Innovative solutions for post production professionals


Premiere Pro Import Using Media Browser

Posted by on Jan 19, 2015 in Adobe, News, Tutorials | 0 comments

Any video editor who’s been working with Adobe Premiere Pro over many years and versions has likely used DV capture via Firewire, or has captured from tape using a third-party capture card. The preferred import method for that captured footage was, and still is, to use “File > Import” in Premiere Pro to bring in the .avi or .mov clips, ready to edit. Even if you’ve been more recently introduced to Premiere Pro editing, File > Import may at first seem the most obvious, if not only, method to import your media. However, times have...

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Fixing out-of-focus HD video footage

Posted by on Jul 22, 2014 in News, Tutorials | 5 comments

You’ve shot some important, irreplaceable footage, only to later discover that it’s slightly out of focus. What can you do? This happened to me recently on a dance recital shoot which is my biggest event of the year, recording six 2.5-hour shows over two days. I rented a newer HD camera for the event to get better low-light performance – and a better image overall – than my older HDV camera could provide. I’d rented that same camera the year before, so I knew how to use it and loved the results I’d gotten last time. Being...

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Mezzanine Codec Options for PC Video Editors

Posted by on Jun 29, 2014 in News, Tutorials | 1 comment

In years past, it was often necessary to convert, or transcode, original HD camera video clips into another codec, known as an intermediate or mezzanine, prior to beginning any editing. These new clips had far less compression applied, and were therefore easier to decode for playback. Mezzanine codec file sizes fall in between those of the camera source clips and uncompressed video, hence the name. Most newer PCs having decent specs, such as those with Intel Core i7 processors, should have no problem editing AVCHD and similar sources natively,...

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Top 5 Reasons to Upgrade Your Workstation

Posted by on Feb 6, 2014 in Computers, Safe Harbor, Tutorials | 0 comments

Whether you need a completely new system, or just a few minor tune-ups, here are the top 5 reasons to upgrade your workstation. 1)      Slow Boot Drive. Many older computers are still booting up with SATA or even IDE hard drives. A workstation equipped with an SSD will likely boot in seconds and not minutes. SATA hard drives require time to speed up and will continue to be slower than a solid state drive during regular operation. SSD drives will not only boot faster but also launch applications faster. The extra time saved with the...

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Adobe Encore CS6 Preview Quality Fix

Posted by on Mar 7, 2013 in Adobe, Tutorials | 0 comments

  When making a DVD in Adobe Encore CS6 on your PC, you may find that the video playback looks very low res and jagged in the Monitor window, but will snap back to a sharp image whenever playback is paused. There is a quick solution in the Edit > Preferences panel. Simply change the Playback Quality to High, and Display Mode to Accelerated GPU Effects, as shown in the comparison images. You will see in the top example that any diagonal lines are quite “steppy”. It’s even more noticeable during playback than the still...

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miniDV or HDV tape for an HDV camcorder?

Posted by on Oct 19, 2011 in Tutorials | 0 comments

HDV camcorders record to inexpensive miniDV tape. You can get special HDV-graded tapes, but they can cost several times more than miniDV tapes. Since the recording uses digital data, the image quality will be identical regardless of the media quality.Think of a still image or word processing file copied to different types of media – hard drive, CD, floppy, USB thumb drive – the data is the same regardless of the media used. It’s the same with digital tape – the only benefit of using HDV tape is that you lessen the chance of getting...

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Apple ProRes 422 codec vs. Uncompressed HD

Posted by on Oct 19, 2011 in Apple, Tutorials | 0 comments

UPDATE — October, 2011: ProRes is no longer just an editing codec – it’s also used in portable field recording devices to bypass in-camera compression, capturing directly to ProRes with 10-bit 4:2:2 quality, ready to edit! Learn more about this exciting new hardware here or see our review of the Atomos Ninja for a detailed look at just one of the solutions that we provide. _______________________________________________ Apple introduced the ProRes 422 video codec for Final Cut Studio 2 users in 2007. The codec is said to offer...

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IRE Setup with Matrox RT.X2

Posted by on Oct 19, 2011 in Tutorials | 0 comments

IRE is a measure of brightness for NTSC video, with black being 0 and white being 100, with shades of gray in between. In the US, the black level is normally set to 7.5 for broadcast. This means that the brightness scale runs from 7.5 to 100 rather than 0 to 100. Since Japan uses 0 IRE black setup levels, virtually all miniDV cameras will use 0 IRE for black setup when making a recording. In Premiere Pro with RT.X2, you will find the “Setup” option in Project Settings > Playback Settings > Video Output, which by default is at...

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Consistent White Balance for Live Events

Posted by on Oct 19, 2011 in Adobe, Tutorials | 0 comments

When videotaping live events such as wedding ceremonies, school plays, concerts or dance recitals, the videographer typically has no control whatsoever over the lighting. To make matters worse, the lighting may be constantly changing during the event. A church may have stained glass windows, meaning any entering sunlight may be tinted by the color of the glass. In this case, manually white-balancing the camera may produce good colors, but what happens when the outside light coming in alternates between sunny and cloudy? It can have adverse...

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Matrox MXO or MXO2?

Posted by on Oct 19, 2011 in Matrox, Tutorials | 0 comments

Which video adapter is right for your Mac? The MXO is an output-only device, while the MXO2 offers both input and output and is portable. When working in Final Cut 2, the MXO connects to the secondary DVI output of your Mac and converts the video preview to an actual video signal for monitoring or recording to a deck. HD video can be monitored via an appropriate LCD monitor via DVI connection, and an included utility allows you to calibrate the LCD for accurate color grading. The full 1920×1080 HD resolution is supported with 1:1 pixel...

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