Notes On Video

Extending SpeedGrade with SpeedLooks | Eric Philpott | Adobe A short interview with Jeff August of LookLabs, who sells these LUTs for SpeedGrade , and will be giving a free webinar on the 16th: What are SpeedLooks? SpeedLooks are specially designed LUTs which emulate the look of film. They are based on Fuji and Kodak film stocks and they give images character instantly. What gave you the idea for this? For a long time I’ve tried to give a unique look to interlaced video. I wanted my shows to look different from the way broadcast looked – to give video a more filmic personality. More Canon C300 CP's! | BrianCWeed | CinemaEOSUser Some Picture Profiles for the Canon C300 : TRUvid2 was designed to be bright, vivid, & punchy (but not in a cartoony way like you get with EOS Std); for when you need to deliver right away and you know there won't be time for color work. TRUcine looks great out of the box w/ nice DR, really hangs on to the highlights & will grade very ...

SpeedGrade for Aspiring Colorists: A Color Grading Primer for Editors | Adobe Thursday, August 16, 2012 10:00 AM - 11:00 AM US/Pacific I sat in on a SpeedGrade webinar before getting the software. I've since launched the program and become confused, so I'm actually looking forward to seeing how to use the program! Aimed at editors who want to add color grading to their workflow, this seminar will start with a look at the color correction tools in Premiere Pro and then move on to provide a primer in the powerful color capabilities of Adobe® SpeedGrade™ CS6. Open the full dynamic range of your footage and learn how to manipulate light and color to craft picture-perfect results. Now part of Adobe Creative Suite® and Creative Cloud, SpeedGrade gives you the power to push your stories further. Sign up for this live Ask a Video Pro session with award-winning editor and colorist Jeff August to learn more. Adobe Premiere Pro: Applying Audio Effects to Multiple Tracks | Clay Asb...

10 Premiere Pro Tips for FCP Editors | Clay Asbury | Premiumbeat A good resource for those starting out with Premiere Pro : Personally, I save my media/projects to a folder on my media drive (fastest drive). I put my Premiere Auto Saves & Previews/Renders on a seperate drive and back up the projects to Dropbox daily. Whatever strategy you choose, please back up your project! If you forget or need to change your scratch after launching the project, go to Project>Project Settings>Scratch Disk to make modifications. Premiere Pro memory settings explained | Digital Rebellion An explanation of memory management in Adobe's video products: Premiere, After Effects, Encore, Prelude, Media Encoder and Photoshop all use the same memory pool so the RAM is assigned between them. Premiere and After Effects are assigned the highest priority within the pool so closing these applications can improve performance in the other apps. A big addition to this site: The Educational Res...

Importing AVCHD media into Premiere Pro on Mac OS X v10.8 (Mountain Lion) | Todd Kopriva | Adobe A couple of problems with Premiere Pro and the new OS X release: It has come to our attention that Apple has made a change in Mac OS X v10.8 (Mountain Lion) that changes the way an AVCHD folder structure appears to the operating system once imported. This affects the workflow for importing AVCHD media into Premiere Pro CS6. We have also today discovered a bug when using Premiere Pro with Mac OS X v10.8 in which AVCHD media that has gone offline cannot be successfully relinked. Blackmagic Design Releases DaVinci Resolve 9 Public Beta for Mac, Windows and Linux! | Creative COW Blackmagic releases a Public Beta for Resolve 9 , as well as the Lite (free) version: New user interface improvements include a new streamlined project import, export and selection workflow, scrubbable media thumbnails to speed up shot selection, production metadata fields for entering on set shot notes and ...

Panasonic AG-HPX250 Delivers Master Quality In A Compact Size | Tony Muzzatti | Crews Control DP Bill Mills went on a 10 day safari to three conservation areas in southern Africa with the Panasonic AG-HPX250 ($5,595]: The HPX250’s is the first P2 HD handheld camcorder that records in 10-bit, 4:2:2 independent frame, 1920 x 1080 resolution in the AVC-Intra 100 codec. To most professional camera operators and cinematographers the importance of capturing in 10-bits is a must. 10-bit capturing allows for four times more precise color sampling, while also eliminating the video artifacts often seen in 8-bit device recordings. A roundup of the current Blackmagic footage | John Brawley | Blog John recently posted some footage from the Blackmagic Design Cinema Camera , which raised some questions that he addresses in this post: The aliasing is not from the camera in this case, as you can see from looking at the very first clip. This was introduced by the post process. And there's...

I've been working with Premiere Pro CS6 the last few days. I had actually been meaning to give it a go with a project for some time, but just kept putting it off. Finally I decided I just had to do it, so I edited a half hour program with it. I probably should have started with something shorter. The good Before I get in to the problems, I want to note one important thing: it's easy to use and I like the UI. I say that as a Final Cut Pro 7 user who found Final Cut Pro X confusing and discombobulating. By comparison, I’ve so far found working with Premiere Pro very easy. The interface and method of working is close enough to Final Cut that I've been able to do this project without spending time reading manuals or watching tutorials. And the U.I. hasn't frustrated me, so I'm really happy about that. The bad On the other hand, I have had a very perplexing problem with performance. Specifically, jumping from one section to another can sometimes cause the pr...

If you're interested in attending this weeks Rule Boston Camera/Frontline/Canon event with DP Alex Buono of Saturday Night Live, you should register now. The event is filling up and could be full by event day: WHEN: Wednesday, August 1 5:30-6:30pm Food & Drinks 6:30-9pm Presentation with Alex Buono WHERE: WGBH Yawkey Theater One Guest Street, Brighton, MA RSVP : events@rule.com UPDATE: The event is now full

I must admit, at the beginning of the opening ceremonies for the Olympics, I really wondered what we were in for. The large green grass field with people wondering around? It looked like an over-budget school play gone horribly wrong. But then Kenneth Branagh appeared and things started to get interesting. James Bond parachuted in with the Queen, a giant ring was forged and then raised into the sky joining four others with sparks streaming from them (how did they do that?) The Artic Monkeys played Come Together while winged cyclists circled the stadium, and the large bed pans the teams had brought in with them formed the petals of a large flower that formed into the Olympic torch. And then they had fireworks going off all over and around the stadium. The show was an amazing combination of music, film, dancing and visual effects. And imagination. The more I think about it, the more impressed I am that they even pulled it off. I may not watch much of the rest of the Olympics, but...

THE WEEK IN CAMERAS: CANON GOES MIRRORLESS, BDCC ACCESSORIES AND A NEW SONY CAMERA | Michael Murie | Filmmaker Magazine A look at the Canon EOS M , a little update on the Blackmagic Design Cinema Camera and the Sony PMW-200 : Canon this week announced the Canon EOS M, a small camera that takes an APS-C sensor and stuffs it into a smaller body by doing away with the DSLR mirrorbox and using a new lens mount. The EOS M follows a trail blazed by Canon’s competitors — namely Panasonic and Sony. Sony has had a hit with their NEX- series cameras, and obviously Canon has been watching. July Color Correction | SpliceVine Patrick Inhofer did a series on color correction this month on Splice Vine , and it's wrapped up with an interview conducted with Patrick: The BBC documentary, Do You See What I See? and how it was talking about how a banana tends to always look yellow even under different colored lights. That’s right. Because we imbue meaning to these objects. These are thin...

Continuing from yesterday’s Part 1 , here’s the rest of the notes from this week’s Adobe Presentation by Adobe's Al Mooney at the Boston Creative Pro User Group meeting. Trimming Al explained that they had been told that trimming wasn’t very good, so they completely redesigned it. You can now select an edit point and trim using the keyboard; previously you could only select clips and then trim in the Trim Monitor. Edits can be done by keyboard, or by mouse and you can even select and edit multiple trim points at the same time. There's a check box in Preferences under Trim that you want to turn on: " Allow Selection tool to choose Roll and Ripple trims without modifier key. " This allows you to choose multiple edit points, and it will also make Premiere choose between modes as you move the cursor left and right over the edit point, "it’s clever, it says 'I think that needs to be a ripple in, that needs to be a roll, that needs to be a ripple out.'...

It was a tough room at this weeks Boston Creative Pro User Group meeting, with over half the room putting up there hands when asked who was still using Final Cut Pro 7 . But Adobe sent their headliner, Al Mooney , Adobe Product Manager for Premiere Pro , to explain and demo all the new features: Ladies and gentlemen, The Comedy Styling’s of Al Mooney. “It’s really nice to be able to say BOSCPUG and not BOSFCPUG; number 1 because BOSFCPUG is almost impossible to pronounce and number 2, you’ve dropped the F, and let’s face it, there’s no F in NLE. I thought that was going to work, never mind.” Al proceeded to go through the Creative Production Suite, first highlighting the new tools in the suite including; Story , Prelude and SpeedGrade . “We are giving you a suite of tools designed to give you a perfect workflow from your very initial idea, all the way through to your final delivery.” When he asked who had ever used Adobe Story , only a handful of people put up their hands. “The...

Blackmagic Design Acquires Assets of Cintel International | HD Magazine Some are questioning why Blackmagic would buy a film scanning company, but they do make software for cleaning up film scans, so that's the connection: This acquisition gives Blackmagic Design the ability to combine our vision and expertise with Cintel technology to provide the best technology for artists using film, more efficient and affordable ways to bring film into a digital workflow and better ways to archive and restore existing archive film worldwide. Canon EOS M Video Roundu p | PetaPixel Links to some videos from around the web: It’s been less than 24 hours since Canon announced their first mirrorless camera, and already the Internet is filling up with samples, commercials and hands-on videos for those interested in buying it when it arrives in October. Here’s a video roundup for the new Canon EOS M mirrorless ILC: Mixing Formats: Arri Alexa, Canon 5D and C300 on a New Mexico DOT Spot | Shan...

Matching Sony F3 and FS700 | Alister Campbell | XDCAM User Alister explains how he went about trying to match footage from the Sony PMW-F3 with footage from the NEX-FS700 : So once I had a neutral starting point on the F3 I then turned to the FS700 which I think is very blue. The matrix settings on the FS700 are quite limited so I wasn’t able to get an exact match to the F3, however the setting I came up with get them close enough for most jobs, it’s not perfect but it will do. Why Short-Form Video Is The Future Of Marketing | Kerrin Sheldon | Fast Company Study after study after study shows that more people are using the internet to consume video. In April 2012, ComScore reported that the average viewer watched nearly 22 hours of video in a single month. Most likely, those 22 hours were broken into many short-form videos, each being watched for just a few minutes at a time. Encoding for YouTube: How to Get the Best Results | Jan Ozer | Streaming Media Telestream Episode p...

I first used Premiere back when it was Premiere 1.0 , and 320x240 video at 15 frames per second was pretty awesome. I stuck with the program up through Premiere Pro 1.0 , when Adobe stopped Mac development, and though I had Premiere Pro 1.0 for Windows, I switched to Final Cut Pro (which at that point was at version 4.) I’ve been a happy Final Cut Pro user ever since, and infact I’m still happily editing projects using Final Cut Pro 7 . If I convert material to ProRes first, I can edit footage from AVCHD camcorders and H.264 DSLR footage quite comfortably, and really, at the moment that’s the only thing that makes me want to consider switching; saving some time on Log & Transfer. But Log & Transfer is a known quantity. I tried Final Cut Pro X , and went back to FCP7 , but I’ve continued to evaluate other options. I’ve had Creative Suite 6 since it came out, yet apart from using Photoshop , have been holding off on diving into it. But last week I was starting a new ...