 The launch of Adobe CS5 brings to bear the obvious comparison with Final Cut Studio (FCS). Since life has been far too quiet lately, I decided to tackle this subject, but from the perspective of the totally new user, not the experienced user who would rather fight than switch. In other words, what would you say if a total newbie asked, "Which should I use, FCS 3 or Adobe CS5?"
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 Adobe is shipping its much-anticipated Creative Suite 5.
The big story is native 64-bit operation for all of the applications, which requires a 64-bit OS (Windows Vista/7 or Mac OS X "Snow Leopard") running on a processor that supports 64-bit operation. The upside of thi
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 There is a great thread going on over at the Creative Cow about the Matrox MAX technology. Highly respected industry experts have all chimed in and the answer is clear. THEY LOVE THE MXO2 and the MAX encoding technology!!
What great thread. MAX is the secret ingredient that gives the Matrox MXO2 family of products a leg up on other excellent I/O devices such as the Kona. As was mentioned here, if you have a Kona card, keep on using it! You can add the CompressHD card to your Mac Pro and get
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 As the three companies showing their best wares in the Nonlinear Editing System category vie for attention in the broadcasting and post-production world at NAB 2010, some of the glitter caught Walter Biscardi's eye, but others left him wondering if they can keep up. Read on for more insight on what he saw at NAB...
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 OK, now that I have your attention, let me answer the question. Without a doubt – no – at least not for a while. There sure is a lot of sturm und drang on the Internet lately about the supposed fate of Final Cut Pro. It started around NAB-time this year, partially due to the lack of an Apple presence (everyone is supposed to know they’ve sworn off trade shows), partially due to rumors of layoffs among some of the ProApps team and then fueled by Steve Job’s cryptic e-mail to a blogger that the ne
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 CS5 is among Adobe's most significant upgrades to the Production Premium bundle ever.
As video editors, we have patiently waited (and waited and waited) for tools that are as quick as our clicks and keystrokes. But performance gains in past versions of Adobe's Creative Suite have been mostly incremental. After testing one of the very latest pre-release versions, we can say that CS5 is nothing less than revolutionary. Our wait is over.
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 There are some great discussions going on at the Avid User Community Forums about the MXO2 Mini and the what if anyhting the MAX technology can do for Avid editors. I'm going to share some of that here with you.
Just to clarify: the max would work fine with MC5, just without H.264 acceleration?
Correct. If you purchase the Mini with Max, it will function exactly like a standard mini with MC5. The MAX technology just gets ignored
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 The post-production Internet has been all a-Twitter for the last 24 hours after Apple Insider posted some nutty story about Apple scaling Final Cut Pro to fit more of a consumer market. After the FCP fanboys went ballistic the great, silent behemoth that is Apple actually spoke today about this very topic, telling CNET that “Final Cut Pro is the first choice for professional video editors, and we’ve never been more excited about its future,” Apple spokesman Bill Evans told CNET. “The next versio
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 Hello friends! In this brief video, I'll show you the incredible power and ease of editing DSLR footage in Premiere Pro CS5.
As a worldwide evangelist for Adobe (and having toured, promoting this software to Press and influencers over the last 8 months) I was able to capture some nice footage along the way with my Canon 7D. Some of it is featured here.
The key to all of this: NATIVE DSLR EDITING. That's right.
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 In this short video, I'll show you how to use the new Ultra Keyer in Premiere Pro CS5 to pull quick keys from your footage, even with unevenly lit green screen. Once again, the 'key' here (ha ha) is the fact that I'm running this process without rendering, leveraging the Mercury Playback Engine solely in software mode.
Following Ultra, we'll take a look at the Time Remapping feature (using a mixture of 60fps and 24fps footage), and then showcase the new Export Frame option, which very quic
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 Regardless of what tapeless formats you shoot on (P2, XDCAM, AVCHD, DSLR or H.264): what platform you use (PC or Mac, Workstation or Laptop) what NLE you edit with (Apple Final Cut Pro, Adobe Premiere Pro or Avid Media Composer) the MXO2 Mini is the perfect HD monitoring solution for you. No other hardware is as powerful, flexible, portable or affordable.
With the Matrox MXO2 Mini you can monitor your timeline in full HD resolution on a flat screen HDTV via HDMI or component video. Matrox's
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 I never thought I would say this but i am learning how to cut in Premiere. I aways dismissed it as an amateur tool. Much preferring my Final Cut Pro. All because this CS5 is damn amazing. You do need a powerful MAC with the right graphics cards. My new i7 17?MBP works great with it.
I learnt to cut tape to tape, then basic FCP, then AVID, then properly FCP and never look back. I adore FCP and use it almost every day but I was offered the chance to try out CS5 by Adobe with no strings attache
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 Unleash the creativity in your editing suite
Blockbuster films are not made overnight, but with Adobe Premiere® Pro CS5 and NVIDIA® Quadro® graphics solutions, editing time can be drastically reduced. At the heart of Premiere Pro CS5 is the Adobe Mercury Playback Engine – built using the NVIDIA® CUDA™ parallel processing architecture – so Quadro GPUs deliver real-time previewing and editing of native, high-resolution footage, including multiple layers of RED 4K video.
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 When Premiere Pro debuted on the Mac as part of Adobe CS3, it was as though Adobe took the license plate off that old moped in the garage and put it on a hot new motorcycle. With Premiere Pro CS4, Adobe continued to retool the program and retrofitted the Mac version to more closely match the Windows package. The latest version of Adobe’s professional video editing program doesn’t look much different at first glance. But taking it for a spin reveals that most of the work went into the engine.
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 NAB2010 was very exciting for us and everyone I have spoken to who attended!
We have been waiting for action-packed show full of excitement for a couple of years and thanks to Adobe, Avid, Matrox and others we finally got one! The buzz on the NAB Show Floor was about a bunch of exciting new products, technology and more efficient workflows. Every videographer, producer and editor I spoke to had been waiting for new technology that would finally make their workflow better
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