIMILATE, Inc today announced that SCRATCH® and SCRATCH Lab® version 6.1 have achieved never-before-seen performance levels in the playback of RED EPIC Stereo content. SCRATCH Lab now provides DITs, DPs and Directors with dailies playback and review of RAW Stereo EPIC streams, direct from the camera at a full 48 FPS. SCRATCH 6.1 finishing systems can achieve the same 48 FPS playback rate of EPIC Stereo content even after sophisticated color grades and VFX have been applied.

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A growing role for Open Source in media production

A growing role for Open Source in media production:

EBU Members and other media professionals are invited to share their experiences with open source tools at this year's Libre Software Meeting in Geneva in July.

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דראקו קיבלה את ייצוג Blackmagic Design בישראל

דראקו קיבלה את ייצוג Blackmagic Design בישראל

דראקו, הנציגה הבלעדית של AVID בישראל משנת 1993, תשווק מעתה את Blackmagic Design במסגרת המוצרים המשווקים על ידה.


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Fotokem Budapest Uses Baselight for Near-Set Grading of "In the Land of Blood and Honey"

Fotokem Budapest Uses Baselight for Near-Set Grading of "In the Land of Blood and Honey":

Fotokem Budapest processed dailies for the film, which was largely shot in Hungary. It also hosted screening sessions for Jolie and the film's crew. Those screenings were held in the facility's DI grading theatre, with a Baselight EIGHT used to make real-time grading adjustments. Working under the guidance of Academy Award-winning cinematographer Dean Semler, Senior DI Colorist Benedek Kaban refined the look of the dailies and applied special colour treatments.

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LUT Translator

LUT Translator:
"Translate all your look-up-tables in all formats within one application. LUT-Translator reads and writes any 1D and 3D LUT format and keeps your LUTs organized in a document-based database. Any LUTs can be easily combined. Write as many duplicates in different formats as needed from any LUT with one easy step."















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Looks, LUTs and Live Grading the ALEXA | CineTechnica

Looks, LUTs and Live Grading the ALEXA | CineTechnica

When Arri released the SUP 4.0 firmware for the ALEXA, they also added the ability to create color ‘Looks’ to load into the camera. These Look files are similar to scene files found in other cameras, but they aren’t burned into the Log C recording of the camera. Instead, they can be used in post by converting them to LUTs using Arri’s LUT Generator.

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Scratch Lab

Scratch Lab:















I've been demo-ing Scratch Lab by Assimilate - very smart, very slick software for the creation of on-set deliverables. It's interesting because there are a lot of tools available now for transcoding raw or uncorrected camera media into great looking, synced up files ready to go for the editor or whomever else needs them. Among these workflow options we run the price gamut from free to moderately expensive to extremely expensive and all of them basically do the same thing but with varying degrees of efficiency and economy.

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Final Cut Pro X: Xsan Best Practices

Final Cut Pro X: Xsan Best Practices:

This document is designed to help you determine the best way of working with a SAN, such as Xsan, to speed up creative work and eliminate copying files across networks or hand-carrying hard drives on multiuser projects.

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A look at AVID media composer 6

A look at AVID media composer 6:
Earlier this week we had an in depth reassesment of FCP X by 7 different editors and it was fascinating reading. Today my good Canadian friend, Tej Bebra, has written an article for me about Avid Media Composer 6. Avid, like many, was my first professional NLE, although I learnt to edit tape to tape. I was a very proficient and fast Avid editor. I loved it. But it was expensive to buy and needed dedicated hardware (It has also been software based for some time now though). That is why I went down the Final Cut route, from 1 through to 7. Then I came unstuck when I found 7 was not using my mac fully, both is processor or memory and then it was dumped for X which I had issues with.


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Color grading and finishing in Premiere Pro CS5.5 | PremierePro.net

Color grading and finishing in Premiere Pro CS5.5 | PremierePro.net
This video tutorial teaches how to do primary, secondary and some pretty advanced color correction in Adobe Premiere Pro CS5.5. You’ll learn how to create masks for color correctioninside of Premiere Pro, and to tweak parts of the image without affecting others. You’ll learn how to use Jarle’s Grading Tools (a collection of useful presets) to speed up your own color grading workflow.

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Twixtor: When and How to use Tracking Points : RE:Vision Effects Tutorial

Twixtor: When and How to use Tracking Points : RE:Vision Effects Tutorial
This Tutorial shows how to get better results using Tracking Points for more complex shots and to help get rid of warping or ghosting. Tracking Points are available in Twixtor Pro for AE, FCP (pre-FCPX), Premiere Pro, Nuke & OFX hosts such as Scratch & Composite.

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Processing and Postproduction: How to Manage Your RED Camera Data

Processing and Postproduction: How to Manage Your RED Camera Data

When you work with RED Digital Cinema's cameras, part of the postproduction workflow is a "processing" step, not unlike the lab and transfer phase of film post. RED ONE, EPIC and SCARLETcameras record raw images using Bayer-pattern light filtering to the sensor. The resulting sensor data is compressed with the proprietary REDCODE codec and stored to CF cards or hard drives. In post, these files have to be decompressed and converted into RGB picture information, much the same as if you had shot camera raw still photographs with a Nikon or Canon DSLR.

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DaVinci Layout - esperimentocinema

davinci_layout - esperimentocinema

Unleash the power of Davinci Resolve on your iPad! This is Esperimentocinema Davinci Resolve Layout for iPad. It allows to use the mac keyboard shortcuts of Resolve on your iPad, advanced playback functions and it can launch various tabs of Davinci Resolve, Render tab included. To control the color parameters, curves, etc. we suggest to use a pen tablet. A resolution of computer monitor of 1920x1200 is recommended to use all the functions of the layout.

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Adobe gives Photoshop CS6 a new graphics-chip boost | Deep Tech - CNET News

Adobe gives Photoshop CS6 a new graphics-chip boost | Deep Tech - CNET News
The graphics processing unit (GPU) speeds the Liquify tool, which lets people smear images in a finger-painting way, according to a Zorana Gee, a Photoshop product manager. She demonstrated the change in a YouTube video, the second in what looks to be a series of previews of the software. An earlier Photoshop CS6 preview showed new raw image editing tools adopted from the Lightroom 4 beta, a darker user interface, and improvements to brush size selection. Expect Adobe to add more previews but to withhold some goodies for the official launch sometime later in the first half of 2012.

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Video: “How Technology is Influencing Storytelling & Film” « Vincent Laforet's Blog

Video: “How Technology is Influencing Storytelling & Film” « Vincent Laforet's Blog
I had the pleasure to be part of a panel at the Sundance Film Festival last week. Adobe invited filmmakers Sharlto Copley, Rob Legato, Jacob Rosenberg and myself to share some of our thoughts on where all of this new technology is taking us as filmmakers.

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Avid Media Composer 6.0.1 UPDATE (important for software only editors)

Avid Media Composer 6.0.1 UPDATE (important for software only editors):

If you’re an Avid Media Composer user running off software only mode this update is very important. Media Composer 6 was causing Audio Underrun errors to pop up regardless of the audio content of the sequence if you weren’t using hardware. Up until today the fix has been to run the console and use a debug mode that would bypass the error. Trouble was that fix would cause the audio to drift out of sync when editing large complex sequences. Head over to the Avid download center to update.

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Quantel and the Rise of Digital Pt1

Quantel and the Rise of Digital Pt1:
After 120 years of entertaining audiences, countless movies and pioneering works on the format, celluloid 35mm film looks to be on the way out as the industry picks up the pace to adopt digital for major motion picture capturing, post and distribution.


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How to Import C300 Footage in Avid, FCP X and Premiere

How to Import C300 Footage in Avid, FCP X and Premiere:
With every new camera, comes many new questions about workflow. The term ‘workflow’ can be fairly broad, but today I am looking at importing C300 footage into various non-linear editing systems (NLE). The C300 uses the same workflow as the Canon XF series of cameras (which includes the XF305, XF300, XF105 and XF100), because it records in the same format. However, the tools for importing the footage have been updated by Canon. Below, I outline how to ingest footage onto a hard drive, and how to import into Avid Media Composer, Final Cut Pro 7, Premiere 5.5 and Final Cut Pro X. Keep reading for a brief how-to on each process.

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Premiere CS5 Endless Conforming Fix | Kearwood Gilbert's Site

Premiere CS5 Endless Conforming Fix | Kearwood Gilbert's Site

I capture video in HDV format, which uses compressed audio. When importing these clips into Adobe Premiere Pro CS5, the video gets "indexes" and the audio gets "conformed". Conforming audio essentially involves decompressing it and stretching it out to 32-bit samples that are more efficient for non-linear editing. These 32-bit samples are stored in Adobe's proprietary CFA files that are either stored with your source clips or in a subdirectory of your home directory.

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The ACES Color Space: The Gamut to End All Gamuts - International Business Times

The ACES Color Space: The Gamut to End All Gamuts - International Business Times
A development in the field of color science called ACES will let video professionals work with footage less destructively at the post-production end of the pipeline. This has immediate ramifications for shooters, colorists and visual effects houses and will be accomplished by utilizing a much wider gamut than the current specification for high-definition video.

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Looks, LUTs and Live Grading the ALEXA

Looks, LUTs and Live Grading the ALEXA:

When Arri released the SUP 4.0 firmware for the ALEXA, they also added the ability to create color ‘Looks’ to load into the camera. These Look files are similar to scene files found in other cameras, but they aren’t burned into the Log C recording of the camera. Instead, they can be used in post by converting them to LUTs using Arri’s LUT Generator. These looks then travel as metadata with the clips recorded (through the XML file). Look files can be created by saving a still from the camera and loading it into the Arri Look Creator, which can then modify the still and output a look. A company called Pomfort, based out of Munich, was actually the first to work with Arri Looks. Their software, Silverstack SET, manages data on set and allows the manipulating of Arri Looks before sending them into a NLE or Color Grading suite. Silverstack SET is a fantastic tool for working with ALEXA material in general, and now Pomfort has come up with a new piece of software to take the process of Look creation a step further.

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Home page | Apertus - Open Source Cinema

Home page | Apertus - Open Source Cinema

The goal of the Apertus project is to create a powerful, free (in terms of liberty) and open cinema camera that we as filmmakers love to use. The idea of using an Elphel camera for this particular purpose was born in 2006, found many followers over the years and ultimately resulted in this community driven project entitled "Apertus" (word definition) and this website.

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Keeping Mobile Avid Media Updated | Editing Brain Dump

Keeping Mobile Avid Media Updated | Editing Brain Dump
On most of the films that I’ve worked on, I’ve needed to keep at least two Avid systems up to date. This could be because an editor wants to be able to cut from home, or the Director wants the ability to cut on set. To handle this I wrote a Terminal (bash) script that searches for any new MXF or OMF media on specified volumes since the last time the script was run. On first-run, the script does nothing but set the date to compare against the next time the script is run, though if you need to change that instructions are below.

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LightSpace CMS Connects to Jeti Reference Spectroradiometers

LightSpace CMS Connects to Jeti Reference Spectroradiometers:
The Light Illusion LightSpace CMS now has a probe interface for the Jeti Specbos 1201/1211 Reference Spectroradiometers, which can accurately calibrate all types of production monitors and projection screens.

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SAN build almost complete… Openfiler, SANmp and fibre channel network all operational

SAN build almost complete… Openfiler, SANmp and fibre channel network all operational:
Complicated is the word that comes to mind. This is the single most challenging IT related project I have undertaken to date. Building a open-source, low-cost, high-performance SAN from scratch is not for the timid, and certainly not for anyone without a working knowledge of the hardware involved or a fear of the command line. Linux knowledge is a prerequisite as many of the guides and helpful step by step how-to’s I will refer to were not totally self sufficient.

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Review of the RED Scarlet-X

Review of the RED Scarlet-X:
The Scarlet-X was finally launched on November 3rd last year, just a few hours after Canon announced the C300. Initially people, including myself, were underwhelmed by the C300 compared to the Scarlet. But things change. Once I read up on what the Scarlet could actually do, I realised that this is not a camera in competition with the C300 at all. It is a camera that occupies a unique place in the market. Whereas the C300 is an all-rounder, the Scarlet is a specialist camera. It is simply the cheapest way to acquire 4k video with a super 35mm sensor. Basically they’re taking chips made for the RED Epic which apparently hadn’t passed the QC and sticking them in the same (more or less) housing as the EPIC-X and limiting the features. That is it in a nutshell. A superb 4k acquisition camera.



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Adding Canon Picture Styles to 5D MKII, 7D & Other Canon Cameras:

Adding Canon Picture Styles to 5D MKII, 7D & Other Canon Cameras:: Following up on The VW 154 Custom Picture Style Collection Picture Profile Post some have asked for instructions on how to install the Picture Styles Picture Profiles or CPS. So we thought we would help out those that are a little lost putting the Picture Styles Picture Profiles onto their cameras. All information set out...

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Panasonic reveal London Olympics Super Hi-Vision recorders | 3D News from 3D Focus

Panasonic reveal London Olympics Super Hi-Vision recorders | 3D News from 3D Focus

3D Focus readers will be aware that three 15 metre Super Hi-Vision outdoor screens will be installed across the UK to display live Olympic coverage at 16 X the resolution of current HD standards but Panasonic will also be recording the event using a specially designed tower.



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Neat Video noise reduction available for SCRATCH 6.1

Neat Video noise reduction available for SCRATCH 6.1:

Neat Video is a video filter designed to reduce visible noise and grain in video footage produced by digital video cameras,camcorders, TV-tuners, digitizers of film or analog video.

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All important cinema cameras at a glance! The Fletch Camera Comparison Chart 2012

All important cinema cameras at a glance! The Fletch Camera Comparison Chart 2012:

I just stumbled upon this incredibly useful chart, which lists all – notably high-end – cinema cameras currently on the market, ranging from the Sony F3, the Canon C300 and the various RED models all the way to the Alexa.




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Learn how to edit your Canon EOS 5D Mark II video on your iPad!

Learn how to edit your Canon EOS 5D Mark II video on your iPad!: Jim Edds from ExtremeStorms posted a great tutorial on editing your Canon EOS 5D Mark II video on your iPad! In his tutorial, Jim shows in detail how to import footage directly from the Canon canon camera into Apple's tablet, edit the footage, and export it uncompressed to an FTP or sites like YouTube, Vimeo, Facebook, etc. It is possible thanks to the iOS 5 and IMovie update that came out last year.

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Avid launches video editing iPad app, Studio for iPad - News - Digital Arts

Avid launches video editing iPad app, Studio for iPad - News - Digital Arts
Avid has released a video-editing app for the Apple iPad. Studio for iPad is based on the company's consumer-level video editing software Studio, which itself is based on its professional video editing and finishing tools for broadcast and feature films, Media Composter, Symphony and Avid DS.

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I want to use Find Bin for a clip in my sequence. Is there a way to do that?

I want to use Find Bin for a clip in my sequence. Is there a way to do that?:
With the position indicator on the clip you want to Find Bin, hold down Alt/Opt and then press Find Bin to find that clip’s original location.

via @Kyra Coffie

Blackmagic Design Releases FCP X 10.0.3 Broadcast Monitoring Support:

Blackmagic Design Releases FCP X 10.0.3 Broadcast Monitoring Support::

Blackmagic Design released Desktop Video 9.2 beta 1, a software update for its capture and playback products that adds broadcast monitoring support with the new Final Cut Pro X 10.0.3 update. Desktop Video 9.2 beta 1 for Mac OS X is available for download now and is free of charge for all Blackmagic Design customers. [...]

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FCPX gets Multicam Editing...finally

FCPX gets Multicam Editing...finally:

Apple has finally updated FCPX with a feature it should have had when launched: multicam editing. And to Apple's credit it now supports 64 streams. They also thought it was time to let FCPX import layered Photoshop files and allow Broadcast monitoring.
How long did that take? And why?

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Tech Report: Thunderbolt, SSDs, and Storage Trends for 2012 | Studio Daily

Tech Report: Thunderbolt, SSDs, and Storage Trends for 2012 | Studio Daily
With last year's introduction of the Thunderbolt interface, the mobile editing workstation really came into its own. Some observers speculated that the super-high-speed jack, which makes incredibly powerful peripherals truly portable, was a signal of the impending demise of the decidedly non-portable Mac Pro tower.

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X2Pro Audio Convert delivers Final Cut Pro X projects to Pro Tools

X2Pro Audio Convert delivers Final Cut Pro X projects to Pro Tools
Marquis Broadcast today announced the launch of X2Pro Audio Convert, its cutting edge conversion application for delivering Final Cut Pro X projects to Avid Pro Tools for audio finishing.

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