Why is temporal XMP metadata so exciting?

Why is temporal XMP metadata so exciting?
There are, in fact, two things that excite me greatly about Adobe’s CS6 Production Premium: temporal XML metadata, and time associated metadata (which Adobe calls “disassociated metadata”). Together they are an exciting combination that has sent my head spinning with possibilities.

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XenData brings archive servers to NAB

XenData brings archive servers to NAB
XenData (www.xendata.com), a provider of digital video archive solutions for the media and entertainment industry, is showing a new range of SX-500 archive servers at NAB. The SX-500 is designed for archiving video assets to high capacity LTO-5 robotic tape libraries and RAID.

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ProVideo Coalition.com: the EDITBLOG on PVC by Scott Simmons

ProVideo Coalition.com: the EDITBLOG on PVC by Scott Simmons:
The cat is out of the bag on the Adobe CS6 Production Premium. It isn’t shipping yet but I’ve been able test out some of the CS6 products for a few weeks now. While there’s big additions and changes in the entire Creative Suite my first and main focus was to see just how Premiere Pro has changed, what new features have been added and what hasn’t been addressed as of yet. Overall, Adobe continues to make Premiere Pro a better product that will let you “edit your way”. It isn’t perfect (no NLE is perfect) but it’s a lot better than 5.5 … and 5.5 was pretty good itself. Here’s my top 5 (or so) features in Premiere Pro CS6 and a couple of comments on what is still missing. Please forgive some wonkieness on PVC if you’re not seeing certain images as we’ve been having some server issues recently that they are working to fix. A reload of the page might help.

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Canon to unveil EOSRAW recording format? New high end camera specs | EOSHD.com

Canon to unveil EOSRAW recording format? New high end camera specs | EOSHD.com:
 "This is called EOSRAW and it will be efficient enough to be recorded to CF cards. It is capable of up to 12bit 4K (as the new AVC Ultra format from Panasonic is expected to do). "

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Codex Debuts and Ships Onboard S a 4:4:4 Recorder:

Codex Debuts and Ships Onboard S a 4:4:4 Recorder::
Codex have added to their digital media recorders and media management systems for film and television production with their latest addition to its product range, the Codex Onboard S Recorder. Codex will be demonstrating the Onboard S Recorder at NAB. Complete with the DNA that has become synonymous with Codex recorders and with a completely

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The Year of the Color Grader

The Year of the Color Grader
NAB 2012 may be remembered as the year that advanced colour grading went mainstream. Sure there are many exciting new cameras and other great tools, but I am an online finishing post-production gear-head at heart.

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Using folder breaks to create folder hierarchies in Post Haste

Using folder breaks to create folder hierarchies in Post Haste:
Post Haste is a Mac and Windows app to organize your projects from customizable templates. You can setup various parameters to include in the folder name such as project name, client, date, etc.
In the recent rewrite of Post Haste we added a new feature called folder breaks. Folder breaks can be set on a per-parameter basis and tell Post Haste to create a new folder at the start of that parameter. This allows you to create folder hierarchies and is best explained through example.
Folder breaks can be added by ticking the relevant checkbox next to a parameter in the preferences window.




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ASC-CDL Support in LiveGrade

ASC-CDL Support in LiveGrade:

The lastest version of Pomfort's excellent software for realtime color correction and LUT building now has support for both ASC-CDL and custom 3D LUT for log to video conversion. ASC-CDL is the industry standard format for exchanging primary color grading information between software to software, hardware to software, or any combination of the two regardless of manufacturer.

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Why do the clips in my bin look differently? What is that little line beneath some of my master clips?

Why do the clips in my bin look differently? What is that little line beneath some of my master clips?:

A master clip (without the line) can be one of two things:

1. A clip that is offline.
2. A clip that isn’t on a shared storage system.

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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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Canon C300 custom scene files from AbelCine - download for free!

Canon C300 custom scene files from AbelCine - download for free!:
If you want to get more from your Canon EOS C300 camera or of you want to get a different footage look, here's a useful solution that might be helpful. Andy Shipsides of AbelCine released custom scene files for Canon's camera and these files are available for free!



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ClipExporter

ClipExporter:
You’ve been given a FCP X project but you’re not ready to take the plunge yet.  So export the clips into the NLE you would rather use.
ClipExporter takes exported FCP X projects, adds handle frames to the clips (if desired) and creates a shot folder contacting either a QT reference movie, Nuke file or Syntheyes importable file.


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FilmLight to introduce FLIP at NAB

FilmLight to introduce FLIP at NAB:
At NAB 2012, FilmLight will introduce FLIP – a new, real-time image processing system that lets the creative production team design looks in pre-production and apply and refine them on set. Employing a Baselight GPU renderer with Truelight Colour Management, FLIP can create and store an unlimited number of pre-set looks and spatial filters which can then be applied and refined in real time on set. Directors and cinematographers will be able to set exactly the look they want before shooting begins, refine it on set and save the grade so that it can be applied to dailies and other downstream processes.

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Integrating Mac OS X Lion Server’s Profile Manager With Active Directory

Integrating Mac OS X Lion Server’s Profile Manager With Active Directory:
Over the years, the terms Magic, Golden, Triangle, Augments, Directory, Domains and Active have given the administrators of Mac OS X environments fits. So when you think about using Active Directory to manage iOS devices through the Profile Manager service, built into Lion Server, you may think that it’s a complicated thing to piece together. You may remember those days when you had to manually craft service principals because xgrid wouldn’t play nice with Acive Directory, or you might think of twisting augmented records to support CalDAV. But you’re gonna’ have to forget all that, ’cause getting Profile Manager to talk to Active Directory is one of the easiest things you’ll do.


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Phantom High-Speed v642 Colour Matches for Broadcast

Phantom High-Speed v642 Colour Matches for Broadcast:
The Phantom v642 high-speed digital broadcast camera can simultaneously record and playback
super slow motion footage, and colour match regular speed broadcast cameras.

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FOR-A Unveils LTO-5 High-Capacity, Tape-Based Video Storage Appliance At NAB 2012

FOR-A Unveils LTO-5 High-Capacity, Tape-Based Video Storage Appliance At NAB 2012:
(Fort Lee, New Jersey--April 2, 2012) Building on its successful line of LTO-5 video archiving recorders, FOR-A will introduce the LTS-50 storage appliance at the 2012 NAB Show in Las Vegas, April 16-19 (Booth C5219). Using a network connection, it archives media files to LTO-5 high-capacity tape, regardless of file format. The LTS-50 uses an LTFS (linear tape file system), which records video on tape as files and enables the reading and writing of files from a PC via FTP. It’s ideal for data backup that does not require video I/O, as well as archives of nonlinear editing materials that will be reused. Plus, it can create original and duplicate copies with the installation of an external LTO drive. The LTS-50 can be controlled through FOR-A’s optional LTR Browser software, and another optional proxy generator can be configured to automatically create low-resolution proxy files and thumbnails when archiving MXF files.

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The Top 10 things you miss about Final Cut are in Autodesk Smoke Part I & II

The Top 10 things you miss about Final Cut are in Autodesk Smoke Part I:
Recently, Shane Ross wrote a post on his Little Frog in High Def Blog about the 10 things he missed from Final Cut Pro 7.  Shane is a well-respected freelance broadcast editor in Los Angeles.  He has edited numerous programs for The History Channel, the Discovery Channel, SYFY, and more. 

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The Top 10 things you miss about Final Cut are in Autodesk Smoke Part II
6. Simple compositing on the timeline: Even though Shane likes the vertical compositing in FCP and Premiere, and feels that Avid is lacking, I have to say that Smoke beats them all. This is where Smoke moves from being and editor to being a finishing tool.


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LUTs

LUTs
A director will want to see a high contrast image without crushed shadows, or blown highlights - such an image is possible in post but can never be seen on set - If you give them a high contrast LUT to view it will crush the blacks .. or clip the whites

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First Look at the Ultra-Compact Phantom Miro M320S

First Look at the Ultra-Compact Phantom Miro M320S:
The new Phantom Miro M320S high-speed camera has just been announced by Vision Research. This is the new flagship in the Phantom Miro line of ultra-compact high-speed cameras, whose form factors open up a new world of creative possibilities for super slow motion cinematography.

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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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