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Fixing out-of-focus HD video footage

Posted by on Jul 22, 2014 in News, Tutorials | 0 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 | 0 comments

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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Adobe Premiere Pro Transitions

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

Adobe Premiere Pro uses a single-track editing style for applying transitions, so to place a transition between two clips, those clips must be butted together on the same track. Older versions of Premiere used a two-track system, which meant the two clips would be on different tracks, with the ends of the clips overlapped. The transition or wipe would be placed on an effects track layered in between the two video tracks, with the transition duration determined by the amount of clip overlap. Since clips in Premiere Pro are placed end to end on...

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Anamorphic Widescreen – Understanding Pixel Aspect Ratios

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

The old 4:3 video standard is quickly becoming a thing of the past; all new LCD displays are 16:9 widescreen models, all HD camcorders record a 16:9 widescreen image, and even most older DV camcorders offer the option to record in 16:9 mode. After editing widescreen content with your favorite NLE software, you may want to export the video to a format that viewers can watch on a website or portable device, and that can lead to unforeseen issues due to variations in how the image is recorded. For instance, when shooting NTSC DV video, the...

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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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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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Adobe Premiere Pro 3D Stereoscopic Realtime Editing

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

In this 7 part series, Dave Helmly walks you through a complete 3D Stereo workflow with Premiere Pro CS5. This is a start to finish workflow and a must see for anyone getting started with 3D Stereo. It covers Active , Passive and Anaglyph viewing as well how to play your videos on a consumer 3D TV. This features a new 64 bit CS5 plug-in called Cineform neo 3d HD. Part 1 of 7 [youtube]nCPtPVLCTCE[/youtube] Part 2 of 7 [youtube]Aqi_qivG82c[/youtube] Part 3 of 7 [youtube]n-7GC2bPXIU[/youtube] Part 4 of 7 [youtube]iR_vfGqTdGo[/youtube] Part 5 of...

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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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