The Best Video Editing Software 2013 (Part Three): The End

The Best Video Editing Software 2013 (Part Three): The End | wolfcrow:
In Part One and Part Two we started our journey to discover the best video editing software of 2013. This third and final part will ultimately reveal the winner, but we still have a lot of ground to cover.

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The Best Video Editing Software 2013 (Part One): The Beginning

The Best Video Editing Software 2013 (Part One): The Beginning | wolfcrow:
We all know this is going to end in a bloodbath. Look around far and wide, and you won’t find a single comprehensive comparison of every major video editing software. So, I decided to put one together myself. This article is the result of months of hands on experience with each and every one of the applications mentioned here. I’m taking no prisoners. There will be one and only one winner.

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Inevitable Convergence

Inevitable Convergence:
The creatives wish to remain in the state of flow during their work, and look for software packages eliminating the roadblocks, timewasters and everyday annoyances, simultaneously providing all the desired tools at reasonable cost. Rigid specialization seems to slowly become the thing of the past, as more and more barriers to integration start to crumble. When the dust settles, I wonder where will we be?

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Which is the Best RAID level for Video Editing and Post Production? (Part Three): Number Soup for the Soul

Which is the Best RAID level for Video Editing and Post Production? (Part Three): Number Soup for the Soul:
In Part One and Part Two we ran the numbers on each RAID level to find out how well they performed on speed, capacity and failure rates as the drive sizes increased. In this final part we’ll try to put together a few rules of thumb to help guide us in selecting the right RAID level for video editing or post production.

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Compare 15 Digital Workflow Programs: Is Adobe Premiere the Best Bang for Your Buck?

Compare 15 Digital Workflow Programs: Is Adobe Premiere the Best Bang for Your Buck? « nofilmschool:
Your on-set digital workflow can vary wildly depending on your camera, budget, and schedule with each variable uniquely affecting the others. But, is there a flexible, multi-purpose software package that can truly cover all the bases, and at a better price than all the rest? Wolfcrow has sought to answer this question in a recent, very detailed, post. Click through for a few more details, and to see if you agree with its findings. Could Premiere & Adobe CC have the overall best value?

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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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Video Editing Apps: Premiere Pro vs Final Cut Pro X vs Media Composer

Video Editing Apps: Premiere Pro vs Final Cut Pro X vs Media Composer | Premiumbeat.com:

Deciding between Adobe Creative Cloud, Final Cut Pro X & Avid for pro video editing? Here are a few thoughts and opinions to help you make that call.

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A Quick Guide to the 5 Best Open-Source Video Editing Software

A Quick Guide to the 5 Best Open-Source Video Editing Software | wolfcrow:
This article introduces the concept of open-source video editing, gives you a head’s up on what to expect down that road, and lists 5 open source video editing software that can be used for professional applications.

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What does Avid make from Professional Video Editing Software?

What does Avid make from Professional Video Editing Software?:
We can use Avid’s accounts and their 10 filing to calculate revenue for their professional video editing software (i.e. Media Composer/Symphony and DS). In Avid’s 2011 10K filing they state:

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Sony Expands 4K Codec to Ultra HD Consumer Products

Sony Expands 4K Codec to Ultra HD Consumer Products:


To date, Sony says that over 60 manufacturers have requested a license for XAVC, with over 31 different UHD products which will offer XAVC part of their supported codec lineup.   Those manufacturers include the usual suspects -  Blackmagic, Apple and Adobe, but there’s also Avid, Grass Valley, Matrox and a host of others which provide both consumer grade and professional hardware and software solutions.

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Coloristos #11: "NAB 2013 Highlights"

Coloristos #11: "NAB 2013 Highlights"
In this Episode of the ColorCast, the Coloristos discuss highlights for colorists at NAB 2013, including DaVinci Resolve 10, SpeedGrade CS7, Smoke 2013, the Scratch 8 preview, Mistika 7.2, and the new Baselight One Deskside and Slate Control Panel. They also cover new displays from Sony, Sharp, FSI, and Dolby, as well as major changes to Avid Media Composer and Symphony licensing, along with the curious omission of the RED Laser Projector at the RED booth this year.

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Blackmagic Camera Post Workflow

Blackmagic Camera Post Workflow | Hurlbut Visuals:
In our second post on the Blackmagic Cinema Camera, we are going to look at some workflow options for getting both the CinemaDNG and ProRes files out of the camera and into the NLE of your choice. Keep in mind there are many factors that dictate how you will approach post workflow – storage space requirements, speed, hardware, software, quality and final delivery – just to name a few. (Here is a link to our first post on the camera.)

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After Effects Render and Replace in Premiere Pro and FCP7 – Using reLink reTooled

reTooled.net – After Effects Render and Replace in Premiere Pro and FCP7 – Using reLink reTooled:
A lot of films, TV shows, and commercials use After Effects as their go-to motion graphics, visual effects, and compositing platform. In some workdlows, its okay to render your final out of After Effects, but personally I find that workflow too limiting. After all, how often is an edit really “locked” when your client, producer, director, etc. say that it is? And to start tweaking an editor or worse have to play back edit changes from After Effects, isn’t ideal to say the least.

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Conform in your NLE with Our New Software

Conform in your NLE with Our New Software:
You take your offline edit and export an xml. Then open up reLink reTooled, load that XML and point it to your new media. Then you can choose your relink criteria and save out an XML that references your new media. That’s all. I’ve been using this tool for many months now, and have put it to the test on large national clients. Using a combination of FCP7 and After Effects, conforms have been simplified and transformed from the days of capturing from a D5. The whole process is intuitive and simple. But your best bet is to just watch the video and see it in action. Check out a brief teaser above and a full demonstration below.

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BulletProof Unveiled

Prolost - Blog - BulletProof Unveiled:
Large productions with high-end digital cinema cameras tend to be supported by a full DIT (Digital Imaging Technician) cart with customized software and hardware. But where was the DIT tool for indies? Red Giant saw an opportunity to bolster the workflow of one of the most common types of shoot—the DSLR-based, small-but-capable indie crew. So about 18 months ago, we sat in Sean Safreed’s dining room in San Francisco and started sketching ideas for BulletProof.

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EditShare To Show Lightworks for Mac At Show

Definition Magazine - Def Mag - NAB 2013: EditShare To Show Lightworks for Mac At Show:
EditShare will show the highly anticipated Mac version of Lightworks for the first time at NAB 2013. Lightworks has been redesigned to work on Mac OS X, making it the first professional NLE to be tri-platform (Windows, Linux and Mac).

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NLE Color Correction Round Up

NLE Color Correction Round Up | Jonny Elwyn - Film Editor:
If you’re looking to get some quick colour correction done then often the fastest place to do that is right there on your timeline. Most of my colour correction and grading gets done inside FCP7 and if there’s time, I’ll round trip out to Resolve Lite. As most NLE colour correction tools are very similar, what you learn in one should be readily transferable to others.

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5 Free Apps Film & Video Editors Shouldn’t Live Without

5 Free Apps Film & Video Editors Shouldn’t Live Without:
Check out 5 FREE apps that you'll want to have in your film and video editing toolkit. These utility applications can save you in a pinch and speed up your post production workflow.

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Final Cut Pro X versus Premiere Pro CS6

Final Cut Pro X versus Premiere Pro CS6 « digitalfilms:
The struggle within most shops that invested in Apple’s Final Cut Pro is whether to stay put a while longer, adopt Final Cut Pro X or cut the cord and move on. For many this means shifting to the Adobe Production Premium bundle – part of Creative Suite. Most of the editors and facilities in my sphere are doing just that. I’m one of only two local editors that I know actually using FCP X professionally. The rest are in the process of shifting to Premiere Pro, while maintaining some continued use of FCP “legacy”. This post is not intended as a “shoot out” or to say one is better than the other. Both are good tools and much of the choice gets down to personal preference. Instead, my goal is to lay out some random considerations in making the move.

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NLE Version 7.0

NLE Version 7.0 | Edit Geek:
With NAB less than a month away it seems a certainty that we’ll see new versions of the two main NLE platforms vying for the attention of broadcast and professional editors. And they both reach version 7.0 – we’ll see Avid Media Composer (and Symphony) 7.0 and Adobe Premiere CS7 – what are we hoping for?

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