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| 02|01|2007 |
David LeathersFilm Effects 2.5 from Nattress Productions is a rich set of filters for Apple Final Cut Pro designed to make material that originated in video formats appear as though it were actually shot in film.... »
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| 01|18|2007 |
By Ed HeedeSundance is perhaps the most dynamic of independent film shows and certainly the biggest. From the start of the indie movement, what filmmakers have had in common at Sundance are projects long on passion and short on budget. Strapped resources have usually meant a lean palette of options for filmmakers where compromises occur from shooting to postproduction. ... »
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| 01|09|2007 |
In this tutorial, Larry Jordan demonstrates how to get optimal quality when compressing video for DVD in Apple Final Cut Pro.... »
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| 12|20|2006 |
By Bryant FrazerEditor Jay Nelson at L.A.'s Cut and Run is coming off a streak of funny spots for high-profile clients like Activision, eHarmony and, working with director Jason Reitman, Wal-Mart.... »
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| 12|01|2006 |
There’s a new "warp" engine built inside the Aurorix 3 (to be released soon) plug-ins Warpoid and Whirlix. These have been re-written from scratch with performance and quality in mind. ... »
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| 12|01|2006 |
Many people are trying to transform SD video to HD. ReSizer 2.1 helps you do that, providing high-quality scaling and de-interlacing. Most SD footage has fields. To get the highest quality upconversion, it’s necessary to de-interlace the footage before upconverting.... »
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| 12|01|2006 |
Despite careful white balancing, footage sometimes ends up with an overall color cast or tint. This is often caused by mixed lighting or light reflected from colored walls, carpet and even clothing.... »
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| 12|01|2006 |
The first thing you’ll notice about Noise Industries’ FxFactory plug-ins— the only major plug-in package to support FxPlug, Apple’s modern architecture for film-quality effects — is their speed... »
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| 12|01|2006 |
Not only can you import Final Cut or Avid timelines into Adobe After Effects using Automatic Duck’s Pro Import AE for compositing or effects work, you can also do high-resolution conforms very quickly.... »
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| 11|29|2006 |
By Matt ArmstrongEditor Amanda James of Final Cut in London was surprised and excited when she got a call to work with Tim Burton on what was his first music video. With Burton’s background both in genre and cinematic style, it is not surprising thet the video for The Killers track 'Bones' involved people morphing into skeletons and a mix of live action and CG. ... »
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| 11|27|2006 |
By Douglas Spotted EagleWith widescreen display becoming the norm in US and other cultural societies, and hours of tape that have been acquired in 4:3 modes, editors/producers are faced with a few new choices as to how to make their existing SD footage fit in the world of HD. ... »
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| 11|10|2006 |
Want to intermix different formats in Avid Liquid? Producer/editor Paul Mitton of Creation Trek Productions shows a variety of timeline conventions in Liquid to handle different formats. ... »
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| 11|07|2006 |
Michael GrotticelliSchy Gleason is the senior editor at Victory Studios, the first post house in the U.S. to offer high-definition editing with the Sony HDCAM format and today provides a full range of HD services... »
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| 11|01|2006 |
By Aaron SchurmanSplines in MAXON’s Cinema 4D are great to use as paths for Trapcode Particular particles in After Effects to follow. The Cinema 4D bezier tools and multiple views allow a much easier approach to motion path creation than trying to move a particle emitter around in After Effects. ... »
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| 11|01|2006 |
By Daniel and Donald BerubeThe Convergent Design HD-Connect SI converter box ($995) integrates video, audio, timecode and deck control into a simple-to-use, cost-effective unit. The HDV to HD/SD-SDI box works with Sony, JVC and Canon HDV decks/camcorders. ... »
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