 Over the past year Canon has produced and shipped tens of thousands of DSLR camcorders worldwide. With so many of these getting into the hands of such a wide range of videographers, from home users, to event videographers, independent filmmakers and now even Network TV shows and Hollywood movies, the impact has been dramatic. At Videoguys.com, we are getting calls and emails and reading new forum threads each day asking us what is the best way to edit and work with the footage created from these
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 I’m very excited for my trip to the National Association of Broadcasters convention this year as I’ll be leading a couple of the In Depth sessions of the Post|Production world conference. The first, on Tuesday morning from 10:00 am to 1:00 pm and part of the Avid Editing Workshop is, Avid Media Composer for Final Cut Pro Editors. The second, Wednesday at 10:00 am, is Music Video Workflow. You must register to attend the educational part of the NAB show (unfortunately it’s not free) at the Post|P
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 I’ve covered Matrox for a number of years. With the development of the MXO and MXO2 units, Matrox has put together one of the strongest families of I/O products that are available for the Apple Final Cut Pro editing customer. The original MXO was designed to use the video signal from one of the internal graphics card’s DVI ports and turn that into a broadcast quality signal for output and monitoring. The MXO2 was built as a more traditional ingest and output system. Instead of DVI, the MXO2 conn
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 The Matrox MXO2 Mini is definitely a solid piece of hardware that will not disappoint. At just $450 for the Matrox MXO2 Mini without the MAX hardware you have a solid I/O device that can capture just about any source a client will throw at you. Also, Matrox’s calibration software will allow you to monitor your video properly to any HDMI monitor. The choice of codec and bitrate will fit any project that you might face and the HDMI in and out is a dream if you’re neurotic about your cabling – e
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 I’ll take a moment of of my day editing on an Avid to deal with something in the Final Cut Studio world. Specifically, Apple just released an update to the entire package today.
Pro Applications Update 2010-01 improves overall stability and addresses a number of other minor issues. This update is recommended for all users of Final Cut Studio, Final Cut Server, and Logic Studio.
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 I've recently had the opportunity to review two of the latest training DVDs from VASST.com, a company known for creating DVDs, books, and software utilities that cover a wide variety of video-related topics. In this review I'll look at AVCHD Training, a DVD that carries the following tagline: "Learn the ins and outs of AVCHD and how it affects you."
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 After Canon PR jumped the gun a bit on the release of the EOS Movie Plugin-E1 for Final Cut Pro, they have finally released the tool here in the back half of March. If you haven’t heard about the EOS Movie Plugin-E1 for Final Cut Pro it’s adds an option to the FCP Log and Transfer tool to import Canon 1D, 5D Mark II and 7D H.264 Quicktime files and transcode to any of the ProRes flavors (or Apple Intermediate Codec) in the process.
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 We all know this fact: The Canon DSLRs (5D, 7D, 1D) use the H.264 codec for the video they shoot and wrap that into a .mov QuickTime. While Final Cut Pro does work with .movs, these H.264 versions are clunky to edit requiring much rendering when in a FCP timeline. H.264 wasn’t designed to be a robust edit format anyway so the files need to be transcoded into something more edit friendly.
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 In Final Cut Pro there are keyboard shortcuts you can use for adding your favorite transitions to any edit point. Not aware of these? Then stand by Laddie, you're in for a treat. Let's start with basics first.
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 Squeeze 6 is Sorenson media’s transcoding application. We compared the Squeeze 6 offering to Adobe Media Encoder, Apple Compressor, and Telestream Episode.
You can download the report in PDF format without logging in — this is a free report.
We have also created some screencasts showing you how Squeeze 6 performs compared to these others.
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 Recently fellow editor Shane Ross and I were discussing the relative merits of grading in Avid Media Composer versus Apple’s FCP or Color, as well as using the Colorista plug-in. Our conversation got down to how each treated the image when you used the color wheels. After I did a quick test, it was obvious that FCP and Avid don’t process the image in quite the same way, even when you push what appears to be the equivalent control in the same direction. So I decided to dig a bit deeper.
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 AJA Video Systems, a leading manufacturer of professional video interface and conversion solutions, announced today that it is now offering its KONA line of capture cards with software for both Mac and Windows-based systems. The company is folding its XENA line of capture cards, designed for the Windows platform, into the KONA product line, giving customers twice the software and flexibility to use KONA cards on all platforms, at no additional cost.
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 Videoguys' March Mania! Take 5% OFF Every Order Now Through 3/22 with Coupon FINAL5
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Whethere you're editing your video with Adobe CS4 Production Premium, Apple Final Cut Studio 3, or Sony Vegas Pro 9 we have the bundles and add-ons you need to make the most of your system. For the past few weeks we have been sending you our special solutions-based e-mails featuring each of these application and
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 For editors, there’s good news and bad news concerning camera manufacturers. The good news is that a stream of innovative, impressive and technologically amazing new cameras are being rolled out that shoot fantastic new formats for independent filmmakers, DPs and directors of all kinds. The bad news is that we have to edit the footage.
I was just becoming awesome at transcoding when Avid released its “mix-and-match” feature for Media Composer 4.0. With mix-and-match, any kind of footage c
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 Audio editing powerhouse - from raw audio to editing to mastering, including sound design, audio restoration, processing and effects, and even Red Book CD creation.
What family of video editing tools are you most comfortable with? There's Avid, with its extensive legacy in broadcast and film. Or Adobe, with its ever-more-tightly integrated Creative Suite, from imaging to video to the web. And Apple, with its Final Cut Studio expanding from professional editing to digital cinema.
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