Render Taxes

The Genesis Project : Render Taxes:
Today, I’d like to talk about a popular subject… I’d like to talk to about taxes.  Or more specifically “render taxes” as it relates to non-linear editors.  It’s been said that everyone pays taxes.  In the case of video editing workflows, everyone has to render their media at some point, which takes time (tax = time) and hence the concept of a ‘render tax’.

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How to Transfer a Project from Final Cut Pro to After Effects

How to Transfer a Project from Final Cut Pro to After Effects | wolfcrow:
This article will show how you can transfer a project from both versions of Final Cut Pro to Adobe After Effects.

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Quick Tip: Fixing (Some) FCP to Premiere Problems

Quick Tip: Fixing (Some) FCP to Premiere Problems
Here’s a quick tip I encountered a few hours ago: I was moving an old FCP7 project to Premiere Pro CS6 through XML, and the import kept freezing/crashing Premiere. It was a large project with 500+ clip of P2 DVCPro HD footage transcoded to .mov in FCP. I did a little research and found this post.

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Importing a Final Cut Pro Project to Adobe Premiere Pro

Importing a Final Cut Pro Project to Adobe Premiere Pro: 

Video editing is often a collaborative process. You may need to work with someone else’s editing project that was started using Final Cut Pro. Adobe Premiere Pro is a very flexible editing solution. You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap.


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Free Plugins and Stuff for Final Cut Pro

Free Plugins and Stuff for Final Cut Pro! | GLJ Media Group:
Below some little utilities by spherico.com which make use of Final Cut Pro’s XML features. They all are big time savers, or allow you to get access to data of your Final Cut Pro project that normally are hard to get or to change.

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Working with C300 LOG Footage in FCP7 - Plus Free LUTS

Working with C300 LOG Footage in FCP7 - Plus Free LUTS | Jonny Elwyn - Film Editor:
The other day I had to work with some C300 LOG footage in FCP7 and needed to quickly apply a LUT that would show the client what it might actually look like in the final grade. For a simple free way of doing this just grab LUT Buddy from Red Giant Software and follow the tutorial below. You can also download several free Canon C300 LOG LUTS from the great people at AbleCine.

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How to Import F5/F55 Footage in FCP, Avid and Premiere

How to Import F5/F55 Footage in FCP, Avid and Premiere:

With every new camera, come many new questions about workflow. The term “workflow” can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR. The F5 & F55 workflows are similar to that of the F3 and XDCAM EX cameras, but with some significant changes. Below, I outline how to ingest footage onto a hard drive and how to import into Avid Media Composer 6.5, Final Cut Pro X, Final Cut Pro 7 and Premiere CS6. Keep reading for a brief how-to on each process.

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Final Cut Pro to After Effects

Final Cut Pro to After Effects:
So, I’ve been working with learning more of After Effects this week.  I’m a Final Cut Pro 7 user, and wanted to know how to import my FCP7 project into AE CS5 to add more effects & grading.  Upon further research, I found these two videos…

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Import .srt subtitles in Final Cut Pro

Import .srt subtitles in Final Cut Pro: This tool serves to import every subtitle in an srt file into Final Cut Pro, as text generators items. Then, one can pass to Dvd Studio Pro using the tool FCP to DVD Studio Pro.

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Learn Media Composer Lesson 18: Migrating FCP7 Project to MC

Learn Media Composer Lesson 18: Migrating FCP7 Project to MC : AVID Tutorial:
In this tutorial, Kevin P McAuliffe shows you, with the help of a free 3rd Party Plug-in, how to take all of your current and legacy FCP7 projects, and convert not only the sequence, but the actual media itself over to use in your new MC or Symphony setup. Once you see how easy it is, you won't need to work in two NLE's, you can just migrate all of your FCP7 projects over, and never look back.

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50i-to-50p (or 60i-to-60p) double deinterlacing

50i-to-50p (or 60i-to-60p) double deinterlacing:
A 50i video can be deinterlaced to either 25p or 50p. A 25p deinterlace is an approximation of an originally shot (with too short shutter time) 25p video and a 50p deinterlace is an approximation of an originally shot 50p video. Naturally the approximations fall short of the goals because in each of them half the lines are constructions. Using complex deinterlacers the constructions can be very good. For each high quality deinterlacer the approximation to the 50p goal will be just as good as the approximation to the 25p goal. The 50p goal contains more information than the 25p goal. More of the 50i information is preserved in the 50p deinterlace than in the 25p deinterlace. Whether that extra information can be of use in the final output depends on the case at hand.

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FCP, Color Grading, and the irritating gamma shift… | AaronWilliams.tv

FCP, Color Grading, and the irritating gamma shift… | AaronWilliams.tv:
I remembered encountering this a few times a while ago, but couldn’t remember it happening any time recently. After brainstorming on it for a few minutes, it suddenly hit me why I hadn’t seen that problem in forever, and also a good, quick workaround for the issue!

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FilmLight NAB2012 news - FLIP, Baselight for Avid MC and more

FilmLight NAB2012 news - FLIP, Baselight for Avid MC and more:

At NAB 2012, FilmLight will underscore the central role colour occupies in file-based film and television workflows by demonstrating solutions for seamlessly managing and manipulating colour at every stage in the production pipeline.

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What does that error message mean?

What does that error message mean?:
Sometimes your NLE will throw up a cryptic error while you are editing, such as "General Error 41" (Final Cut Pro) or "BAD_MAGIC" (Avid). Such errors are often meaningful to the application's developers but not its users.



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Help! Will Final Cut Pro 7 Continue to Work in Apple’s Lion OS?

Help! Will Final Cut Pro 7 Continue to Work in Apple’s Lion OS?:
Since Apple released Final Cut Pro X, a completely redesigned NLE, many dedicated FCP7 users have asked “will the application still work with Lion OSX?”

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Checking Out the Baselight Plugin

Checking Out the Baselight Plugin:

For a variety of reasons, I couldn’t resist taking the opportunity to give Filmlight’s new Baselight plugin for Final Cut Pro 7 a whirl. Baselight has long been one of the industry’s premiere grading applications, used on projects both large and small, and among professional colorists I’ve always heard it spoken of glowingly.

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Review – Baselight for Final Cut Pro

Review – Baselight for Final Cut Pro – Freelance Digital Intermediate, Commercial and Music Promo Colorist -Jack Jones Freelance Digital Intermediate Colorist
FilmLight’s much anticipated “Baselight for Final Cut Pro” plugin has officially been released. I’ve spent the past day or so playing around with the plugin to find out what the plugin could do for me.

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Baselight for Final Cut Pro is one of the most powerful legacy FCP grading plugins ever

Baselight for Final Cut Pro is one of the most powerful legacy FCP grading plugins ever:

At NAB 2011 FilmLight surprised most everyone with a preview of their Baseligh for Final Cut Prot plugin. It was surprising because I think many people expected them to release a lower cost, Mac-based version of their flagship Baselight color grading tool. Instead they showed a different strategy that looks to revolve around very powerful color grading plugins and interoperability with the full Baselight systems. The FCP plugin had been in beta for a while and was just released. For $995 Baselight for Final Cut Pro can be yours.

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A beginners introduction to colour grading

A beginners introduction to colour grading:
Understanding the basics of color grading
Aaron Williams gives a fast paced but valuable 30 minute presentation to introduce color grading to relative beginners, giving a ’30’000 ft overview’ of the processes and techniques that can be used in Final Cut Pro, After Effects and Apple Color. He walks through several example shots demonstrating different looks and explaining the basics as he goes.

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RED releases a new version of its Final Cut Studio RED Installer!

RED releases a new version of its Final Cut Studio RED Installer!: RED released a new version of its Final Cut Studio RED Installer. The version 30.4.0 adds support for EPIC and Scarlet-X footage to all components, it includes version 5.0 of the REDCODE QuickTime codec, with support for REDcolor3 and REDgamma3, version 4.5 of the RED plug-in for Color, which also adds support for REDcolor3 and REDgamma3, and more. All clips resolutions over 4k are automatically decoded at half resolution and the Log & Transfer plugin has been updated to include the camera model metadata in the Log & Transfer window.

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