 The Art of the Guillotine is a group of industry professionals who saw the film community’s need for a comprehensive resource of techniques, tips, ideas and links for other Editors. The Art of the Guillotine encourages the interaction of all visitors to build a resource for ideas and inspiration. We extend an invitation to film editors worldwide to give us your input and feedback; what would you like to see on AOTG, help us build our community! We can’t wait for you to join us in this on-going p
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 I was in New York City for a Samsung event focused on SSDs and gaming on PCs last month. There wasn’t much in the way of new information, but Samsung gave me one of their SATA III 256GB 830 SSDs to try out. These are within a few bytes per second of the fastest SATA3 SSDs money can buy, so I was pretty excited to get home and throw it in a Mac.
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 Recent innovation in cameras has changed the fundamental ways in which movies are being produced. Now it is possible to capture gorgeous, high-resolution digital cinema footage at a much lower price point than in the past. Recently, a couple of new and exciting digital cinema cameras were unveiled – Canon debuted their Cinema EOS C300, and RED Digital Camera Company introduced their 4K-capable Scarlet-X camera – both of which shoot to formats which are already natively supported in Adobe Premier
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 On April 12th, 2011, the editing community laid their eyes on Apple’s next-generation editing software labeled Final Cut Pro X. On June 21st, 2011, the world was able to get their hands on it. For only $299, anyone could download it onto their Mac from the App Store. However, from that moment on, our perception changed. We realized how radically different this new program was to legacy Final Cut. This caused many to demand refunds or turn to new non-linear editors. However, for those who decided
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 Thanks to Avid's new Open I/O SDK, the HDX-SDI and HD Express are compatible with — and fully certified for — Media Composer® 6, Symphony® 6, and NewsCutter® 10.
The HDX-SDI and HD Express deliver uncompressed, full-raster 1080/720 HD or SD video to and from the computer, allowing you to capture and play HD/SD material using any video format supported by Media Composer and Avid Media Access®, such as XDCAM, DNxHD, and ProRes.
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 Hell froze over with Avid’s launch of Symphony 6, Media Composer 6 and NewsCutter 10. Not only are these the long-awaited 64-bit versions, but one huge feature is Avid’s new open I/O architecture, which permits full implementation of third party hardware. Simultaneously support was announced by Matrox, MOTU, AJA, Blackmagic Design and Bluefish444 for their popular capture cards.
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 Sorenson Media today announced the immediate availability of Sorenson Squeeze 8, which adds enhanced functionality and ease-of-use to the company’s gold-standard video encoding and transcoding application at a lower price point. In addition, the company has also introduced Sorenson Squeeze 8 Lite, which makes select features of Squeeze 8 accessible to prosumers at a further significantly reduced price.
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 Well I’ve been deliberating, experimenting and talking to other editors over which NLE to adopt following the launch of FCP-X. I’ve played with Adobe Premiere Pro CS5.5 which is really easy to transition to from FCP as it has a similar interface and editing style. I’ve experimented with FCP-X, which is very fast but has so many missing features and forces you to work in ways I don’t always like
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 When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you’re moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won’t be totally lost as there are a lot of similarities between the two application’s timelines. But there are some important differences as well. Let’s take a closer look at the Premiere Pro timeline if you’re moving from FCP 7. Did I mention how much time edi
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 Walter Biscardi has been beta testing Media Composer and gives his "Avid from a Final Cut Pro" point of notes in this article. This is not a full review, Walter tells us, but a point by point relay on Avid test systems, AJA Kona support, storage support, promises kept, and where it goes from here.
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 Got FCP? Got Kona or Decklink or MXO2?
Crodssgrade to Media Composer 5.5 for $995 (while supplies last) and register before Nov 15th to get a FREE upgrade to MC6!!
Videoguys.com took advantage of a special purchase opportunity that allows us to offer Apple Final Cut owners the "crossgrade" to Avid Media Composer 5.5 for just $995 while supplies last and a FREE upgrade to the new Avid Media Composer 6. Here's how you can take advantage of this last chance offer:
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 Today was the day for the Avid webcast where they announced a new version of Media Composer. Version 6 will ship on November 15 and may be one of the most important releases of Media Composer since … well version 5.0. Version 5 ushered in the big change that is the Smart Tools and caused quite a ruckus amongst old timers. Version 6 will see an updated interface.
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 Today Avid Avid announced Media Composer version 6, Symphony version 6 and NewsCutter version 10 . Avid matins they acer deeply committed to professionals, and are pleased to announce that all of these new applications are 64 bit native.
Avid Media Composer 6.0 has been rebuilt from the core on an entirely new open, 64-bit architecture. Avid is also introducing a sleek, new User Interface that is designed to speed up workflows while preserving the same functionality. This means it will still
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 Avid’s flagship editing product, Media Composer, has been on the scene for a little over twenty years and has looked and worked roughly the same way for that whole time.
Today saw the announcement of the first major overhaul since Media Composer’s numbering was restarted with the release of Adrenaline in 2003… And it’s a big overhaul – not only has it been rewritten entirely as a 64-bit application but it also looks different with a redesigned UI.
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 With the release of Media Composer version 6, Avid is making good on its promise to pursue a path of openness and 64-bit performance. Available November 15, the release includes support for third-party hardware, a redesigned interface, and extensive support for stereoscopic editing.
Avid Segment Marketing
Manager Angus Mackay
With the release of Media Composer version 6, NewsCutter version 10 and Symphony version 6 - all available on November 15 - Avid is making good on its promise to
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