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Tutorials

White Balancing Your Camcorder

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

Different light sources have different “color temperatures”, and any object lit with these sources will take on the cast of that source. The human vision system compensates for different light sources, so white always looks white, but camcorders sometimes need our help in determining the best white balance setting for a given situation. In other words, we have to tell the camera what white looks like, and it can then use that as a point of reference to accurately reproduce any color in the scene. All camcorders will have...

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RT.X2 LCD Display Calibration for CS4 Users

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

Matrox now offers a monitor calibration utility for RT.X2 users that allows the use of an inexpensive LCD display for accurate color grading. This does not apply to the RT.X2 LE or SD models, which lack the DVI output necessary to drive the LCD. The calibration utility is part of the new 4.0 drivers for use with Adobe CS4, and is accessed via the Matrox “TV” icon at the lower right of the Windows screen. Step-by-step illustrated calibration instructions are included in the Matrox User Guide .pdf file found on the Matrox driver disc...

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Staying Native or Going Intermediate? Transcoding and Premiere Pro CS5

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

In this brief video, Worldwide Product Evangelist Jason Levine will explain the basis of transcoding, showcasing the workflow outside of CS5; he”ll then show you what a native workflow is all about in Premiere Pro CS5, and explain some scenarios for staying native or moving to an intermediate codec. This video also points out some of the misconceptions about transcoding, but also highlights some of the round-tripping capabilities of CS5 with FCP and AMC. [youtube]xx_ipWmrhE0[/youtube]

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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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Why Does Matrox RT.X2 Use a 720×486 Video Frame Size?

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

NTSC DV and DVD video both use a frame size of 720×480, but the D1 NTSC Broadcast Video spec is 720×486. The Matrox Axio hardware uses the D1 spec, so to maintain project cross-compatibility between the RT.X2 and Axio platforms for editors using both, the RT.X2 uses the D1 spec. If you capture using a Matrox DV preset, the video IS captured at the standard 720×480 size, so in the Premiere preview window, the DV image is centered with 3 black lines above and 3 below to fill out the 486 frame size. When exporting to DVD, the 6...

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Creating a PIP (Picture in Picture) with Premiere Pro

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

Creating a PIP effect, or even multiple PIPs for a collage effect, is easy to accomplish in Premiere Pro. The background image or video should be on the V1 track, and any images or clips that you want to overlay as PIPs should be on higher tracks, V2 or above. Select a clip on the timeline by left-clicking it to highlight it, then use the Adobe Motion effect, found in the Effect Controls bin, to change the Scale, Position and Rotation of the overlay clip. Any time you make the image smaller or reposition it to fill less than the full screen,...

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