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Premiere Pro tutorial: Importing a layered Photoshop file


In this tutorial, learn how to import layered PSD files in order to create picture-in-picture effects in a Premiere Pro project. Watch more at
http://www.lynda.com/Premiere-Pro-tut....

This tutorial is a single movie from the Premiere Pro Guru: Dynamic Link and the Adobe Workflow course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 29 minutes and shows how to save time, save disc space, and get more billable work done using Dynamic Link--the Adobe technology that allows you to use files from other Adobe apps inside your Premiere Pro projects.

  • Welcome
  • 1. An Intro to Dynamic Link
  • 2. Adobe Premiere Pro Working with After Effects
  • 3. Adobe Premiere Pro Working with Audition
  • 4. Adobe Premiere Pro Working with Photoshop
  • 5. Adobe Prelude to Adobe Premiere Pro
  • 6. Other Workflows
  • Conclusion

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Premiere Pro tutorial: How to work with slow-motion effects


In this tutorial find out how to work with slow-motion effects in Premiere Pro. Watch more at
http://www.lynda.com/Premiere-Pro-tut....
This tutorial is a single movie from the Premiere Pro Guru: Dynamic Link and the Adobe Workflow course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 29 minutes and shows how to save time, save disk space, and get more billable work done using Dynamic Link--the Adobe technology that allows you to use files from other Adobe apps inside your Premiere Pro projects.

  • Welcome
  • 1. An Intro to Dynamic Link
  • 2. Adobe Premiere Pro Working with After Effects
  • 3. Adobe Premiere Pro Working with Audition
  • 4. Adobe Premiere Pro Working with Photoshop
  • 5. Adobe Prelude to Adobe Premiere Pro
  • 6. Other Workflows
  • Conclusion

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Time-lapse Tutorial: Choosing a Working Drive


Because your time-lapse shoots will result in a lot of data, it's important to consider data storage options. This tutorial explores data storage solutions for both desktop and mobile setups, and explains the importance of redundancy, security, and preventing data loss. Watch more at
http://www.lynda.com/After-Effects-tu.... This tutorial is a single movie from the Creating Time-Lapse Video course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 27 minutes. Get on-location tips and post-production techniques to speed up time and create compelling visual effects with time-lapse photography.

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An Introduction to the GoPro Hero3

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Whether you call it a sports cam, action cam, crash cam, or toy cam, the GoPro 3 has taken the production world by storm. While it’s not a true DSLR camera, we find ourselves mixing it into our production jobs all the time. For time-lapse, point-of-view, underwater, and aerial photography, these cameras are great.
In
this week’s episode, we start with an in-depth look at GoPro cameras. You’ll learn
What is a GoPro? Where did these cameras come from and what are they good for?
The GoPro bodies. What are the challenges with the form factor?
Essential GoPro gear. What do you need to get the best shots?
Powering the GoPro. How can a little camera use so much juice?
Accessing GoPro menus. How to stop driving yourself nuts pushing buttons and actually see what you’re doing.
Essential menu commands. Which commands will get you a quality shot?
GoPro cameras are a lot of fun and in future weeks we’ll cover using them for time-lapse shots, going underwater, and flying in a copter. Check out both the sample video above, and this week’s complete episode on lynda.com to learn how you can use a GoPro camera with your own projects.
GoPro is registered trademark of Woodman Labs, Inc.

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Time-lapse video tutorial: Basic moves on a slider


In this tutorial explore the basics of working with a Kessler camera slider in order to shoot time-lapse photography. Topics include setting the shoot's start and end points, adjusting the axis of the camera, and tips for keeping flicker out of your shots, including engaging the mirror lock-up and turning of noise reduction. Watch more at
http://www.lynda.com/After-Effects-tu.... This tutorial is a single movie from the Creating Time-Lapse Video course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 27 minutes. Get on-location tips and post-production techniques to speed up time and create compelling visual effects with time-lapse photography.

  • Introduction
  • 1. What Is Time-Lapse Photography?
  • 2. Technical Essentials
  • 3. Equipment: What You'll Need and Might Want
  • 4. Choosing a Shooting Format
  • 5. A Better Timeline Panel
  • 6. The Exposure Triangle in Depth
  • 7. Using a Slider
  • 8. Shooting Time Lapse on a Smartphone or Tablet
  • 9. Managing Data from a Time-Lapse Shoot
  • 10. Organizing the Images for Post
  • 11. Developing the Images for Post
  • 12. Assembling a Time-Lapse Movie with Adobe Photoshop
  • 13. Assembling a Time-Lapse Movie with Adobe After Effects
  • 14. Assembling a Time-Lapse Movie with Adobe Premiere Pro
  • 15. Assembling a Time-Lapse Movie with Apple Final Cut Pro X
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How To Read A Waveform Monitor & Vectorscope

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When reading video scopes for the first time, it can be tough to figure out what you’re actually looking at. But tools like waveform monitors and vectorscopes can help with the exposure and color in your shots—and are definitely worth the time spent learning how to use them.
The primary thing to keep in mind is that these tools are more accurate than your eyes in providing an objective, analytical snapshot of your video signal. This week we’ll explore

  • Why scopes are essential in helping you achieve better shots
  • How a histogram complements the information on a waveform monitor
  • How to use a waveform monitor to judge exposure and contrast
  • How to use a vectorscope to analyze hues and saturation in a shot

Learning how to use both a waveform monitor and vectorscope can really aid you in getting beautiful shots that are properly exposed, and with vibrant, consistent color. Be sure to check out both the sample video below, and this week’s complete episode on lynda.com to learn how you can use them with your own projects.



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Time-lapse Tutorial: Tracking the Sun's Position


When, and for how long, are you shooting your time-lapse sequence? Sun position can play a vital role in your shoot and knowing the sun's location ahead of time can help you plan ahead. In this tutorial, learn how to use the Sun Seeker app, available for both iOS and Android devices, in order to track the location of the sun. Watch more at
http://www.lynda.com/After-Effects-tu....
This tutorial is a single movie from the Creating Time-Lapse Video course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 27 minutes. Get on-location tips and post-production techniques to speed up time and create compelling visual effects with time-lapse photography.
  • Introduction
  • 1. What Is Time-Lapse Photography?
  • 2. Technical Essentials
  • 3. Equipment: What You'll Need and Might Want
  • 4. Choosing a Shooting Format
  • 5. A Better Timeline Panel
  • 6. The Exposure Triangle in Depth
  • 7. Using a Slider
  • 8. Shooting Time Lapse on a Smartphone or Tablet
  • 9. Managing Data from a Time-Lapse Shoot
  • 10. Organizing the Images for Post
  • 11. Developing the Images for Post
  • 12. Assembling a Time-Lapse Movie with Adobe Photoshop
  • 13. Assembling a Time-Lapse Movie with Adobe After Effects
  • 14. Assembling a Time-Lapse Movie with Adobe Premiere Pro
  • 15. Assembling a Time-Lapse Movie with Apple Final Cut Pro X
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Stop Motion, Slow Motion, and They Might Be Giants



A little distraction… that combines three things I love. They Might be Giants have always been one of my favorites (they're one of two actual Fan Clubs I belong too). A great song and well-executed video.

Check out some more of the creative team (Hoku & Adam's) work
here.
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Postprocessing choices for time-lapse photography


I love timelapse photography. And here's my new class all about the topic!
Get the class here – http://www.lynda.com/After-Effects-tutorials/Creating-Time-Lapse-Video/137903-2.html


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New Class on Micro Four Thirds Photography


I'm proud to announce my new class on Micro Four-Thirds video and photo. I am so excited about this new technology and how liberating it is for shooting. This was shot with one of meet best friends, Scott Bourne.

The micro four-thirds sensor format is enabling a new generation of cameras that combine compact size with DSLR-like features, such as interchangeable lenses. In this course, Rich Harrington and Scott Bourne introduce the micro four-thirds format, detailing its strengths and weaknesses for both photography and video, offering buying advice, and sharing tips for getting the best results when shooting with a micro four-thirds camera.

This course was created and produced by Rich Harrington. We are honored to host this content in our library.

Topics include:

  • What is the micro four-thirds format?
  • Understanding the advantages and disadvantages of micro four-thirds
  • Choosing a micro four-thirds body
  • Choosing the best lens
  • Using image stabilization
  • Shooting video with a micro four-thirds camera
  • Improving your audio


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New Class on Time-lapse Photography


I love timelapse photography. And here's my new class all about the topic!
Get the class here – http://www.lynda.com/After-Effects-tutorials/Creating-Time-Lapse-Video/137903-2.html

Learn how to speed up time and create compelling visual effects with time-lapse photography. Join Rich Harrington in the field as he captures nature's patterns at Red Rock Canyon in southwestern Nevada, and shows how to frame your scene and choose the proper camera settings. He'll show you how to capture great images, whether you're using a DSLR camera and a motorized slider or just a smartphone you have handy. Then join him back in the studio to transform your still footage into a storytelling time-lapse video, using tools like Photoshop, Premiere Pro, and Final Cut Pro.
Timelapes2

Topics include:
  • What is time-lapse photography?
  • Why shoot with a still camera?
  • Choosing a frame size and frame rate
  • Using an internal or external intervalometer
  • Selecting a memory card
  • Tracking the sun's position
  • Deciding how long to shoot
  • Using a slider
  • Shooting time lapse on a smartphone or tablet
  • Removing noise and spots with Adobe Camera Raw
  • Importing the image sequence
  • Refining the duration and frame rate
  • Blending frames
  • Creating variable speed effects
  • Exporting your sequence

  • Timelapes3
Get the class here – http://www.lynda.com/After-Effects-tutorials/Creating-Time-Lapse-Video/137903-2.html

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Stable Shots with a Micro Four-Thirds Camera

Let me show you how to stabilize a Micro Four-Thirds camera.  For some of the cameras, the stabilization is part of the camera and not the lens.
You can check out the whole class 
here and get a free trial membership here.
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How are Micro Four-Thirds Cameras Different?

MFT - How Micro Four-Thirds Differs from DSLR from RHED Pixel on Vimeo.

Let me show you how to stabilize a Micro Four-Thirds camera.  For some of the cameras, the stabilization is part of the camera and not the lens.
You can check out the whole class 
here and get a free trial membership here.
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Two More Green Screen Tutorials



Two more videos from our new class on Greenscreen workflow

Check out the class here – http://www.lynda.com/After-Effects-tutorials/Adobe-Green-Screen-Workflow/141500-2.html

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New Class on Greenscreen Workflow at Lynda.com

Greenscreen1

Working with green-screen footage can be a daunting task. The Adobe suite of video tools provides a wide array of choices, but how do you know which to use? This course aims to answer that important question. By providing an overview of the import process, and then moving into Premiere Pro, After Effects, and popular third-party keying tools, author Rich Harrington guides you through the keying process. Learn how to use the Ultra Keyer, KEYLIGHT, Primatte Keyer, zMatte, and more, while discovering ways to work with transparency and create great backdrops in Photoshop.

This course was created and produced by Rich Harrington. We're honored to host this material in our library.
  • Topics include:
  • Deciding where to key your footage: Premiere Pro or After Effects
  • Importing footage to key
  • Stacking layers in Premiere Pro
  • Using the Ultra Keyer
  • Using Keylight
  • Enhancing a key with 3D lights
  • Deciding when to use a third-party tool
  • Processing backdrops in Photoshop
  • Exchanging transparency data

Check out the class here – http://www.lynda.com/After-Effects-tutorials/Adobe-Green-Screen-Workflow/141500-2.html

A Sample

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Recording Audio for an Interview: DSLR Video Tips

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Having clear, crisp audio tracks is essential for effective corporate videos, commercials, documentaries—and particularly critical for interview footage. Audiences are often willing to forgive small technical mistakes with video, but far less so with problematic audio.
This week we’ll set up to shoot an interview, and look at ways to improve audio recording quality on location. It’s easy to focus solely on capturing great visuals while shooting an interview; but audio that’s hard to hear, distorted, or runs together between interviewer and subject can quickly ruin a production–and possibly even require a reshoot. To help you capture the best audio with interview footage, this week we’ll discuss:
  • Why good audio is essential to an interview
  • How to place microphones for the best results
  • Best practices for positioning the interviewee, interviewer, and crew
  • Interview techniques including making your subject comfortable, having questions prepared, and not talking over your subject’s answers
Often you’ll only have one chance to get interview audio right, so check out this week’s episode so you’ll be prepared before your next shoot. Remember, each week’s episode is free for seven days–tell your video and photography friends to watch for free.
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Essential Apps for Site Surveys

Explore how apps on mobile devices can help you get the most out of a photo or video shoot. Watch more at http://www.lynda.com/Photography-Vide.... This tutorial is a single movie from the Effective Site Surveys for Video and Photo Projects course presented by lynda.com author Rich Harrington. The complete course duration is 1 hour and 34 minutes long and introduces creative professionals to the core concepts of location scouting for video and photo projects.

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Choosing a DSLR frame rate


This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré. This tutorial discusses which frame rate you should choose, depending on your specific requirements. Watch more at http://www.lynda.com/course-tutorials...

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Premiere Pro tutorial: The Paste Attributes Options Dialog

Find out how to paste select attributes from one clip to another using the Paste Attributes dialog in Premiere Pro. Watch more at http://www.lynda.com/Premiere-Pro-tut.... This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro
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DSLR tutorial: Transferring from a card into Premiere Pro


In this tutorial, Rich Harrington and Robbie Carman explain how to bring footage into Premiere Pro from a card. Watch more at
http://www.lynda.com/course-tutorials.... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

Start a 7-day free trial to lynda.com 
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Create a Video Project's Scope and Workflow



This tutorial describes how to clearly define and present a video project's potential scope and workflow to a client. Watch more at http://www.lynda.com/course-tutorials... This specific tutorial is just a single movie from chapter three of the Budgeting Video Projects course presented by lynda.com author Rich Harrington. The complete course has a total duration of 2 hours and 18 minutes, and explores the world of video-project budgeting including how to set your rate, scope your project, create a quote, and bill your client.

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An Incredible Music Video from 1968


I've always been a Monkees fan…and I must say I forgot about this clip from their 1968 film
Head.
In this scene Davy Jones dances with future 80s pop star Toni Basil (who's way more talented than just Hey, Mickey!)
The video is a triply segment with great camera work but incredible editing. Watch this for juxtaposition and rhythm. I'm going to have to try this out sometime soon. This was all done in camera and in edit.. no visual FX here.
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Shooting under bright lighting conditions: DSLR Video Tips

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On this week’s episode of DSLR Video Tips, we look at techniques to control exposure and depth of field when shooting under bright light conditions. Outdoor lighting can be too much for a camera, so it’s important to master the exposure triangle—the critical relationship between shutter speed, aperture, and film speed (ISO). Join us as we head back out on a real-world music video shoot for musician Jason Masi, and discuss ways to achieve total control over your focus and exposure when natural lighting is in abundance:

  • Use a neutral density (ND) filter to knock down exposure.
  • Use a loupe to magnify the image on your camera’s LCD screen and knock out stray light, making it much easier to achieve critical focus and exposure.
  • Use a variable ND filter to dial in the perfect exposure.
  • Use a matte box to hold filters and block lens flares.
Check out this episode so you’ll be ready for your next production. Remember, each week’s episode is free for seven days, so tell all your video and photography friends to watch.
Watch the entire DSLR Video Tips Series
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DSLR tutorial: Using a prime lens


In this tutorial, Rich Harrington and Robbie Carman explain how to get shallow depth of field with a prime lens. Watch more at http://www.lynda.com/course-tutorials.... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.
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How to Determine Rates for Video Projects


This video production tutorial shows how to determine your freelance rates for the services you are providing during a video project. Watch more at http://www.lynda.com/course-tutorials... This specific tutorial is just a single movie from chapter two of the Budgeting Video Projects course presented by lynda.com author Rich Harrington. The complete course has a total duration of 2 hours and 18 minutes, and explores the world of video-project budgeting including how to set your rate, scope your project, create a quote, and bill your client

Start a 7-day free trial to lynda.com 
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New Adobe Premiere Pro Features Released

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Adobe quietly released new features today for Adobe Premiere Pro and Adobe Prelude that increase production flow efficiency and editing finesse and will be available immediately for all Creative Cloud users.

The complete list of newly added features in this update is :

  • Duplicating a title in a sequence creates a new, unique title, which can be independently edited from the original.
  • Lift and Extract can be used when only an In or Out point is set (if only an In is set, Lift/Extract will use the end of the sequence as the Out point; if only an Out is set, the beginning of the sequence will be used for the In point).
  • Copy, Cut, and Clear commands work between In and Out points on targeted tracks when no clips are selected.
  • When a sequence is loaded in the Source Monitor, keyboard shortcuts can be used to navigate to edit points (Up/Down keys by default).
  • Keyboard shortcuts can be used to clear In/Out points on clips in the Project Panel.
  • The Enable Clip command now works as a toggle when multiple clips are selected, such that any disabled clips become enabled and vice versa.
  • The Match Frame command will prioritize a selected clip over a targeted track.
  • The Relink command can now be used on a sequence containing offline media.
  • The Export EDL dialog now contains the option to include or exclude Transitions and the Key Track.
  • The Reveal In Project command now works from the Source Monitor.
  • A preference has been added to select whether or not playback jumps to the beginning of the Timeline or a Clip once the end has been reached.
  • A button has been added to the Timeline Panel to globally Link or Unlink all clips in the sequence.
  • An assignable keyboard shortcut has been added to enable toggling between the Source and Program Monitors.
  • The Reveal In Finder command can now be used on clips in a sequence.
  • A default start timecode value for all new sequences can be set in the Timeline panel.
  • Clips can now be dragged from the Finder or Explorer directly into the Source Monitor.
  • The Match Frame command now works on Nested or Multi-Camera Source Sequences, first matching to the source sequence, then stepping back further to the original master clip used in that source sequence.
  • Offline audio clips are now displayed in red, matching offline video clips.
  • The Source Settings dialog can be accessed by right-clicking on Clips within the Timeline Panel.
  • A preference has been added to allow the Timeline Panel to be automatically focused after an Insert or Overwrite edit is performed.
  • The Auto-Save dialog is suppressed during editing, and auto saves will not occur if no changes have been made to the project.
  • The Tone Settings dialog allows users to set the amplitude and frequency of the Bars and Tone synthetic clip.
  • Closed Captions are displayed on thumbnails in the Captions panel.
  • Options have been added to the Automate To Sequence dialog for Still Clip Duration, giving control over whether still clips use the In/Out range or a specified number of frames per clip (for timelapse workflows).

More information is available in the ‘What’s New’ document.

Be sure to visit CreativeCloudUser.com for more on Adobe's pro video tools.

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A Recent Spot I Directed

Here's a recent public service announcement I directed for the National Foundation for Credit Counseling. Jim Ball was the DP and Rachel Longman the producer. We're producing a behind the scenes training title to share some of our techniques.
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DSLR Video Tips Series Goes On Location


Robbie Carman and I head into the field in the new season of the DSLR Video Tips series presented by lynda.com. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers and photographers encounter when shooting and editing with DSLR cameras. Each week's episode is free to view the week it is released.

Get 7 days of free unlimited access to lynda.com.
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How to Publish Video to the Web

I explain how to export video from your nonlinear editor to make sure your movie is ready for the web. From the extensive DPBestflow site I highly recommend.
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Transferring From a Card into Final Cut Pro X


In this tutorial, Rich Harrington and Robbie Carman explain how to import footage from a card into Final Cut Pro X. Watch more at
http://www.lynda.com/course-tutorials.... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

Get 7 days of free unlimited access to lynda.com.
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DSLR tutorial: Setting up slow motion in camera settings


In this tutorial, Rich Harrington and Robbie Carman explain how to set up a DSLR camera for slow-motion shoots. Watch more at
http://www.lynda.com/course-tutorials.... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

Get 7 days of free unlimited access to lynda.com.
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Creative Color Grading — Watch the Free Webinar


Here is a recording from the Tiffen Webinar I did.

Learn how to approach color grading tasks for video workflows. I show important techniques for both production and post. I also unlock some of my favorite filters in the Tiffen Dfx v3 and DFT Film Plug-ins sets.

You can download a free 15-day trial here: http://www.tiffensoftware.com/products/dfxv3-free-trial-download/dfx-v3-free-trial-downloads

Take 30% off with this unique code:
RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
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Smart Rendering in Adobe Premiere Pro

smartrenderinga

This article is from the new website — Creative Cloud User The latest version of Adobe Premiere Pro CC adds some real power under the hood. When it comes to export your final project, you can often take advantage of Smart Rendering. To use this feature is pretty simple.
  • Use a media format that supports smart rendering.
  • Put that media into a a sequence with matching settings. This is easy to do by simply right-clicking on a clip and choosing New Sequence From Clip.
  • Export to a self-contained file that matches the same format. This can be done by checking the Match Sequence Settings box in the Export dialog.

Additionally, if you’ve gone the extra step of setting up a sequence and set the preview format to matches the source material, you’re in luck. Just choose the "Use Preview Files" option an Adobe Premiere Pro will also attempt to smart render the preview files during export.

Whenever possible, Adobe Premiere Pro will query each asset during the export. It will check to see if the asset can be smart rendered. If it can, then the app will use it. If not, then regular rendering kicks in. The good news is that Smart Rendering is fairly automatic and if you work with a primary format that’s supported, you can see some real gains in productivity.

These formats are supported:
  • DV
  • DVCPRO
  • DVCPRO HD
  • XDCAM HD (in OP1a MXF format)
  • XDCAM EX (in MP4 within BPAV folder structure)
  • AVC-I (in OP1a MXF format)
  • DNxHD (in OP1a MXF format)
  • DNxHD (in QuickTime)
  • ProRes (in QuickTime)
  • Animation (in QuickTime)
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Sony NEX-VG900 Camcorder Product Overview

Learn more about the new Sony hybrid camera.
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How to Resize Images in Photoshop for use in Video

I show you how to adjust photographs in Photoshop to make sure they are ready for your video project. From the extensive DPBestflow site I highly recommend.
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Better Keying From Production to Post — Watch the Free Webinar


Here is a recording from the Tiffen Webinar I did.

Greenscreen has become an essential tool in modern video, film, and photo workflows. To succeed, it needs to be the perfect combination of production and post. This webinar features visual FX industry veteran Marco Paolini and Motion Graphic Designer and Editor, Rich Harrington. You'll learn how to shoot footage and photos to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow. With Digital Film Tool software products, you'll learn how to use additional tools for those times when you need a key, but there's no greenscreen to be found. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte.

You can download a free 15-day trial here: http://www.tiffensoftware.com/products/dfxv3-free-trial-download/dfx-v3-free-trial-downloads

Take 30% off with this unique code:
RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos

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Great Lighting in Production and Post — Watch the Free Webinar


Here is a recording from the Tiffen Webinar I did. We discussed working with Variable ND Filters, Reflectors, LED lights, Portable Lights, and More. Get production techniques as well as postproduction tips for digital effects to enhance the lighting (or even relight) during the edit.

You can download a free 15-day trial here: http://www.tiffensoftware.com/products/dfxv3-free-trial-download/dfx-v3-free-trial-downloads

Take 30% off with this unique code:
RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos

Don't miss
“How to Key Almost Anything.  Greenscreen Solutions for Video and Photo Pros”
Register for free — https://www3.gotomeeting.com/register/721949422
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How to Properly Use A Tripod

tripod A lot of you have likely invested in a tripod… that’s the good news. Now let’s make sure you’re getting the most benefit from using it. Here are a few practical tips to get the results you want.
  • Find a level space. When you set your tripod up, look for a level space. This means less vibrations caused by legs jutting out at awkward angles. If possible, try to avoid spaces prone to a lot of vibration (such as metal platforms or wooden floors in high traffic areas). In fact a surface that’s a little softer (like a grassy field or dirt road) may be ideal.
  • Go low if possible. Depending on the shot you want to make, keep your tripod as close to the ground as possible. This minimizes the potential effects of wind and vibration. Try spreading the legs a little wider. You can go too far and make the whole thing unstable, but remember that a fat pyramid will be more stable than a thin one. It also reduces the chance of the gear tipping over and falling.
  • Don’t use the center column. Less extension always means greater stability. At all costs, try to avoid raising your tripod’s center column. This actually destabilizes the tripod. If you need more height, try moving to higher ground. Can you lower your body instead? Can you try a different angle? Don’t shoot the world from eye level all of the time. If you’re tall, consider a tripod that has longer legs.
Head over to Photofocus, my Photography blog for the rest of the article. http://photofocus.com/2013/06/01/how-to-use-a-tripod-the-right-way-2/
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Mixing Audio in Adobe Premiere Pro

I show you how to properly mix your audio in a nonlinear editor (Adobe Premiere Pro). From the extensive DPBestflow site I highly recommend.
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How to Organize Your Video Edit

I show you how to use bin structures to organize your video footage in Adobe Premiere Pro. From the extensive DPBestflow site I highly recommend.
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Making Your Mark in Adobe Premiere Pro

essentialeditmarks As you work in the timeline or source window, you’ll come to rely upon In and Out points to accurately edit. These two points can clearly define which part of a clip you want to use, what section of the timeline you want to replace, or where to remove footage. Here are the most essential editing shortcut commands:
  • In—Press I to add an In point.
  • Out—Press O to add an Out point.
  • Clear In—Option+I (Alt+I) to clear an In point.
  • Clear Out—Option+O (Alt+O) to clear an Out point.
  • Clear In and Out—Option+X (Alt+X) to clear both an In and Out point
  • Go to In—Shift+I to go to an In point
  • Go to Out—Shift+O to go to an Out point
  • Lift—Press ; (semicolon key) to remove the media between the In and Out point and leave a gap.
  • Extract—Press ‘ (apostrophe key) to remove the media between the In and Out point and close the gap.
For more Adobe tips, check out Creative Cloud User.
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More on Color Grading Footage

I show you how to color grade you video in a nonlinear editor (Adobe Premiere Pro). From the extensive DPBestflow site I highly recommend.
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Importing a Final Cut Pro Project to Adobe Premiere Pro

xmltoprp

Video editing is often a collaborative process. You may need to work with someone else’s editing project that was started using Final Cut Pro. Adobe Premiere Pro is a very flexible editing solution. You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap.

  1. In Final Cut Pro, mark an In and Out point within a sequence for the range you’d like to export.
  2. Choose File > Export > XML. In the dialog box that opens, choose Apple XML Interchange Format, version 4 (or later), and click OK.
  3. Specify a location for the new XML file (such as your project folder) and click OK. The XML file is small and references the original media on your drive. It will only take a few seconds to write.
  4. Switch to Adobe Premiere Pro and create a new project using a preset that most closely matches the video format you’ve been using.
  5. In Adobe Premiere Pro, choose File > Import. Navigate to the XML file you created and click Import.
  6. Adobe Premiere Pro creates a sequence and adds the media and a report to the project.
  7. Update the edit or work with the imported project sources.


For more Adobe tips, check out
Creative Cloud User.
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Free Class — Creative Color Grading

Learn how to approach color grading tasks from production to post using Tiffen Dfx v3 and DFT Film Looks Plug-ins. You'll also learn about Adobe Premiere Pro, After Effects, and Final Cut Pro X.



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Premiere Pro tutorial: Expanded support for formats


Watch more at http://www.lynda.com/Premiere-Pro-tut.... This tutorial reviews the new supported file formats and codecs in Premiere Pro, including ARRIRAW and ProRes. This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro. Introduction 1. User Interface Improvements 2. Extending the Power of Premiere Pro 3. Quality and Format Improvements 4. A Better Timeline Panel 5. Project and Media Management 6. Improved Effects Workflow 7. Improved Audio Workflows 8. Improved Multicamera Workflows 9. Improved Closed Caption Workflow 10. Improved Export Controls Conclusion

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Free Webinar on Color Grading with Tiffen

tiffen_banner_grading


Creative Color Grading – Fast!

Learn how to approach color grading tasks from production to post. Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata. Then in post you'll learn how to create popular looks that clients want. This
workshop will explore both general techniques and theory as well as a detailed look at Tiffen Dfx Video/Film tool set.

  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One lucky attendee with receive a give-away of a full license of the software
  • To register for Creative Color Grading Webinar, click here



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Selecting storage for video editing

_MG_6949

When it comes time to edit your video, the hard drives you use are going to have a huge impact on the performance of your system. No matter how much RAM you have or how powerful a video card, you won’t get real-time performance if your drives are a bottleneck.

Important factors

There are three factors when choosing a disk for video editing:

  • Speed: The speed of drive is the most important factor in determining what media you can play off it. Drives like internal laptop drives or bus-powered USB drives are generally not fast enough to edit HD video.
  • Capacity: When you start to edit HD video, you’ll quickly use up disk space. For example, each minute of video shot on a Canon 5D Mark II is about 320MB. In order to get the storage you need, you may invest in multiple drives or drives that are striped together for a performance RAID.
  • Redundancy: To avoid losing their video footage, most video creators choose to back up to two or more drives or to use additional methods like Blu-ray Disc. Look at redundant drives (such as RAIDs)


Drive technology


Be sure to consider your options when looking at hard drives.
  • Internal drive solutions: Many computers support multiple drive slots. Consider placing a fast SATA drive internally into your computer as a performance disk. Keep it only as a scratch disk and avoid installing application or system files on it.
  • External and portable drive solutions: Several different drives are available once you’ve maximized your internal storage. You’ll find both single- and multiple-drive solutions. Look for units offering connections like FireWire, USB3, or eSATA.
  • Networked RAIDs: Several professional drives allow multiple users to connect simultaneously. These solutions are important if you work in a multiple editor environment and need to share projects or assets.

For more on Adobe pro video workflow, check out the new website — Creative Cloud User.

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Two Cool (Free) Plugins for Adobe Premiere Pro

Simple Mask



This plugin allows to create a simple alpha mask on the source clip and composite it with the existing alpha channel by adding, subtracting or intersecting. Both rectangular and elliptical shapes are supported. They can be repositioned and rotated.

Downloads:


Vignette


This plugin allows to create a vignette on the source clip. Both rectangular and elliptical vignettes are supported. Vignettes can be repositioned and rotated, applied in any color and blending mode available, to the inside or to the outside. Alternatively only the mask can be rendered, replacing the source layer altogether or the vignette can be filled with transparency.

Downloads:


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New Wacom Tablet Offers Potential for Motion Graphics, Animation, and Video Pros

Cintiq-22HD-touch_sm


Wacom has just announced the new
Cintiq 22HD touch. This device combines tablet and display into one, plus now features multi-touch. Here are the features I'm most excited about.

  • Multi-touch to directly interact with UI elements like color correction controls.
  • A 21.5" full HD display (with 1920 x 1080 pixel resolution)
  • 16 customizable, application-specific ExpressKeys located on the side of the display bezel.
  • User-defined Touch Strips, placed on the back of the display to adjust functions like zoom, scroll, brush size and canvas rotation
  • An adjustable stand allows for display rotation, offering both landscape and portrait viewing angles as well as the option to set an incline between 10° and 65°.

The Cintiq 22HD touch ($2,499 USD) will be available in May at select locations and Wacom’s eStore.

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Premiere Pro tutorial: Merging and syncing clips with audio sync


Watch more at http://www.lynda.com/Premiere-Pro-tut.... This tutorial shows how merge and sync clips using audio in Premiere Pro. This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro. Introduction 1. User Interface Improvements 2. Extending the Power of Premiere Pro 3. Quality and Format Improvements 4. A Better Timeline Panel 5. Project and Media Management 6. Improved Effects Workflow 7. Improved Audio Workflows 8. Improved Multicamera Workflows 9. Improved Closed Caption Workflow 10. Improved Export Controls Conclusion

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Organizing Multi-Camera Footage



In the previous episode,
PTC002 - Creating a Music Video: Production, we have shown you what it takes to produce a multi-camera music video. Now that all our footage is captured, it is time to begin the post production process. The first and most important step to editing is organizing your footage. From importing to renaming, Host Richard Harrington will demonstrate how to easily assemble and line up all of the pieces you need to effectively edit.
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NAB 2013: New From Convergent Design


Adorama is in Las Vegas this week at NAB! Join Rich as he chats with Amber Cowles of Convergent Design about the new Odyssey, a full-featured 7.7" OLED monitor. It also offers high-quality disk recording.
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Premiere Pro tutorial: Automatic syncing with audio waveforms

Watch more at http://www.lynda.com/Premiere-Pro-tut.... Find out how to sync audio with waveforms automatically in Premiere Pro. This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro. Introduction 1. User Interface Improvements 2. Extending the Power of Premiere Pro 3. Quality and Format Improvements 4. A Better Timeline Panel 5. Project and Media Management 6. Improved Effects Workflow 7. Improved Audio Workflows 8. Improved Multicamera Workflows 9. Improved Closed Caption Workflow 10. Improved Export Controls Conclusion

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NAB 2013: New From Canon


Rich Harrington visits the Canon booth at NAB to speak with Chuck Westfall about some hot new products. Find out more about the 6th member in Canon's Prime Lens Series, the 35mm lens. See what Canon has to offer for cinematographers and video pros, such as the Canon XA20 Compact Full HD Camcorder and the Canon XA25 High Definition Camcorder. Order them now at Adorama.com.
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Adobe Unveils the Next Generation Video Tools and Offers 40% Off for a Limited Time

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While visiting the National Association of Broadcasters Conference in Vegas, Adobe had a huge booth.  At it, they showed the next generation of their video products (such as Adobe Premiere Pro, After Effects, and SpeedGrade).  While they didn't promise a release date, the likelihood was definitely stated as "soon." which should mean major updates to all their tools can't be far behind.
If you want to see a detailed overview of Adobe Premiere Pro — check out my class on Lynda.
Adobe offered a special deal that is only good for a few days.  Save 40% off a year of Creative Cloud (which drops it to $29 a month). This offer can be used by anyone (even if you don't own a qualifying upgrade product).  I strongly suspect this will be the best deal offered this year.
Remember, a few key facts about Creative Cloud.
  • You get every Adobe Creative software tool.  Adobe Premiere Pro, After Effects, Photoshop, Prelude, SpeedGrade, Encore, Story and more.
  • You get tools like Digital Publishing Studio, Acrobat, and Muse for creating apps, PDFs, and websites.
  • You always have the latest version installed on your drive.  These do not run in the cloud, the apps are local just like before.
  • You get  20GB of Cloud storage and other cloud benefits that keep rolling out.
  • You get a professional Behance account to build portfolios and search for jobs.
  • You get updates sooner with no need to wait.

So if you're sitting on the fence, consider the offer.  It expires April 19.
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Check Out My Detailed Adobe Premiere Pro Technology Preview Class



Watch more at http://www.lynda.com/Premiere-Pro-tut.... Find out how to paste select attributes from one clip to another using the Paste Attributes dialog in Premiere Pro.


Here's the full length course (with more to come after the app is released).

Premiere Pro Technology Preview
http://www.lynda.com/Premiere-Pro-tutorials/Premiere-Pro-Technology-Preview/126763-2.html?utm_campaign=SxF5DCi6zaI&utm_medium=viral&utm_source=youtube

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NAB 2013: New From Blackmagic Design


In this episode Adorama TV host, Rich Harrington visits the Blackmagic Design booth at NAB to speak with Stuart Ashton about some hot new products. The Blackmagic Pocket Cinema Camera with 13 stops of dynamic range, Super 16 sensor, MFT lenses with ProRes and RAW recording is available for pre-order now at adorama.com
http://www.adorama.com/VDBMCCP.html Also available for pre-order is the Blackmagic Production Camera 4K. A high resolution 4K digital film camera with large Super 35 sensor and global shutter for 4K and Ultra HD production. http://www.adorama.com/VDBMCC4K.html
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My NAB Speaking Schedule

NABShow_Logo_4C_2000

Monday

  • 10:15—11:00 am | Tiffen Booth – C8818 (Free)
  • 12:15—1:00 pm | Tiffen Booth – C8818 (Free)
  • 1:15—1:45 pm | Drobo Booth — N6926 (Free)
  • 2:00—3:15 pm | Practical Motion Background — Post|Production Conference
  • 3:30—4:45 pm | Advanced Motion Control 3D — Post|Production Conference
  • 5:00—6:15 pm | Hyper-syndication — Post|Production Conference


Tuesday

  • 10:15—11:00 am | Tiffen Booth – C8818 (Free)
  • 11:15—11:45 am | Drobo Booth — N6926 (Free)
  • 2:00—3:15 pm | Photoshop for Premiere Editors — Post|Production Conference
  • 2:00—3:15 pm | Practical Motion Background — Post|Production Conference
  • 3:30—4:45 pm | Time Floats By — Post|Production Conference
  • 5:00—6:45 pm | Digital Publishing UnConference — Post|Production Conference


Wednesday

  • 9:15—10:00 am | Tiffen Booth – C8818 (Free)
  • 10:30—11:00 am | Adobe Booth – SL3910 (Free)
  • 12:00—12:45 pm | Tiffen Booth – C8818 (Free)
  • 1:00—1:30 pm | Adobe Booth – SL3910 (Free)
  • 2:00—3:15 pm | Successful Site Surveys — Post|Production Conference
  • 3:30—4:45 pm | Dynamic Link and more — Post|Production Conference
  • 5:00—6:45 pm | Hot Panel: Future of Digital Publishing — Post|Production Conference


Thursday

  • 9:15—10:00 am | Tiffen Booth – C8818 (Free)
  • 10:30—11:30 am | Drobo Booth — N6926 (Free)
  • 12:00—12:30 pm | Adobe Booth – SL3910 (Free)
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DSLR tutorial: Frame size recommendations


This tutorial answers the universal question, "Which frame size should I use?" by covering the basics of frame size.
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Win a Drobo from Me Plus New Tutorials

windroboptc


Thanks to the folks at Drobo… I have one to give away each month.

These are the same drives that I run both my office (
RHED Pixel) on as well as my home studio.

You can
enter the contest over at the Power To Create site.

Plus you can check out some great tutorials like


Head over to
The Power to Create site.

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DSLR tutorial: Using a Digital Slate



In this tutorial, Rich Harrington and Robbie Carman show how to use digital slates during a shoot to track information such as exposure, aperture, and take numbers.
Comments

Accidentally Reformatted a Memory Card and Need to Get Your Pictures Back? There’s an App for That

klix_splash

It hasn’t happened to me in a LONG time, but I did get asked the other day by a fellow photographer about recovering pictures from a memory card after an accidental reformat.  There’s a great tool that I’ve used int the past that can pull back photos from the grave called Klix.
The following issues can be solved:
  • Deleted images
  • Reformatted memory cards
  • Corrupted memory cards (often cause by sudden loss of camera power)

The tool works on all types of cards and can recover photos or video (as long as you haven’t written a file to that new place on a memory card). The following card types are supported. It really works well and I’ve used it to recover gigabytes of data with no hitches. The best thing is the try before you buy. You can download the demo and scan your cards… if the demo version sees the pictures it can recover them. File this away for that disaster moment when you realize you’ve blown away a picture (or even a whole shoot) accidentally.
For $20 this is a good insurance policy… you can get more info or the trial
here.

For more photo news like this, check out
Photofocus (my photo blog).
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An In-Depth Interview About My Post Workflow and NAB

ThatPostShow_v5

This week Kanen sits down with Richard Harrington. The two discuss everything from Post Production World, held annually at NAB, to self publishing and the world of new media online.


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Video Compression and Color Loss


This tutorial discusses video compression and how to not lose color information, or Chroma Subsampling, when switching to video mode.
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DSLR tutorial: Why do I need a fluid head?


This tutorial explores tripods and fluid heads in detail, and offers practical advice for using tripods in a shoot.

Check out the weekly series here —
http://www.lynda.com/video-tutorials/DSLR-Video-Tips/103707-2.html

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Site Surveys Tutorial: The Reason We Do Site Surveys

Watch more at http://www.lynda.com/Photography-Vide.... Learn the benefits of doing a site survey before a photo or video shoot. This tutorial is a single movie from the Effective Site Surveys for Video and Photo Projects course presented by lynda.com author Rich Harrington.

  • Introduction
  • 1. The Importance of the Site Survey
  • 2. The Purpose of a Site Survey
  • 3. What to Plan for, Creatively
  • 4. Location Scouting
  • 5. Who Should Go on the Site Survey or Scout?
  • 6. Gear to Bring on a Site Survey
  • 7. What to Accomplish on a Site Survey
  • Conclusion


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Give Away for Blackmagic, Sony and Canon Cinema Cameras

wafc

Coming to NAB? Adorama is giving away some great cameras at NAB. Sign up online and visit the Adorama Booth (C7412) at NAB 2013 for a chance to win a Blackmagic Cinema Camera, Sony PMW-200 or Canon C100.
Three lucky NAB 2013 attendees will walk away with the hottest new cinema cameras on the market: the Blackmagic Cinema Camera, the Sony PMW-200 or the Canon C100.

We are really looking forward to this year’s NAB show. In addition to raffling off some amazing prizes, we’ll be showcasing a full range of pro video camera solutions at our booth, with gear for everyone from the weekend hobbyist to the 24/7 professional,” says Abby Hessney, marketing manager at Adorama. “Plus, Adorama specialists will be onsite to answer any production and postproduction questions attendees may have. If that’s not what someone’s looking for at NAB, they can still drop in and power up their phones and other electronics at our special NAB charging station – and who doesn’t need that?

How to Win?

Each day of NAB through Wednesday, Adorama will be raffling off one of three high-end cinema cameras. Every evening at 5pm, a lucky NAB attendee will win one of the three following prizes:
  • Blackmagic Cinema Camera: Elegant, sophisticated and jam-packed with the latest digital cinema technology, Blackmagic Cinema Camera gives work that timeless feature film look. Blackmagic Cinema Camera features an amazing 2.5K image sensor with a wide 13 stops of dynamic range for a true digital film camera.
  • Sony PMW-200: The Sony PMW-200 Camcorder is equipped with three 1/2" Full HD 1920 x 1080 Exmor CMOS sensors, which support 1000 TV1 high resolution, F11 (2000 lx) high sensitivity, low 56 dB noise and a wide dynamic range. Functions include Slow/Quick motion playback, focus magnification, slow shutter, shutter angle settings and picture cache recording.
  • Canon C100: Endowed with a rich Cinema EOS feature-set and optimized for one-person operation, the C100 is a full 1920x1080 digital video camera that's compatible with Canon's entire range of EF Cinema and EF-lenses. Equipped with the Super 35mm Canon 8.3 Megapixel CMOS image sensor and revolutionary Canon DV III processor, the C100 is a highly mobile, compact professional camera ideal for those seeking operational convenience and exceptional HD imagery.

Rules of the Adorama Great Giveaway Sweepstakes

To participate in Adorama’s NAB Great Giveaway Sweepstakes, contestants must register online and visit the Adorama booth (C7412) during NAB 2013, which is held in Las Vegas, NV from April 8 through 11. Participants must visit the Adorama booth between 9am and 4:45pm to check in for the drawing and pick up their raffle ticket. The drawing schedule is as follows:
  • Monday, April 8th, 5pm: Blackmagic Cinema Camera
  • Tuesday, April 9th, 5pm: Sony PMW-200
  • Wednesday, April 10th, 5pm: Canon C100

Participants must be present during the drawings to win. To register for the contest, please visit the
Sweepstakes link. One raffle ticket is good for all three days of Adorama’s Great Giveaway Sweepstakes.

Comments

Facebook Tutorial: Posting Video on the Go


Watch more at http://www.lynda.com/Facebook-tutoria.... This tutorial demonstrates how to post content generated from a mobile device, such as photos and videos, onto Facebook. This tutorial is a single movie from the Facebook for Photo and Video Pros course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 25 minutes long and shows how to increase your brand and take advantage of the free features in Facebook to communicate and advertise your photography or videos.

  • Introduction
  • 1. The Evolution of Facebook
  • 2. Connecting with Colleagues and Clients
  • 3. Creating a Company Page
  • 4. Posting Work Samples
  • 5. Managing a Client Project
  • 6. Advertising Your Services
  • 7. Mobile Facebook
  • Conclusion


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Project Management Tutorial: Understanding Your Capabilities

Watch more at http://www.lynda.com/Video-tutorials/.... This tutorial shows how to analyze your business to know what you can complete in-house versus with contractors or vendors, and how to achieve a competitive advantage. This tutorial is a single movie from the Practical Project Management for Creative Projects course presented by lynda.com author Rich Harrington.

  • Introduction
  • 1. The "Whats" and "Whys" of Project Management
  • 2. Understanding Services Offered
  • 3. Project Management Core Concepts
  • 4. Scoping the Project
  • 5. Estimating Time
  • 6. Client Communication
  • 7. Project Control Cycle
  • 8. Managing Employees and Contractors
  • 9. Effective Teams
  • 10. Keeping Clients Happy
  • Conclusion

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Comments

Avid — Has the Ship Sailed (or Even Sunk)?

avidsink

Mark my words… Avid will make a desperate announcement at this year's NAB (if not sooner). Their 'we're focussing on the pro market' strategy is too little and too late. The pros they want to keep are moving on in records numbers (let alone dwindling).

My favorite quote from a
Boston Globe Article

"‎To fight back against Apple and Adobe, Avid spent more than $600 million buying two companies in 2004 and 2005 that sold audio and video editing products aimed at consumers. Instead, Avid wound up selling its consumer businesses last year for just $17 million."


Sounds a little desperate to me…..


A few "things" to keep in mind

  • The company has reported a net loss each year since 2006, from $198 million in 2008 to nearly $21 million in 2011.
  • Avid indefinitely delayed reporting its 2012 earnings and refuses to say when they will (a HUGE no no for a publicly traded company)
  • Stock prices are in a tail spin.
  • Avid has cut out all of the bundled software like Boris, leading you to essentially have to install Adobe's suite. I'm hearing conflicting reports on this one… looking into. Latest info is that Boris Continuum Complete was only product pulled.
  • I can tell you a WHOLE lot of broadcast stations are switching to Adobe Premiere Pro.
  • Apple seems to actually be trying to woo back it's "pro" market as well. Both Apple and Adobe are rapidly starving Avid to death.

Articles you need to read



If you run your shops on Avid... it's time to start thinking about a transition strategy.

I'd like to be wrong… but encourage my fellow pros to start thinking critically if they run their businesses based on Avid workflows.



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Time-lapse & Panoramic Photography Field Workshop


I'm teaching a two-part
Time-Lapse & Panoramic Photography Workshop at the NAB show. Join me for a classroom tutorial and hands-on afternoon field trip to Red Rock Park where you will capture shots of the park and sunset. Attendees will learn the best practices and techniques for shooting time-lapse video and panoramic photography in one of the most scenic settings in the country. Space is limited.

Time 12:00 — 9:00 (lunch and snacks included)
Saturday, April 6
Register Here
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Free Time-lapse Workshop in NYC

StartedTimelapse

Tuesday, March 12, 2013 | 4:00 PM - 6:00 PM

Event Type: Photography, Software
Skill Level: Intermediate

DSLRs can produce amazing photos and video… but how about compelling video created from hundreds of still images? In this seminar you’ll learn how to create dynamic time-lapse video and use photographic techniques to achieve amazing dynamic range and super high resolution. Rich finds that time-lapse is a great creative outlet that almost any photographer can learn in just a few hours.

You'll learn the whole process from shoot to post… with an emphasis on speed and practicality. You’ll learn how the addition of a simple intervalometer to your existing DSLR kit can open up all new creative outlets. No expensive gear to get started, just a clear path and streamlined workflow. You'll also learn Rich's data management approach from field to studio to keep all those images safe. Finally, put the images together with popular tools like Photoshop, Premiere Pro, or Final Cut Pro.

You can
register for free here

Comments

Project Management Tutorial: Managing a Project with Facebook

Watch more at http://www.lynda.com/Video-tutorials/.... Discover how to use Facebook groups as a project management tool. This tutorial is a single movie from the Practical Project Management for Creative Projects course presented by lynda.com author Rich Harrington.

  • Introduction
  • 1. The "Whats" and "Whys" of Project Management
  • 2. Understanding Services Offered
  • 3. Project Management Core Concepts
  • 4. Scoping the Project
  • 5. Estimating Time
  • 6. Client Communication
  • 7. Project Control Cycle
  • 8. Managing Employees and Contractors
  • 9. Effective Teams
  • 10. Keeping Clients Happy
  • Conclusion

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Creating Videos People Want to Watch


There’s a lot to making a great video… one that connect with an audience and drives them to action. Of course video can be both expensive and time consuming. In this session, web video expert Rich Harrington shares practical advice that won’t break the bank.

You’ll learn industry secrets like:

  • What’s the right length to keep someone watching?
  • How can you ensure your audio doesn’t suck?
  • When should you use graphics to inform the viewer?
  • How do the pros create messages that stick in the viewer’s brain?
  • What role does music play in a successful video?



For more great content like this… come see me at the TAP!2013 conference in Las Vegas —
www.TAP2013.com
Comments

The Workflow of a Professional Film and Video Colorist

I recently had a chance to write a detailed article about the workflow of my colleague Robbie Carman. Rob is a professional colorist (who works on films and television shows).

1466480_orig

Our recent guest Robbie Carman of Amigo Media shared a lot  of insight into the world of professional film and video.  He also wanted to give you an idea of what his work environment looks like.“Well I like gear!  In reality my gear is separated into several categories,” said Carman.  “A decade ago, the color correction systems that were in use were between half a million to a million dollars.”

Fortunately the prices have fallen significantly.  There's still a lot of gear, but things have gotten a lot more affordable.

Here's the whole article.
Comments

Project Management Tutorial: The Characteristics of a Project


Watch more at http://www.lynda.com/Video-tutorials/.... Explore the characteristics of a project, including its purpose, constraints, interdependencies, and more. This tutorial is a single movie from the Practical Project Management for Creative Projects course presented by lynda.com author Rich Harrington.

  • Introduction
  • 1. The "Whats" and "Whys" of Project Management
  • 2. Understanding Services Offered
  • 3. Project Management Core Concepts
  • 4. Scoping the Project
  • 5. Estimating Time
  • 6. Client Communication
  • 7. Project Control Cycle
  • 8. Managing Employees and Contractors
  • 9. Effective Teams
  • 10. Keeping Clients Happy
  • Conclusion

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Essential Questions to Ask at the Start of a Project


essentialquestions
Through the years, we’ve learned many lessons the hard way. While every project is unique, it often seems the problems remain the same. Here are a few questions we always ask at the start of a project:

  • Who is our customer? Projects often have many parties involved. Know who you are responsible to keep happy.
  • What is the purpose? Establish what the video is trying to accomplish.
  • How will we measure success? Determine which factors will be used to judge the success of the project.
  • What do we want to say? Identify the goal of the piece and the message that the audience should walk away with.
  • What resources do we have? Decide who will be assigned to the project. Establish if there are any assets or resources available to the project that should be utilized.
  • What is the budget? Never discuss approach without having an idea of your financial constraints. Creative types often get swept up into big ideas without knowing what the project can support.
  • What are the deadlines? Equally as important as budget is schedule. You need to understand any major milestones so you can schedule work and adjust your approach to match the available time.
  • Are there any customer requirements? Never make assumptions. It’s always a good idea to ask the clients if they have any specific needs or requirements for the end product. You’ll often be surprised how important details can go unspoken until the very end of the project.

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Creating a Multi-camera Music Video: Field Production



The following is from a new project I'm involved in called The Power To Create.

Join us this week, as we go on location with rising country music star Tyler Toliver. Have you ever wondered how music videos are created? In this episode, Host Richard Harrington and special guest, Director of Photography, Kevin Bradley will take you behind the scenes of a multi-camera set. From camera selection to lighting, you will learn the tools to produce a multi-camera music video.

In this show you’ll learn:

  • The tools needed to set up a multi-camera production.
  • Why it is beneficial to use a multi-camera setup. 
  • The importance of capturing audio from multiple sources.
  • The advantages and disadvantages of using zoom lenses and prime lenses.
  • How to use fog and practical elements  to add depth to your scene.
  • How to have a cost effective multi-camera setup.
  • How to manage footage securely on set.

Be sure to subscribe today (
iTunes or YouTube) to not miss the next free episode.

We'll be back with episodes on editing in Adobe Premiere Pro and Final Cut Pro soon.

Don't forget to enter our monthly contest for a free Drobo!

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Creating a shot list and shooting order for Photo & Video Projects


This tutorial shows how to plan for a photo or video shoot by building a shot list that addresses factors such as talent limitations, continuity issues, and location availability.

This tutorial is a single movie from the
Effective Site Surveys for Video and Photo Projects course presented by lynda.com author Rich Harrington.

  • Introduction
  • 1. The Importance of the Site Survey
  • 2. The Purpose of a Site Survey
  • 3. What to Plan for, Creatively
  • 4. Location Scouting
  • 5. Who Should Go on the Site Survey or Scout?
  • 6. Gear to Bring on a Site Survey
  • 7. What to Accomplish on a Site Survey
  • Conclusion

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The Power To Create Podcast Launches

PTC_Banner
Joining us this week is professional colorist Robbie Carman (www.amigomediallc.com) as he shares practical advice and inspirational techniques. Robbie's job is to enhance the visual appearance of television programs and films. He refines the visual appearance of images for both aesthetic and technical reasons. In this episode you'll learn about professional video, color theory, and client relationships.




On this show you'll learn:

  • What is a colorist
  • How do you train to enter the high end of the video market
  • The impact of color and contrast on the human brain
  • What tools and technology are useful for pro video workflows
  • How to keep large volumes of digital assets safe
  • What software is useful for coloring video and photos
  • How to recharge your creative batteries and find inspiration
  • The link between music and visuals
  • Lessons learned

Be sure to
subscribe and get every free episode. Get it on iTunes

Comments

Coming Soon: A New Podcast Series

podcast_cover

You'll dig it… I promise.

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Don't Miss the Editor's Retreat

ER2013

There's one event I've attended every time since 1998… the Editor's Retreat. This is a great opportunity to learn and network with top video professionals. It's a firehose of information set in a beautiful location. And I have a deal for you.

When you register… tell them I sent you…. and you'll save $200 on the cost of signing up.

An intensive, interactive environment for TV, video and film editors that fosters creativity and the exchange of ideas at the highest level.

Featuring:
  • Five Days of Sessions in Multiple Tracks.
  • Award-Winning Keynote Speakers.
  • Daily Social Networking with Experts.
  • Numerous Prizes.

Now in its eight year, the Editors Retreat has become an annual gathering for the post-production elite. Highly experienced editors from the worlds of film, TV and video come together to network, exchange ideas, share tips and of course, have fun! To ensure that only the best of the best attend, participation is subject to an application and screening process.

Running for 5 days and 4 nights, the Editors Retreat offers advanced sessions on post, visual and audio techniques and features valuable insight into emerging trends and technologies. An equal amount of time will be devoted to discussing the creativity, craft and business practices of successful editors.

Past keynote attendees have included such names as Alan Heim, Sally Menke, Stuart Bass, Chris Franklin, David Helfand, Dan Lebental and Maysie Hoy. Other Retreat alumni include representatives from HBO, FRONTLINE, MTV, Lockheed Martin, Harpo Productions and Telemundo, as well as Apple, Avid and Adobe experts.

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Sync Sound in Final Cut Pro X


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Now that Rich has explored the sync sound workflow and production process in earlier episodes, it's now time to bring the processed material into Final Cut Pro X and line them up.

Watch as he takes you through the different ways of synchronizing and also how to use popular programs, such as Plural Eyes, for those high volume projects.

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Try All My Lynda.com Training for Free

lynda_harrington_classes

You probably know I have a ton of classes over at Lynda.com on photography, video, and business. What you may not realize is that you can try them all for free (or even watch them all if you want to give up bad network TV for a week or so). Over at my photo blog (Photofocus) we have a unique offer.
Get TEN free days of Lynda.com with a membership trial. That deal is available know where else. Here's a direct link.

The fine print:
You’ll get 10 days of free unlimited access to lynda.com. We’ll ask for your billing information, but you won’t be charged unless you continue with a paid membership after the trial. Your membership will include access to all 1,601 lynda.com courses. Choose a premium membership for downloadable exercise files that let you work along with the instructors.

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Green Screen in FCPX


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. In earlier episodes Rich gave you some important tips on lighting, shooting, and processing backgrounds for your green screen project.

The key to a great green screen is a combination of how you shoot and how you post process your material. In this episode join Rich as he shows you how all these pieces come together when keying in editing software, such as Final Cut Pro X.


Check out more DSLR videos here – http://www.youtube.com/playlist?list=PL45101D7EFD3E733A
Comments

Green screen tutorial: Acquisition strategies for background plates


Watch more at
http://www.lynda.com/After-Effects-tutorials/Green-Screen-Techniques-Video-Ph.... This green screen tutorial shows how to photograph background plates for green screen, explaining how to compose and process your photos. This tutorial is a single movie from the Green Screen Techniques for Video and Photography course presented by lynda.com authors Rich Harrington and Abba Shapiro. The complete course is 3 hours and 16 minutes long and walks you through the process of hanging and lighting the backdrop; positioning your subject; and completing the scene with postproduction techniques in Adobe After Effects, Photoshop, and Premiere Pro. Introduction 1. An Introduction to Green Screen 2. Prepping the Green Screen 3. Lighting the Subject 4. Working with the Subject 5. Best Shooting Practices for DSLR Video 6. Background Selection 7. Creating Backgrounds in a Nonlinear Editing Tool 8. Creating the Composite for Motion Conclusion

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Green screen tutorial: Working with a light meter


Watch more at
http://www.lynda.com/After-Effects-tutorials/Green-Screen-Techniques-Video-Ph.... This green screen tutorial shows how to use a light meter to measure your luminance levels, set your shutter speed, and refine your lighting setup. This tutorial is a single movie from the Green Screen Techniques for Video and Photography course presented by lynda.com authors Rich Harrington and Abba Shapiro. The complete course is 3 hours and 16 minutes long and walks you through the process of hanging and lighting the backdrop; positioning your subject; and completing the scene with postproduction techniques in Adobe After Effects, Photoshop, and Premiere Pro. Introduction 1. An Introduction to Green Screen 2. Prepping the Green Screen 3. Lighting the Subject 4. Working with the Subject 5. Best Shooting Practices for DSLR Video 6. Background Selection 7. Creating Backgrounds in a Nonlinear Editing Tool 8. Creating the Composite for Motion Conclusion

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Shooting Slow Motion


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. In this episode, Rich will reveal how to get slow motion effects with over cranking in a DSLR camera.

Join Rich out in the field as he shoots some basketball players with his DSLR camera using different frame rate options. Then, follow along back in the studio where you will see how the different shots are created by using Adobe Premiere and After Effects.

Related Products Featured items from this episode
http://adr.ma/dslr021a
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Choosing the Right Frame Rate and Frame Size


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. This episode will reveal how to choose the proper frame rate and frame size when shooting with a DSLR video camera. Follow Rich as he explains the difference between frame sizes and frame rates and which is appropriate for different shooting scenarios. Then, watch as he takes you into a DSLR camera menu and shows you how to choose your frame size and rate.

Check out more DSLR videos here –
http://www.youtube.com/playlist?list=PL45101D7EFD3E733A
Comments

DSLR tutorial: Setting levels


This digital video tutorial explains how to get your audio recorders set up to record at the right levles. Watch more at http://www.lynda.com/course-tutorials/DSLR-Video-Tips-Rich-Harrington/103707-.... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

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How to Prep a Photo for a Video Timeline in 60 seconds


A short tutorial on sizing photos for use video projects. This is a super easy technique and very fast.
Comments

DSLR Tutorial: Why use a dedicated audio recorder?


This digital video tutorial explains how to get better quality audio with a dedicated audio recorder. Watch more at
http://www.lynda.com/video-tutorials/DSLR-Video-Tips/103707-2.html

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Comments

Talking About Lens Flare


This digital video tutorial explains the difference between intentional and accidental lens flare and their causes. Watch more at
http://www.lynda.com/course-tutorials/DSLR-Video-Tips-Rich-Harrington/103707-....

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How to Get Great Video Interviews


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he reveals great tips and techniques on how to achieve a good interview. From establishing a proper relationship with your subject, to eye-line, feedback, and how to ask follow-up questions, Rich will sit down with filmmaker Irene Magafan to talk about her newest documentary.

AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Joe DiMaggio, Tamara Lackey, Bryan Peterson, and Rich Harrington.
Comments

What Causes Camera Shake?


This digital video tutorial explains what causes shaky footage (probably the camera operator) and how to solve it (with image stabilization, tripods, and other suggestions.) Watch more at
http://www.lynda.com/video-tutorials/DSLR-Video-Tips/103707-2.html

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What is a DSLR Loupe?


This digital video tutorial explains how to use an external video loupe to magnify the actual image that you're seeing on the camera LCD and to block ambient light. Watch more at
http://www.lynda.com/video-tutorials/DSLR-Video-Tips/103707-2.html

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Comments

An Interesting Webinar About Bad Robot and JJ Abrams Workflow

badrobotwebinar

While I'm not that interested in Avid workflow these days, I must say that this
webinar looks interesting. One of my favorite production companies is going to walk through their technical approach to editing and effects.

If you’ve watched any popular TV show or film in the past few years, you’ve no doubt seen the redheaded robot logo at the end of every Bad Robot production. Now get an exclusive behind-the-scenes look at the inner workings of one of Hollywood’s hottest film/TV production companies, which features Avid© solutions at its core, by signing up to attend this special Avid webinar.

Join Avid’s Matt Feury and Bad Robot’s editorial, sound, and VFX teams for a discussion on the unique workflows the teams are using to create the upcoming movie, Star Trek into Darkness.



Register now
Monday, December 10, 2012
11am PT / 2pm ET
Comments

Watch the Recorded Adobe Premiere Pro Switcher Webinar

ppwebinarrecord

As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity.

  • Topics covered include
  • Project and sequence setup
  • The Media Browser plus linking and interpreting media
  • Interpreting RED .r3d Files after the shoot
  • Analyzing footage and searching speech to text translations or transcripts
  • Working with transitions and effects
  • Intermediate and advanced color correction techniques
  • The Automate to Sequence command to cut on the beat of music
  • Editing from the bin and using Hoverscrub
  • Adjsutment layers and special effects
  • Audio preferences and meters
  • Configuring workspaces and layouts
  • Plus commentary from Adobe Premiere Pro product manger Al Mooney

See it here –
http://seminars.adobeconnect.com/p38n7zctggx/
Comments

What is a Matte Box?


This digital video tutorial explains what a matte box is, and how it can protect your video from flares and also hold filters for your camera. Watch more at
http://www.lynda.com/video-tutorials/DSLR-Video-Tips/103707-2.html

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Detailed Adobe Premiere & Dynamic Linking Workflow

Detailed Adobe Premiere & Dynamic Linking Workflow from Vincent Laforet on Vimeo.

Here's a detailed Adobe CS5.5 Premiere workflow example I recorded with Vincent Laforet. He's been using over the past few months with solid success with both Canon HDSLR footage and RED Epic footage. It shows Dynamic linking with After Effects as well as REDCine X.

Go to the 24:51 mark to see the RED workflow specifically.

For more of Vincent's workflow and data management go to:
blog.vincentlaforet.com/2011/07/29/workflow/
Comments

My Schedule at GV Expo

GVE12_WebHeader4

I'll be speaking at GV Expo this week. The conference is held in Washington, DC. I hope to see some of you there. There's also a vibrant trade show filled with video gear you should check out.

Tuesday


Wednesday


Thursday

Comments

My Books are On Sale for a Short Time

112112_pp_blackfriday_newsletter

Looking for a discount on some of my books or videos? Here's the complete list.

http://www.peachpit.com/authors/bio.aspx?a=8d9d5e27-627c-4a26-a0d1-ad82002cba8b

  • Editor's Guide to Adobe Premiere Pro, 2nd Edition Book EBOOK
  • Understanding Adobe Photoshop CS6 Book EBOOK
  • Creating DSLR Video: From Snapshots to Great Shots Book EBOOK
  • Motion Graphics with Adobe Creative Suite Studio Techniques Book EBOOK
  • From Still to Motion: A photographer's guide to creating video with your DSLR Book



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What is an Electronic Viewfinder?


This digital video tutorial explains what an EVF, or electronic view finder, is, and why they provide a higher resolution view of your scene. Watch more at http://www.lynda.com/course-tutorials/DSLR-Video-Tips-Rich-Harrington/103707-....
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Adjustment Layers in Adobe Premiere Pro CS6

Adjustment Layers in Adobe Premiere Pro CS6 from Future Media Concepts on Vimeo.


Learn how to apply global effects in Adobe Premiere Pro CS6 to speed up your workflow. This video was recorded at the NAB Conference.
Comments

Keying Greenscreen Video in Premiere Pro and After Effects


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he reveals professional keying techniques using Adobe Premiere and After Effects.

In this episode you will learn how to use Adobe Premiere Pro CS6 tools such as the 8-point Garbage Matte and Ultra Key to create the initial or placeholder key. Then, watch as Rich kicks the project over the After Effects to create the final project using elements like Keylight and 3D Lights.
Comments

Free Adobe Premiere Pro Webinars

AAP_VPro_regsite_header
Looking for some great, free training about Adobe Premiere Pro? Don't miss this great webinar.

Ask a Video Pro for Switchers Part 2 — Tips & Tricks for Switching to Premiere Pro

Thursday, November 8, 2012 at 10 am Pacific Time | 1 pm Eastern Time

As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity.

Register today – http://adobe.ly/p6ZMbd 
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Are Your Wirless Mics Legal to Use?

Lav_Wireless

There is potential of radio interference when working with wireless microphones, so be sure to get a unit that offers the ability to use different frequencies. Most kits include a lavaliere microphone, an XLR adapter for other microphones, and a wireless receiver to plug into the camera.

You need to be aware of a recent development regarding the use of wireless RF microphones. As of June 12, 2010, the Federal Communications Commission (FCC) has made it illegal to use any equipment that operates in the 700 MHz band. This set of frequencies has been reassigned for use by emergency personnel only. Many wireless mics previously on the market operated in this frequency range and must be replaced. More information about this ruling can be found on the FCC website at
www.fcc.gov/cgb/wirelessmicrophones.

Be certain to actively monitor your audio with headphones. Besides interference, there are a few common problems. One is that batteries can wear out, which can introduce dropouts and noise. The most common problem, though, is human error. With two off switches (one on the microphone and one on the receiver), it’s easy to leave the microphone turned off. Remember, you plug into the camera and listen to what the camera is recording to know you are getting good audio.
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Proper White Balance for DSLR Video


AdoramaTV presents DSLR | Video Tips with Richard Harrington. In this episode, Rich shares techniques on how to manually calibrate your DSLR camera for proper white balance. Then, follow along as he gives you a quick look at how to use a 3-way color corrector tool to white balance in post-production.

Sometimes, using the auto white balance (AWB) option can become problematic. If there is a change in lighting over time, such as a cloud moving in front of the sun, it can cause the AWB to re-adjust during your shot. To avoid this, try using the white balance pre-sets and calibration tools to customize your shooting situation.
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Two Free Adobe Premiere Pro Webinars

AAP_VPro_regsite_header
Looking for some great, free training about Adobe Premiere Pro? Don't miss two great webinars taught by Robbie Carman and myself.

Ask a Video Pro for Switchers Part 1 — Getting Comfortable with Premiere Pro

Thursday, November 1, 2012 at 10 am Pacific Time | 1 pm Eastern Time

Join Robbie Carman as he guides you through the essential aspects of making the switch to Adobe® Premiere Pro. Designed for experienced editors, this webinar will help you get more comfortable and to work faster--allowing you to implement your current editing knowledge quickly. Specific topics will include: starting a project, setting up sequences, accessing essential preferences and keyboard shortcuts, ingesting media, marking and trimming clips in the timeline, and adding audio and effects. If you're new to Adobe® Premiere Pro be sure to check out this webinar to make your transition to this robust software even easier.

Ask a Video Pro for Switchers Part 2 — Tips & Tricks for Switching to Premiere Pro

Thursday, November 8, 2012 at 10 am Pacific Time | 1 pm Eastern Time

As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity.

Register today – http://www.adobe.com/cfusion/event/index.cfm?event=detail&id=1903730&loc=en_us
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When it Comes to Video… Keep it Short

watch-640x240

I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

Be sure to join me at the
TAP 2013 conference where I’ll share best strategies for keeping your videos watchable.
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Preparing For Going In Front of a Video Camera

camerafront-640x240

In your quest to create digital content, video is a likely medium you’ll work with.  Going in front of a video camera can be very stressful.  Here are a few tips so you (or your subject) looks their best.
  • Bring at least one alternate set of clothing so you can change as needed if the clothes don’t look flattering on camera.
  • For those who are prone to sweat (especially under hot lights) revisit the old days and wear an undershirt
  • Herringbone, stripes, or small patterns do not look good on camera.
  • Keep your jewelry simple.
  • Do not wear bright white. Cream, eggshell, or a light gray is preferred for proper contrast on camera.
  • Consider wearing a light coat of makeup (typically a foundation or light cream). This is to help you look and feel your best. You can choose not to wear it, but all the top network folks do (even the guys).
  • Avoid enumeration or the phrase “Like I said before.” This can avoid lots of problems when the video is edited.
  • Don’t be afraid to stop and start over. If you feel uncomfortable or would like a moment to gather your thoughts, please take your time.
  • Relax. it will help you look and sound your best.

Be sure to join me at the TAP 2013 conference where I’ll share best strategies for keeping your videos watchable.
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Backdrops for Chroma Keying


AdoramaTV presents DSLR | Video Skills with Richard Harrington. Today, Rich explores different editing techniques to make realistic backdrops for chroma keying. Learn how you can adjust the focal point or the depth of field of your photo by using some of these key tools in Adobe Photoshop CS6.

When you have a photo you want to use as a background, sometimes the focal point or the depth of field isn't suitable for using behind your subject when keying a green screen. In this episode, Rich touches up four photos to use as potential backdrops for his green screen project. By using tools such as the camera lens blur effect, masking, or the blur tool you can make your own custom depth mattes that will work perfectly with your chroma key.

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Adjusting Shutter Speed in a DSLR



This digital video tutorial explains how the golden rule of shutter speed and when you might want to deviate from it. Watch more at http://www.lynda.com/video-tutorials/DSLR-Video-Tips/103707-2.html?utm_medium.... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

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Better Monitoring for DSLR Video



AdoramaTV presents DSLR | Video Skills with Richard Harrington. Join Rich as he explains the importance of properly monitoring your shot. Unlike digital photography, there are not many options available to fix a video after a field shoot. In this episode, learn different ways you can prevent focus or exposure problems by adding extra equipment to help. Items such as a camera rig, a reliable viewfinder, and a field monitor will help you to avoid problems that can not be fixed in post.
Comments

My New, Favorite Light

This is my favorite new light… works great and I've used in for portraits, studio, and green screen work.

Adorama Photography TV presents the Lowel Prime 400 LED Light. Join Rich as he tests out all the key functions of this very popular production light. If you ever need a lightweight, all-inclusive light for either in the studio or out in the field, this is the one for you. This quiet LED light is perfect for just about any situation.  One of the key features is that it is cool enough to touch without safety gloves.  Not only that, but your talent will remain comfortable throughout production sitting under this light either in the studio or in the field. 



Comments

A Bigger Video Network

videonet

While major sites like YouTube and Vimeo remain important, here are a few additional sites to keep in mind as you build your video distribution network:
  • 5min (www.5min.com)—Tutorial videos shorter than five minutes in duration.
  • Bing (www.bing.com)—Microsoft’s new search engine has a video directory.
  • Brightcove (www.brightcove.com)—A paid service that lets you target many outlets including mobile phones.
  • Dailymotion (www.dailymotion.com)—A broad interest site that also has distribution to many mobile devices.
  • GrindTV (www.grindtv.com)—A site for extreme sports videos.
  • Howcast (www.howcast.com)—The site specializes in educational videos and offers applications for both the Android and
  • iFood.TV (www.ifood.tv)—A site all about food.
  • Sclipo (www.sclipo.com)—A paid site that offers e-learnin systems.
  • Streetfire (www.streetfire.com)—A site for automobile enthusiasts.
  • StupidVideos (www.stupidvideos.com)—A site for humorous videos.
  • Videojug (www.videojug.com)—The site only offers “factual” content rather than entertainment.

For more news like this, be sure to read the
IAEPUB SiteYou also won't want to miss the TAP!2013 conference for Digital Content Creators.
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Creating a Film Look on a Video Budget


Richard Harrington presents Creating a Film Look on a Video Budget using Tiffen Dfx software and Digital Film Tools Software.

A free class that shows a lot of tips for color grading. Some of it is specific to Tiffen Dfx software, but a lot of the concepts work everywhere.

Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
Comments

How to Edit Video With Photoshop CS6

Come and Join +Jan Kabili and +Ron Clifford as we welcome back Richard Harrington as he walks us through how awesome and easy it is to edit video in Photoshop CS6. Our friendly and inquisitive panelists were Anna Nguyen and Sarra Robinson

Comments

Free Color Grading Class for Video


A free class that shows a lot of tips for color grading. Some of it is specific to Tiffen Dfx software, but a lot of the concepts work everywhere.

Learn to color grade with your video editing program and Tiffen® Dfx® version 3 film/video plug-in software for Avid Systems®; Adobe® CS4/5/6 including After Effects® and Premiere®; Apple® Final Cut Pro® 6/7/X.



Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
Comments

Media Management with Adobe Prelude


Adobe Prelude CS6 offers a variety of new media management features. Rich Harrington will show you the best ways to import footage, set it to automatically copy to a new dimension, and powerful new transcoding options.
Comments

PluralEyes 3 is Out

PE3_NL_V01

One of my favorite video tools has been updated and is now shipping. PluralEyes is a HUGE timesaver that makes syncing multi camera video shoots and Dual System Sound projects (like DSLR and RED) a piece of cake. I have spent A LOT of time with the new version and it just rocks. To start… it's 20X faster… yes TWENTY.

I also love how it can create new media files from my merged clips for DSLR shoots.

The product is shipping and supports several formats and workflows. Several updated are in the works including support for more file types and an Avid version.

Check out the detailed product walk-throughs I did here – http://www.redgiantsoftware.com/videos/
Here's the FAQ – http://www.redgiantsoftware.com/news/featured/pluraleyes-3-faq/

Here's the Premiere Pro CS6 workflow
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Better Keying from Production to Post


Here's a free class I taught on green screen. It was sponsored by Tiffen who sell a great keyer I use called Zmatte…. but the class has benefits for all users.

Greenscreen has become an essential tool in modern video and film workflows. This webinar features visual FX industry veteran Marco Paolini and Motion Graphic Designer and Editor Richard Harrington. You'll learn modern shooting advice to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow. You'll then explore how to prepare background plates, generate multiple mattes, wrap the light and more. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte.

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Warp Stabilizer in Adobe Premiere Pro Saves Shots


Adobe Premiere Pro CS6 has a warp stabilizer tool that you may have heard about, but Rich Harrington takes you deep inside its many subtle options for the best possible results, while also showing you how to take advantage of the Mercury Playback Engine for maximum performance.
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The Most Useful Report for Media Pros

The Infinite Dial Report is one of the most important documents released each year. There are tons of facts about the consumption of TV, radio, Internet and more. It is a great report that will emphasize your communications strategy.

TID2012

THE INFINITE DIAL 2012: NAVIGATING DIGITAL PLATFORMS

Get Your Free Copy of the 2012 Study

  • Facebook, the dominant social media platform in America, increased its penetration in 2012. Today 54% of Americans 12+ have a personal profile on the service, up from 51% in 2011.
  • As observed in 2011, much of that growth stemmed from increased usage by older demographics (45+) while the service continues to be nearly ubiquitous among online Americans aged 18-44.
  • America’s increasing adoption of smartphones
  • A doubling in ownership of Apple iOS devices
  • The ongoing growth of social media, especially among adult demographics

A must read report for all digital content creators – The Infinite Dial 2012: Navigating Digital Platforms
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Come to DV Expo in LA this Week

dvexpo2012
I'll be speaking at DV Expo 2012 in Los Angeles this week – http://www.dvexpo.com

Use code
ASMP for free exhibit pass and 15% off classes (enter at Step 3 of registration) http://www.dvexpo.com/content/dvexpo/packages_and_pricing.php. There's some great deals for students too.

I'll be teaching:
  • More than an Editor: Learning to be a Preditor
  • 10 Great New Reasons to use Adobe Production Premium
  • Building Budgets for Video Projects
  • Time Floats By: Creative use of Time-Lapse and Stop Motion
  • Innovation in Motion: What's new in After Effects CS6
  • Motion Control 3D: Bringing Your Photos to Life in Three-Dimensions
  • Hypersyndication: How to Publish Your Content on the Maximum Number of Screens and Devices

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Get More Done in Adobe Premiere Pro with HoverScrub


Adobe Premiere CS6 provides new browsing -- and editing! -- features for clips in bins. Rich Harrington will show you to preview the contents of any clip from the Project Panel or Media Browser. You'll also learn to set in and out points without ever having to load a clip. This means you can edit right from the bin onto the timeline.
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Working with Raw Video Files in Adobe Premiere Pro CS6


Adobe Premiere CS 6 makes it easier than ever to work with RAW files. Rich Harrington walks you through some of the advantages of Premiere's approach to RAW support, including ARRIRAW and such RED formats as 5K.
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Using Markers in Adobe Premiere Pro CS6

This excerpt explains how you can mark clips with comments and flag up areas of interest for later using markers, and explains how to use sequence markers, clip markers, and interactive markers.

Note: This excerpt is from the forthcoming book Adobe Premiere Pro CS6 Classroom in a Book.
Sometimes it can be difficult to remember where you saw that useful shot or what you intended to do with it. Wouldn’t it be useful if you could mark clips with comments and flag up areas of interest for later?
Figure06-10_mark

Markers allows you to identify specific times in clips and sequences, and add comments to them. These temporal (time-based) markers are a fantastic aid to help you stay organized, and share your intentions with co-editors.
You can use markers for personal reference or for collaboration. They can be based on clips or on the Timeline.
When you add a marker to a clip, it is included in the metadata for the original media file. This means, you can open the clip in another Premiere Pro project and see the same markers.

Types of Markers

There is more than one type of marker available:
  • Marker: A general marker you can assign a name, duration, and comments.
  • Encore Chapter Marker: A special kind of marker that Adobe Encore can convert into a regular Chapter Marker when making a DVD or Blu-ray disc.
  • Web Link: A special kind of marker that supported video formats like QuickTime can use to automatically open a web page while the video plays. When you export your sequence to create a supported format, Web Link markers are included in the file.
  • Flash Cue Point: A marker used by Adobe Flash. By adding these Cue points  to the Timeline in Premiere Pro, you can begin to prepare your Flash project while still editing your sequence.
  • Figure06-11_mark


Keep reading the article here –
http://www.peachpit.com/articles/article.aspx?p=1861550
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Free Webinar on Professional Keying

Better Keying from Production to Post

August 22, 2012 (limited to 100 signups!)
Sign Up Here – https://www3.gotomeeting.com/register/193658510

zmatte

Greenscreen has become an essential tool in modern video and film workflows.  This webinar features visual FX industry veteran Marco Paolini (http://www.imdb.com/name/nm0660052/) and Motion Graphic Designer and Editor Richard Harrington (www.RichardHarringtonBloig.com).  You'll learn modern shooting advice to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow.  You'll then explore how to prepare background plates, generate multiple mattes, wrap the light and more. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte.

  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 

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Master The Exposure Triangle for Video



AdoramaTV Presents DSLR Video Tips with Richard Harrington. Join Rich as he explains the three main elements to consider when deciding on the correct exposure for your video, ISO, Aperture, and Shutter Speed.

When using a digital camera, it is important to understand the different manual settings.  You can use these exposure triangle tips when figuring out the relation of the light and how it enters your camera, giving you complete control of your shoot.

AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Joe DiMaggio, Tamara Lackey, Bryan Peterson, and Rich Harrington.

Check Out More Tutorials – http://www.youtube.com/playlist?list=PL45101D7EFD3E733A
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Premiere Pro Titler Shortcuts

Here are a few useful shortcuts for Adobe Premiere Pro

Here are theTitler features:

shortcuts_titler
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Monitoring Footage in Premiere Pro CS6 Part 2

Here's an excerpt from the official guide to Adobe Premiere Pro that I co-authored.

This excerpt covers ways of performing common tasks such as playing video clips, including a new browsing feature in Premiere Pro CS6 called hover scrub, and other key topics such as essential playback controls and customizing your monitors.
Note: This excerpt is from the forthcoming book Adobe Premiere Pro CS6 Classroom in a Book.

Playback resolution

If you have an older or slower processor, your computer may struggle to play back very high-quality video clips. To work with a wide variety of computer hardware configurations, from powerful desktop workstations to lightweight portable laptops, Premiere Pro can lower the playback resolution to make playback smoother. You can switch the playback resolution as often as you like, using the Select Playback Resolution menu on the Source (and Program) monitor.


Timecode information

At the bottom left of the Source monitor, a timecode display shows the current position of the playhead in hours, minutes, seconds, and frames (00:00:00;00).

At the bottom right of the Source monitor, a timecode display shows the total selected duration for your clip. Later, you’ll be adding special marks to make a partial selection. For now, it shows the complete duration.

Safe margins

Old-style CRT monitors crop the edges of the picture to achieve a clean edge. If you are producing video for a CRT monitor, click the Settings (spanner icon) button at the bottom of the Source monitor and choose Safe Margins. Premiere Pro displays white outlines over the image.

Figure04-36_mon
  • The outer box is the Safe Action zone. Aim to keep important action inside this box so that when the picture is displayed, cropping does not hide what is going on.
  • The inner box is the Title Safe zone. Keep titles and graphics inside this box so that even on a badly calibrated display, your audience will be able to read the words.
  • Click back into the Settings button at the bottom of the Source monitor and choose Safe Margins to turn them off.

Essential playback controls

Let’s look at the playback controls.

Figure04-37_mon
  1. Double-click the shot 16_6B in the Double Identity bin to open it in the Source monitor.
  2. At the bottom of the Source monitor, there’s a yellow playhead marker. Drag it along the bottom of the panel to view different parts of the clip. You can also click wherever you want the playhead to go, and it will jump to wherever you click.
  3. Below the clip navigation bar and the playhead, there is a scrollbar that doubles as a Zoom control. Drag one end of the scrollbar to zoom in on the clip navigator.
  4. Click the Play button to play the clip. Click it again to stop playback. You can also use the spacebar to play and stop playback.
  5. Click the Step Back and Step Forward buttons to move through the clip one frame at a time. You can also use the left- and right-arrow keys on your keyboard.
  6. Use the J, K, and L keys to play your clip.

Customizing the monitors

To customize your monitors, click the Settings button on the Source monitor. This menu gives you several different display options for your Source monitor (the Program monitor has a similar menu). You can choose to view waveforms and vector scopes to analyze your video.

For now, we just want to know how to get regular video on-screen. Make sure Composite Video is selected in this menu. You can add or remove buttons at the bottom of the Source monitor.

  1. Click the Button Editor button at the bottom right of the Source monitor. A special set of buttons appears.
  2. Drag the Loop button from the floating panel to the right of the Play button on the Source monitor, and click OK.
  3. Double-click the di05c_compv_02 clip in the Double Identity bin to open it in the Source monitor.
  4. Click the Loop button to enable it, and then play the video using the spacebar or the Play button on the Source monitor. Stop the playback when you have seen enough. With Loop turned on, Premiere Pro continuously repeats playback.

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Monitoring Footage in Premiere Pro CS6 Part 1

Here's an excerpt from the official guide to Adobe Premiere Pro that I co-authored.

This excerpt covers ways of performing common tasks such as playing video clips, including a new browsing feature in Premiere Pro CS6 called hover scrub, and other key topics such as essential playback controls and customizing your monitors.
Note: This excerpt is from the forthcoming book Adobe Premiere Pro CS6 Classroom in a Book.

The greater part of video editing is invested in watching clips and making creative choices about them. It’s important to feel really comfortable browsing media.

Premiere Pro has multiple ways of performing common tasks such as playing video clips. You can use the keyboard, click buttons with your mouse, or use an external device like a jog/shuttle control.

Premiere Pro CS6 has a new browsing feature called hover scrub that allows you to view the contents of your clips quickly and easily right in the bin.

1 Double-click the Double Identity bin to open it.

2 Click the Icon View button at the bottom-left corner of the bin.

3 Drag your mouse, without clicking, across any of the images in the bin.Premiere Pro displays the contents of the clip as you drag. The left edge of the thumbnail represents the beginning of the clip, and the right edge represents the end. In this way, the width of the thumbnail represents the whole clip.

Figure04-31_mon

4 Select a clip by clicking it once. Hover scrubbing is now turned off, and a mini scrollbar appears at the bottom of the thumbnail. Try dragging through the clip using the scrollbar.

Premiere Pro uses the J, K, and L keys on your keyboard to perform playback too, just like the Media Browser:
• J: Play backward
• K: Pause
• L: Play forward

5 Select a clip, and use the JKL keys to play the thumbnail. Be sure to click the clip only once. If you double-click, it will open in the Source monitor.

Tip: If you press the J or L key multiple times, Premiere Pro will play the video clips at multiple speeds.

Figure04-32_mon

When you double-click a clip, not only is it displayed in the Source monitor, it’s also added to a list of recent clips.

6 Double-click to open four or five clips from the Double Identity bin.

7 Click the Recent Items menu to browse between your recent clips.

8 Click the Zoom menu at the bottom of the Source monitor. By default, this is set to Fit, which means Premiere Pro will display the whole frame, regardless of the original size. Change the setting to 100%. These Double Identity clips are high-resolution, and they are probably much bigger than your Source monitor. You are likely to have scrollbars at the bottom and on the right of your Source monitor now, so you can view different parts of the image. The benefit of viewing with Zoom set to 100% is that you see every pixel of the original video, which is useful for checking the quality.

9 Set the Zoom back to Fit.

Tip: Notice that you have the option to close a single clip or close all clips, clearing the menu and the monitor. Some editors like to clear the menu and then open several clips that are part of a scene by selecting them all in the bin and dragging them into the Source monitor together. They can then use the recent items menu to browse only the clips from this short list.

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I Visit HP and Explore How They Design Products

Hewlett-Packard Product Development from RHED Pixel on Vimeo.

Richard Harrington discusses Hewlett-Packard's product development with Ronald Rogers at HP's headquarters in Fort Collins, CO.



A few weeks ago I visited the design labs for HP. I got an impressive look at how they design, test, and build computers. I also saw things to come and must say I am very glad that we have a company focussing on building machines for video and animation pros.

Have a listen to a detailed interview about how HP works and judge for yourself.
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Video is a Team Sport


team

This is the hardest message for most photographers to accept. You cannot truly make a professional video in isolation. Am I saying that one person can’t do everything? No. But can they do it well? Consider the following.

  • Video projects often have firm deadlines – Whether it’s an air date, a live event, a corporate meeting, or a project launch. Deadlines are standard in the world of video, having a team means bench strength and safety in numbers.

  • You’ll make more money doing what you do best – How many photographers are magazine publishers? Do they sell the advertisements and write all the stories? What about when publishing a book... do they fire up their personal printing press? The point here is that a photographer should do what they do best. That tends to be direct the talent, pick the locations for shooting, lens the project, and carry their creative vision through the editing and graphics stages. I am not saying you should avoid editing or motion graphics, but you may be pretty slow (especially when you first start). I say try anything three times… but if you find you hate the work or you are turning down other jobs... then its time to move on. You can always find people who want to do parts of the job you are weakest at… plus they’ll likely be far faster than you. This will let you shoot more and line up more business through your contacts.

  • The creative mind is like a hive – Adding additional people that you trust can really lead to a better product. I find that having other professionals around keeps me from slipping into my old habits. It also leads to creative discussions that push the envelope and lead to a better outcome.


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Green Screen Production Quick Start


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he explains the essentials of green screen production. Follow along as he walks you through the steps from lighting, testing, to keying in post production.

When preparing to record a subject in front of a green screen, it is important to find the correct lighting and backdrop. Once you have the green screen set and a test subject lit, you are ready to record and key your new background in post-production In this episode, Rich demonstrates several techniques to keying in Adobe After Effects.

AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Joe DiMaggio, Tamara Lackey, Bryan Peterson, and Rich Harrington.

Check Out More Tutorials – http://www.youtube.com/playlist?list=PL45101D7EFD3E733A
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Live Q & A This Thursday

facebookchat


Do you have DSLR videography or Adobe Premiere Pro questions? Join me and Robbie Carman on the lynda.com Facebook timeline Thursday 08/02 from 1-2pm PT for a live Q&A session. Look for the for the post on the timeline wall, and come prepared with all your video production or postproduction questions. http://on.fb.me/Pf4muq


More about Rich Harrington: 
http://bit.ly/OdZiu9 More about Robbie Carman: http://bit.ly/MuuIcC

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Premiere Pro Marks and Markers Shortcuts

Here are a few useful shortcuts for Adobe Premiere Pro

These are the shortcuts for Marks and Markers:


markersshorts
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Modifying Lights: DSLR | Video Skills


Adorama Photography TV Presents DSLR | Video Skills, with Rich Harrington. Now that you have your subject lit for your professional interview, it's time to take a step further and modify the lighting.

When preparing for an on-camera, professional interview, it is important to try to get the most out of the lighting you are using. In this episode, Rich demonstrates how to get the best skin-tone, hair light, and background light by using different light modifying techniques. Learn how to use lighting accessories such as gels, dimmers, flags, reflectors, and cookies to get a great-looking interview.
This is part two in our lighting series for video -- be sure to watch the first episode too
http://www.youtube.com/watch?v=9AwR7djWa5w
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Sync Sound Production Techniques



Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he demonstrates how to achieve sync sound production. There are many tools to help accomplish professional audio during your production.

Most DSLR cameras have a built in microphone, but to you need more to capture good professional audio. It is important to capture good quality audio. In this episode, Rich reveals the tools you can use to ensure you achieve sync sound during your production and post production process.

Be sure to also watch part 1
Recording Sync Sound: DSLR | Video Skills http://youtu.be/jHiALC7pG4Y
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What's New in Photoshop CS6 for Video and Motion

ps_shortcuts
I recently an eSeminar on the new features in Photoshop that benefits the motion graphic artist and video editor.
In case you missed it, we have posted a
recording of the eSeminar.
I covered many new features in this one hour session, and here’s a brief outline of the features and how you can use them in productions:
  • The adaptive wide angle feature to improve your images
  • Search features to find layers and effects used in a project
  • Blur tools to enhance and blur portions of an image to use as background plates
  • Content Aware tools to scale and improve aspect ratios in images
  • Camera RAW improvements to help you remove noise
  • Crop tool presets to create broadcast ready images
  • Accelerated special effects in Photoshop that speed your editing workflow
  • Text style features for creating lower thirds
  • Color correction tools that can be used for quick and easy color grading
  • Cloning tools that help remove distracting elements in a video clip
  • Bridge basics to name and share images with clients
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Several Free “Ask a Video Pro” and “Ask a CS Pro”

Adobe-CS6-Production-img
Adobe has released several free webinars with a ton of information. A bunch of these presenters are both friends and colleagues. I highly recommend you check out some of this free training.
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Premiere Pro Multi-Camera Shortcuts

Here are a few useful shortcuts for Adobe Premiere Pro

Here are the Multi-Camera features:


multicamera
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Creating a Film Look on a Video Budget


Here's the recording from my "
Creating a Film Look on a Video Budget" webinar (sponsored by Tiffen).

These days, a "film look" is more popular than ever. This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera. You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools. Learn how to create realistic textures and curves using the DFT Film Stocks plugin. You can also create dynamic color mapping with PhotoCopy and enhance the light in your scene with Rays.

Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
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Free Webinar on Getting a Film Look

Creating a Film Look on a Video Budget

July 18, 2012 (limited to 100 signups!)
Sign Up Here –
https://www3.gotomeeting.com/register/508525966 

edge filmstocks
These days, a "film look" is more popular than ever.  This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera.  You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools.  Learn how to create realistic textures and curves using the Tiffen Film Stocks plugin. You can also create dynamic color mapping with PhotoCopy and enhance the light in your scene with Rays.
  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
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Three Point Lighting Explained



AdoramaTV Presents DSLR Video Tips with Richard Harrington. Join Rich as he discusses three-point lighting when shooting an interview on DSLR.

Three-point Lighting is a combination of a Key light, back light, and a fill light. Three-point light gives you full control over the light and shadows casting over your subject. Understanding the three-point lighting technique gives you the building blocks to advance with your photography.
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Choosing the Right Frame Rate for Video


This tutorial discusses which frame rate you should choose, depending on your specific requirements. Watch more at
http://www.lynda.com/course-tutorials/DSLR-Video-Tips-Rich-Harrington/103707-... This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.

Follow Me on Twitter or Facebook

Get 7 days of free unlimited access to lynda.com.
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Premiere Pro Project and Media Shortcuts

Here are a few useful shortcuts for Adobe Premiere Pro

Here are the Project and Media Management features:


project_media
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Keying with Reflecmedia

Ch04_10

If you plan to shoot a lot of chroma key, you may invest in a dedicated chroma keying system. We use a Reflecmedia Chroma Key system frequently. This approach relies on a LED disc attached to the camera lens that reflects light on a special fabric containing millions of glass beads that reflect the lower powered light and create an even-colored surface. Systems like this cost more, but are popular for their ease of use and portability. The system saves us a lot of time and money during the editing stages.
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Lighting for Green or Blue Screen

The use of chroma (or color) keying software has gotten much easier in postproduction. The most common techniques involve shooting talent against a blue or green screen and then replacing that colored background with a new one. This process is a staple in filmmaking special effects and has made its way into web video as well.

Ch04_09

In order to succeed with chroma key, you want to pay close attention to shooting and lighting.

When shooting chroma key footage, be sure to turn off all the Auto settings on your camera. This means no auto-exposure, auto-white balance or auto-focus. If any of these are left on, the footage you are trying to key will constantly be changing as your subject moves. These constant fluctuations will make it harder for you to get good results. While you’re in changing settings, switch your camera to a progressive frame rate (such as 24p) as you’ll get much cleaner edges on your keyed shots.

You’ll have many choices when selecting a backdrop. While you can simply go and purchase fabric at a fabric store; many will invest in higher-quality backdrops from a video or photography retailer. The most popular backdrops use polyester fabric stretched by a metal frame offers an easy to light surface that avoids wrinkles and shadows. These backdrops can be easily folded and transported. Muslin backdrops are also used, but may require more attention to lighting to avoid wrinkles and bad keys.


Here are a few practical tips for lighting and shooting a chroma key set:
  • Even Lighting – It is essential to minimize variation in colors for the backdrop. This means that you must evenly light the background to avoid hot spots. Diffused lighting (such as soft boxes or fluorescent lights) makes this easier.
  • Spill is Bad – Be sure your subject doesn’t stand too close to the backdrop, otherwise you’ll get shadows on the backdrop and color spill on the person.
  • Keep Your Distance – Try to keep your camera as far away from the screen as possible. It’s better to increase the distance, even if it means some blank edges are showing (you can always crop these out later).
  • Avoid fast movement – A fast moving subject creates motion blur. This is typically where keys become bad or obvious.
  • Use shallow depth of field – If your camera supports it, lower your aperture. This will help make the background fall out of focus. This is an easy way to hide wrinkles, seams and hot spots.

From the book – Professional Web Video: Plan, Produce, Distribute, Promote, and Monetize Quality Video



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Premiere Pro Tools Keyboard Shortcuts

Here are a few useful shortcuts for Adobe Premiere Pro Let's start with the primary tools:

shortcuts1


From the book – An Editor's Guide to Adobe Premiere Pro (2nd Edition)

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Free Webinar on Color Grading

Webinar-Newsletter-Master 2

Creative Color Grading – Fast!  

July 11, 2012 (limited to 100 signups!)
Sign Up Here –
https://www3.gotomeeting.com/register/706598326

Learn how to approach color grading tasks from production to post.  Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata.  Then in post you'll learn how to create popular looks that clients want.  This workshop will explore both general techniques and theory as well as a detailed look at Tiffen Dfx Video/Film tool set.
  • Each attendee will receive a 15 day trial as well as a special discount on the software.
  • One attendee with receive a full license of the software – random drawing, but must be present to win.
 
Take 30% off with this unique code: RHEDDFX13
It can be redeemed here:
http://tiffensoftware.com/promos
Comments

I'm Part of the New Season of Adorama TV


I'm participating in a new season of
Adorama TV brought to you by Adorama.

Each week, you'll get 4 or 5 new photography tutorials from talented folks like:
  • Joe McNally
  • Gavin Hoey
  • Tamara Lackey
  • Joe Dimaggio
  • Mark Wallace
  • Bryan Peterson

Would really appreciate if you could head over and
watch the first episode.

Please post a review or give it a thumbs up so. Comments always welcome… but can we balance out the folks who say I look like Lord Voldermort or sound like Vince Vaughn with some useful ones?

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Recording Sync Sound: DSLR | Video Skills


Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he demonstrates how to record sync sound audio when shooting with a DSLR camera. This video focusses on how to record great audio for your next project... we'll cover postproduction in a future episode.

Most DSLR cameras have a built in microphone, but to accomplish good professional audio you need more. Audio is one of the most important elements when producing video. Having an dedicated microphone to capture your audio can increase the overall quality of your video. In this episode, Rich demonstrates how to capture audio with various devices that are compatible with DSLR cameras. Related Products:

Please be sure to post a comment on the video… on the YouTube page please!


Please post a review or give it a thumbs up so. Comments always welcome… but can we balance out the folks who say I look like Lord Voldermort or sound like Vince Vaughn with some useful ones?
Comments

Adobe Story Plus is Now Avaialble

Story
Adobe Story Plus is Live!

This is a comprehensive screenwriting and production management tool.
It's available two ways

If you're a Creative Cloud member, here's how to get it. Just log in to Adobe Story Plus with your Adobe ID, it automatically lets you in and provisions the service.

For more info –
http://www.adobe.com/products/story-family.html#content-dotcom-en-products-story-family-jcr-content-bodycontent1-ttt_0
To get the free version of Adobe Story – which is quite full-featured too! –
http://www.adobe.com/content/dotcom/en/products/story-free.html
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A Nice Refresher on the Rule of Thirds

3854159_orig
The Rule of Thirds is a guideline that helps you better frame and composite your shots. It states that you should imagine every image as being divided equally by 2 horizontal lines, and 2 vertical lines. The important parts of the image should fall on those lines, or on their intersection. The main goal of this rule is to prevent you from shooting everything dead in the center of your frame. Following this guideline will make for more interesting shots, rather than a boring centered image.

Continue reading the full tutorial here –
http://www.rodypolis.com/15/post/2012/06/ruleofthirds.html
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Free Templates for Adobe Premiere Pro, After Effects, and Encore

cs6banner


When Adobe shipped Creative Suite 6, they left out several important files. The products included several awesome templates, presets, and more for titles, DVD menus, and animated text.


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Changing the Audio Mix in Adobe Premiere Pro from the Keyboard

Audio_Gain
A popular shortcut in Final Cut Pro is the ability to increase or decrease audio levels with a keyboard shortcut. The closest you can come in Adobe Premiere Pro is a little customization. Choose Premiere Pro > Keyboard Shortcuts (Edit>Keyboard Shortcuts). In the search field enter Audio Gain. Map this command to an easy to remember shortcut (like Ctrl + =). Now you can press it to bring up the Audio Gain dialog box. The new dialog already has the Adjust Gain by field selected. Just enter a number and press Return or Enter. Yes, it's two steps instead of one, but its also more flexible.
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New Drobo Units Announced

Two new Drobo Units are released. I first saw these a few months ago (we've been helping with the videos for launch).
We run our whole office on Drobos, love them. Incredibly reliable and easy to manage.

These two new units are awesome!

Drobo 5D

High-performance, desktop storage for professionals



  • 5 drive bays
  • 2 xThunderbolt
  • USB 3.0
  • Thunderbolt and USB cables included
  • SATA or solid state
  • mSATA solid state drive (Turbocharges cache)
  • Power Fail Protection
  • Mac OS X Lion & Mountain Lion
  • Windows 7 & 8


Drobo Mini

Portable performance storage with data protection.



  • 4 drive bays
  • 2 xThunderbolt
  • USB 3.01 x USB 3.0 port
  • Thunderbolt and USB cables included
  • 4 2.5" SATA or solid state drives
  • Mac OS X Lion & Mountain Lion
  • Windows 7 & 8



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Using Adjustment Layers in Adobe Premiere Pro

If you need to apply an effect to multiple clips at once, an adjustment layer can really come in handy. Experienced After Effects or Photoshop users may already be familiar with the technology which makes its debut in Adobe Premiere Pro CS6.

The concept is simple, you create a new specialty layer that can hold effects and sit above other video tracks. Everything beneath the adjustment layer will be processed by the effect. Adjustment layers can have their trim handles and opacity modified to further refine the effect and its placement. An adjustment layer is often easier to modify since it is a single effect, rather than multiple instances applied to several clips.

effects612

To use an adjustment layer, follow these steps.

  1. Click the New Item button at the bottom of the project panel and choose Adjustment Layer. Click OK to create the adjustment layer to match the dimensions of the current sequence.
  2. Locate the new adjustment layer that was added to your project. You can rename it or move it to a bin to make it easier to track.
  3. Drag the Adjustment layer to a higher track in the timeline. Trim its handles to cover just the portion of clips you want to affect.
  4. With the adjustment layer selected, drag an effect on to it from the Effects Browser (or simply double-click the effect).
  5. Adjust the effect using the Effect Controls panel.


TIPS

  • Be Sure to Blend – Blending an adjustment layer can significantly change the behavior of an effect. This is a great way to create new looks from existing plug-ins.
  • Color Grade Approach – One way to grade color is to combine adjustment layers with standard effects. Use essential color correction techniques to neutralize and issues with individual clips. Then use an adjustment layer across the entire scene to grade or stylize. This makes it easier to iterate different looks or refine an adjustment.

Be sure to pick up the new edition of:
An Editor's Guide to Adobe Premiere Pro
Comments

New HP Mobile Workstations

ProVideo Coalition - HP Mobile Workstations - NAB 2012 from RHED Pixel on Vimeo.

Richard Harrington speaks with Jimmy Holbert, Worldwide Mobile Workstation Manager at HP, about the new and exciting top of the line notebook coming out later this month.


Richard Harrington speaks with Jimmy Holbert, Worldwide Mobile Workstation Manager at HP, about the new and exciting top of the line notebook coming out later this month.
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Free Adobe Video Workshop in NYC on 6/20

Adobe-CS6-Production-img
Adobe Creative Suite 6 Production Premium software is the latest high-performance toolset with everything you need to create productions for virtually any screen, with its many new features, it’s the perfect solution to be the hub of your post-production workflow.

Join Adobe Certified Instructor Richard Harrington as he shows you what's new with Adobe's Creative Suite 6 for the video pro—you’ll learn how to get more done faster in Adobe Premiere Pro and After Effects as well as how Photoshop can be used for all your video projects.

Rich will focus on techniques that you can put into action right away, you'll learn about:
  • 3D Camera tracker
  • 3D Extrusion
  • Dynamic Trimming
  • Warp Stabilizer
  • enhanced performance
  • and much more. 

This workshop is perfect for users of all skill levels.

Schedule: Wednesday, June 20, 2012 5:30PM - 7:30PM
Location: The Adorama Building, 42 West 18th Street 5th floor.

You MUST sign up in advance…. space is limited.

Get more from #CS6 at Rich Harrington's NYC workshop @Adorama on 6/20 about Adobe video products (free after rebate)
http://ow.ly/bAPRO
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Importing From Prelude to Adobe Premiere Pro

A companion application in the Adobe Creative Suite is Adobe Prelude. This application can be used to organize footage in a simple, streamlined interface. The use of Adobe Prelude is beyond the scope of this book, but you will find extensive coverage in the application’s documentation on how to use it and best practices for organizing clips. Adobe Prelude is designed so producers or assistants can quickly ingest, log, and even transcode media for tapeless workflows.
If you have an Adobe Prelude Project, here’s how to send it to Adobe Premiere Pro.

PPCS6_Ch03_-004


  1. Launch Adobe Prelude.
  2. Open the project you want to transfer.
  3. Switch to Adobe Premiere Pro and make sure the project that you want to receive the media is open.
  4. Switch back to Adobe Prelude and click on the Project Panel.
  5. Select the individual clips you want to send by Command-clicking (Ctrl-clicking) or select all clips.
  6. Choose File > Send to Premiere Pro.
  7. Switch to Adobe Premiere Pro. The files should appear in the Project panel
  8. You can now quit Adobe Prelude and close the project.

Be sure to pick up the Adobe Premiere Pro Classroom in a Book – Available soon!

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Need an Entry Level Workstation for Video or Photo?

ProVideo Coalition - Z220 HP Workstation - NAB 2012 from RHED Pixel on Vimeo.

Richard Harrington speaks with HP about the exciting new entry level Z220 Workstation.



Richard Harrington speaks with HP about the exciting new entry level Z220 Workstation.


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Fixing Contrast with the Fast Color Effect in Adobe Premiere Pro

While you might not think of a color effect to fix contrast, the Fast Color effect is a great place to turn. In just a few clicks you can adjust contrast and tone.

Adobe Premiere Pro CS5007

  • Auto Black Level: One click of this button raises the black levels in a clip so the darkest levels are above 7.5 IRE (NTSC) or 0.3v (PAL), which means they are broadcast safe. The shadows of the clip are slightly brightened when you use the Auto Black Level button.
  • Auto White Level: One click of this button lowers the white levels in a clip so the lightest levels do not exceed 100 IRE (NTSC) or 1.0v (PAL), which means they are broadcast safe. The effect also clips a portion of the highlights and the rest of the pixel values are redistributed proportionately. Using the Auto White Level option tends to darken the highlights in an image.
  • Auto Contrast: This button applies both the Auto Black Level and Auto White Level command simultaneously. The Auto Contrast option makes the highlights appear darker and shadows appear lighter.

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Premiere Pro CS6 Keyboard shortcuts



Watch more about Premiere Pro CS6 at http://www.lynda.com/Premiere-Pro-training-tutorials/287-0.html?utm_medium=vi... Learn about the new user interface for viewing or changing keyboard shortcuts in Premiere Pro, and some of the new shortcuts for common editing commands, such as matching frames, creating and playing loops, in and out point controls, moving between editing clips, and exporting frames.

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Automate to Markers in Adobe Premiere Pro

Have you added markers to your timeline? Precisely editing to them can be fast and easy with the Automate to Sequence command.
Adobe Premiere Pro CS5011

  1. Set In points in a series of clips as needed. If using stills, you can skip this step.
  2. Switch the Project panel to icon view and drag to arrange the clips in order. Place the clips left to right then top to bottom to indicate the order of clips.
  3. Select the clips in the Project panel. Either Command-click (Mac OS) or Ctrl-click (Windows) in the order you want.
  4. Lock the tracks that you don't want to use. The Automate To Sequence command disregards target tracks and always uses the lowest available video and audio tracks.
  5. Click the Automate To Sequence button.
  6. Change the Placement pop-up menu to At Unnumbered Markers, so that the clips are placed at unnumbered sequence markers.
  7. Use the other options to add transitions or to ignore audio or video.
  8. Click OK to make the edit.


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Tap Out the Beat in Adobe Premiere Pro

Want to precisely edit to the beat of the music? Then you should just use your sense of rhythm. If you can tap your finger to the music, you can achieve better editing.

Adobe Premiere Pro CS5010

  1. Click in the Timeline panel.
  2. Select a clip in the Timeline (such as the music track).
  3. Press play to start playback.
  4. To add a Layer Marker, press the Multiply symbol (*) on the numeric keypad. If you're using a laptop, you can click the Set Unnumbered Marker button in the upper left corner of the Timeline panel.
  5. Continue to tap out each beat or audio event that you’d like to sync to.
  6. When the playback is finished, all of the Timeline markers will appear.
  7. To move between markers, press Cmd + Right Arrow or Left Arrow (Ctrl + Right Arrow or Left Arrow).
  8. Mark In and Out points as needed in order to edit.


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Enhanced effects workflows in Premiere Pro CS6


Watch more about Premiere Pro CS6 at http://www.lynda.com/Premiere-Pro-training-tutorials/287-0.html?utm_medium=vi... This movie showcases the drag and drop video effects, effect acceleration, and video adjustment layer controls in Premiere Pro CS6. It also shows the new Mercury Playback Engine's ability to play back effects with no dropped frames, and goes on to show how to effectively render out playback when needed.

Comments

Using a Video Calibration Target

DP BestFlow - Using a Video Calibration Target from ASMP dpBestflow on Vimeo.


I show you how to make sure your DSLR footage is in focus by using a video calibration target.

From the
dpBestflow.org project.
Comments

Publish to Vimeo or YouTube from Adobe Premiere Pro

Adobe Media Encoder CS5001
Once you’ve edited your masterpiece its time to share it with the world. Two of the most popular sites are Vimeo and YouTube.

Both have upload limits on how big of a video you can post (Plus, why should you waste time loading up a bigger file that just has to get compressed again for the web?). Compress the files on your machine and you'll have faster upload times and better playback quality.
Here’s how to make compressed video right inside Adobe Premiere Pro:

  1. Choose File > Export > Media or press Cmd+M/Ctrl+M. The Export Settings window opens.
  2. From the Format pop-up list choose H.264.
  3. Click the Preset list and choose the correct preset. You’ll find ready to use settings for both YouTube and Vimeo. Be sure to choose the HD presets if your source video is HD.
  4. Check the box next to the Use Maximum Render Quality option. This will take a little longer to process, but the quality is worth it.
  5. Click the underlined text next to Output Name. This lets you name the file and specify a destination.
  6. Click the Export button to create your file.
Comments

What is the Mercury Playback Engine?



Learn about improvements in the Mercury Playback Engine for Adobe Premiere Pro CS6.

See the whole brand new PP training course is live on Lynda.com.
http://bit.ly/HJnIby

If you aren't a member, sign up for a free 7 day trial and watch the whole thing.
www.lynda.com/trial/rharrington
Comments

How to Import Your Footage into Premiere Pro

DP BestFlow - How to Import Your Footage from ASMP dpBestflow on Vimeo.



I show you how to import your DSLR footage in a nonlinear editor.

From the
dpBestflow.org project.
Comments

RED Cameras @ NAB 2012

ProVideo Coalition - RED Cameras - NAB 2012 from RHED Pixel on Vimeo.



Richard Harrington interviews Ted Schilowitz about the future of RED cameras at NAB 2012.
Comments

How to Resize Images in Photoshop for use in Video

DP BestFlow - How to Resize Images in Photoshop for use in Video from ASMP dpBestflow on Vimeo.



Richard Harrington shows you how to adjust photographs in Photoshop to make sure they are ready for your video project.

From the
dpBestflow.org project.
Comments

Video-project budgeting: How to determine rates



A lynda.com tutorial describing how to determine your rates for the services you are providing during a video project.

See the whole course on Lynda.com.
http://www.lynda.com/course-tutorials/Budgeting-Video-Projects/96667-2.html

If you aren't a member, sign up for a free 7 day trial and watch the whole thing.
www.lynda.com/trial/rharrington
Comments

Tiffen Digital Filters @ NAB 2012

ProVideo Coalition - Tiffen Digital Filters - NAB 2012 from RHED Pixel on Vimeo.



Richard Harrington interviews Michael Cassara about Tiffen's digital filters for NLEs at NAB 2012.
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Two New Video Classes on Kelby Training

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DSLR Video: Planning and Shooting

Join Rich Harrington, motion graphic artist, author, and trainer, on location at Kelby Media Studios as he takes you through every step in the process of creating a video product for a client. Learn everything involved in creating a professional quality video with your DSLR, from the initial client meeting to scouting locations, and from all the essential gear to how to conduct engaging interviews. Each step of the way Rich provides expert insights and killer tips to get you well on your way to adding video story telling to your bag of tricks.

DSLR Video: Post Processing

There’s still plenty of work to do after the cameras are stowed away. Join Rich Harrington, motion graphic artist, author, and trainer, as he guides you through the transition from post video capture to preparing for post production. The steps you take during this phase of the process, from backing up your data to gathering additional source material, are critical to the project’s overall completion and success, and are what separate the amateur from the professional.


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Manually White-Balancing a DSLR Video Camera

DP BestFlow - Manually White-Balancing a Camera from ASMP dpBestflow on Vimeo.



I show you how to get the proper white balance on your DSLR camera.

From the
dpBestflow.org project.
Comments

Create a video project's scope and workflow



A lynda.com tutorial describing how to clearly define and present a video project's potential scope and workflow to a client.

See the whole course on Lynda.com.
http://www.lynda.com/course-tutorials/Budgeting-Video-Projects/96667-2.html

If you aren't a member, sign up for a free 7 day trial and watch the whole thing.
www.lynda.com/trial/rharrington
Comments

New Lowell Prime Lights at NAB

ProVideo Coalition - Lowel Prime LED Lights - NAB 2012 from RHED Pixel on Vimeo.



Learn about new lighting options – recorded at NAB 2012.
Comments

Exchanging Video Information with XML

DP BestFlow - Exchanging Video Information with XML from ASMP dpBestflow on Vimeo.



I show you how to take information about your nonlinear editing project from one NLE application to another using XML.

From the
dpBestflow.org project.
Comments

Essential Video Editing Commands

DP BestFlow - Essential Editing Commands from ASMP dpBestflow on Vimeo.



I show you how to use three-point edits to speed up your post-production workflow.

From the
dpBestflow.org project.
Comments

Where is Adobe Video Team Focussing Efforts for the Future?

Provideo Coalition- Adobe Video- NAB 2012 from RHED Pixel on Vimeo.



I was very happy to sit down with Bill Roberts at Adobe to discuss what's new in CS6 as well as what the company thinks are important trends for the future. If you want to see what's coming up, don't skip this video.

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A More Intuitive 3-Way Color Corrector for Adobe Premiere Pro CS6



Learn about the updated 3-way Color Corrector in Adobe Premiere Pro CS6.

See the whole brand new PP training course is live on Lynda.com.
http://bit.ly/HJnIby

If you aren't a member, sign up for a free 7 day trial and watch the whole thing.
www.lynda.com/trial/rharrington
Comments

It's a Bag, It's a Tripod with Petrol at NAB

ProVideo Coalition - Petrol - NAB 2012 from RHED Pixel on Vimeo.



Looking for a great bag that's also a tripod? My crew fell in love with this at NAB and produced a video to give me a hint.
Comments

How to Organize Your Edit

DP BestFlow - How to Organize Your Edit from ASMP dpBestflow on Vimeo.



I show you how to use bin structures to organize your video footage in a nonlinear editor.

From the
dpBestflow.org project.
Comments

What's New With NVIDiA CUDA Acceleration

ProVideo Coalition - Nvidia & Cuda at NAB 2012 from RHED Pixel on Vimeo.



Richard Harrington interviews Justin Boitano, Director of Marketing for Nvidia, on the latest technology for CUDA. Learn how video editing and motion graphics are getting faster.
Comments

In-Depth Interview About All the AJA New Products

ProVideo Coalition - AJA Video Systems from RHED Pixel on Vimeo.



Richard Harrington interviews Bryce Button about exciting new products from AJA.
Comments

In-Depth Interview about the New HP Z1 Workstation

ProVideo Coalition - HP Z1 Workstation at NAB from RHED Pixel on Vimeo.



Richard Harrington interviews Travis Humphries, the global product manager at HP, about the new
HP Z1 workstation. This looks perfect for an extra editing or motion graphics workstation.
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A Sneak Peek at Pluraleyes Version 3

ProVideo Coalition - Pluraleyes & Singular Software at NAB 2012 from RHED Pixel on Vimeo.




Richard Harrington interviews the founder and CEO of Singular Software about Pluraleyes version 3.
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Vincent Laforet & the Canon C300

ProVideo Coalition NAB 2012 - Vincent Laforet & the Canon C300 from RHED Pixel on Vimeo.



My producer, Pamela Berry, catches up with
Vincent Laforet at NAB. Learn about the Canon C300 and his new film Mobius at NAB 2012. (Behind the Scenes)
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Adobe Talks About What's New in Production Premium CS6

ProVideo Coalition - Adobe - NAB 2012 from RHED Pixel on Vimeo.



Learn about what's coming in Adobe Premiere Pro CS6 and Production Premium. Dave Helmly from Adobe gives us some straight answers.

Comments

Flying a Camera with the Quadrocopter

Photofocus - Quadrocopter - NAB 2012 from RHED Pixel on Vimeo.



At NAB 2012 Rich Harrington and Scott Bourne look at the Quadrocopter, a new system for flying lightweight cameras.
Comments

New keyboard shortcuts in Adobe Premiere Pro CS6



Learn about new keyboard shortcuts in Adobe Premiere Pro CS6.

See the whole brand new PP training course is live on Lynda.com.
http://bit.ly/HJnIby

If you aren't a member, sign up for a free 7 day trial and watch the whole thing.
www.lynda.com/trial/rharrington
Comments

Mixing Audio for Video

DP BestFlow - Mixing Audio from ASMP dpBestflow on Vimeo.



I show you how to properly mix your audio in a nonlinear editor.

From the
dpBestflow.org project.
Comments

Cutting a Multicamera Sequence in Adobe Premiere Pro CS6



Learn how to cut a multi-camera sequence using Adobe Premiere Pro CS6.

See the whole brand new PP training course is live on Lynda.com.
http://bit.ly/HJnIby

If you aren't a member, sign up for a free 7 day trial and watch the whole thing.
www.lynda.com/trial/rharrington
Comments

Grading Video Footage

DP BestFlow - Grading Footage from ASMP dpBestflow on Vimeo.



I show you how to color grade you video in a nonlinear editor.

From the
dpBestflow.org project.
Comments

How to Publish Video to the Web

DP Best Flow - How to Publish Video to the Web from ASMP dpBestflow on Vimeo.



I explain how to export video from your nonlinear editor to make sure your movie is ready for the web.

From the
dpBestflow.org project.
Comments

Highlights from the Adobe Tips and Flicks event on February 22, 2012 in Washington, DC.

Highlights from the Adobe Tips and Flicks event on February 22, 2012 in Washington, DC. from RHED Pixel on Vimeo.



Highlights from the Adobe Tips and Flicks event on February 22, 2012 in Washington, DC. Shane Hurlbut and Jacob Rosenberg discuss the DSLR filmmaking techniques and Adobe technology used in making the feature film Act of Valor. Adobe experts Rich Harrington and Colin Smith share tips on Creative Suite software.
Comments

Sorting and Sifting Video in a Nonlinear Editor

DP BestFlow - Sorting and Sifting Video in a Nonlinear Editing Tool from ASMP dpBestflow on Vimeo.



Richard Harrington shows you how best to organize your video footage in a Nonlinear Editor so you can find the clips you need faster.

From the
dpBestflow.org project.
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Animating your Photos with After Effects

When working in After Effects, there are five key components to animating a layer. These properties are very easy to quickly access through keyboard shortcuts.

Adobe After Effects 10.0003
  • Press A to Twirl down the Anchor Point.
    • Press P to Twirl down the Position.
    • Press R to Twirl down the Rotation.
    • Press S to Twirl down the Scale.
    • Press T to Twirl down the Opacity.

You can also use following modifier keys to speed up your work.
  • Hold down the Shift key to display additional properties after selecting the first item.
    • Hold down the Option (Alt) key to display a property and add a keyframe at the Current Time Indicator.

To learn more, see
this course on lynda.com: Documentary Photo Techniques with Photoshop and After Effects

Maximizing your Web Video and Podcast Audience with Hypersyndication table of contents:

  • Introduction
  • 1. Organize Your Photos with Adobe Bridge
  • 2. Understanding Resolution
  • 3. Working in the Right Color Space
  • 4. Removing Damage
  • 5. Content-Aware Repairs
  • 6. Controlling Focus
  • 7. Removing Distractions
  • 8. Toning Images
  • 9. Documentary Motion Control with After Effects
  • 10. Exporting Animation
  • Conclusion

Watch the whole class for free (actually all my classes). Free 7-day trial.

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Quick Edits In the Premiere Pro Timeline

Adobe Premiere Pro CS5001
As you edit in the Adobe Premiere Pro timeline, you may want to change the length of a shot. Here are a few quick editing techniques you should know:

  • Razor – Press Cmd+K (Ctrl+K) to split a clip at the playhead.
  • Razor All Tracks – Press Shift+Cmd+K (Shift+Ctrl+K) to split all tracks at the playhead.
  • Clear – Press the Forward Delete key to remove a selected segment and leave a hole behind.
  • Ripple Delete – Press Shift + Forward Delete to remove a selected segment and close the gap in the sequence.
Comments

Using Adobe Speech Search

DP BestFlow - Using Adobe Speech Search from ASMP dpBestflow on Vimeo.



I show you how to add speech-to-text translations to your video clip in order to find a specific part of the clip easier.

From the
dpBestflow.org project.
Comments

How to Expose a Video Shot

DP BestFlow - How to Expose a Video Shot from ASMP dpBestflow on Vimeo.



I explain how to combine aperture, ISO and shutter speed to properly expose video on your DSLR camera.

From the
dpBestflow.org project.
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DSLR Rolling Shutter Explained

DP BestFlow - Rolling Shutter Explained from ASMP dpBestflow on Vimeo.



I explain the problems of a rolling shutter when shooting video with a DSLR, and how to make sure that fast moving subjects aren't distorted or stuttery.

From the
dpBestflow.org project.
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Connecting a Video Monitor to a DSLR Camera

DP BestFlow - Connecting a Video Monitor from ASMP dpBestflow on Vimeo.



I explain the different accessories and monitors you can connect to your DSLR camera in order to see your video footage better.

From the
dpBestflow.org project.

Comments

The Difference Between Print and Video Resolution




This tutorial titled Resolution Requirements for Video is from chapter two of the Documentary Photo Techniques with Photoshop and After Effects course presented by lynda.com author Rich Harrington. This specific tutorial explains the difference between print resolution and video resolution. The complete Documentary Photo Techniques with Photoshop and After Effects course has a total duration of 2 hours and 2 minutes and explores the world of documentary storytelling, using various techniques in Adobe Photoshop and After Effects to transform damaged photos into brand-new works of art.

Documentary Photo Techniques with Photoshop and After Effects
To view more of this course on lynda.com, click the link above.

Documentary Photo Techniques with Photoshop and After Effects course presented table of contents:

Introduction
1. Organize Your Photos with Adobe Bridge
2. Understanding Resolution
3. Working in the Right Color Space
4. Removing Damage
5. Content-Aware Repairs
6. Controlling Focus
7. Removing Distractions
8. Toning Images
9. Documentary Motion Control with After Effects
10. Exporting Animation
Conclusion

Comments

Recording Sync Sound for a DSLR

DP BestFlow - Recording Sync Sound from ASMP dpBestflow on Vimeo.



Capturing quality audio with a DSLR camera can be a bit of a challenge. I explain how to get good audio on your next DSLR video shoot.

From the
dpBestflow.org project.

Comments

Affordable Compression Tools

iStock_000016556320Medium
Image by iStockphoto

As web video has become the dominant standard for video consumption, there are many affordable (or even free) options to create optimized video files. The biggest difference here is that many of these tools lack batch processing and often offer minimal support for customized presets.

  • QuickTime and QuickTime Pro (www.apple.com/quicktime/pro) – This versatile tool makes it easy to convert video from one format to another. QuickTime Pro is a cross-platform solution and lets Mac and Windows users convert video files to work with Apple’s portable media players. The files QuickTime produces are very compatible, but don’t offer as many options as other tools. A version of QuickTime that can create iOS compatible files is included with newer Mac operating systems. The more versatile QuickTime Pro sells for $29.99 and is a preferred tool for most media pros toolbox.
  • iTunes (www.apple.com/itunes) – While generally though of as a media player, you can use iTunes to convert incompatible media to an iPod/iPhone ready format. Additionally, iTunes is essential for testing your files to see if they are compatible with Apple’s portable media players. iTunes is a free, cross-platform solution. Free.
  • MPEG Streamclip (www.squared5.com) – MPEG Streamclip is a powerful video converter, player, and editor. It works on both Mac and Windows. It can encode to many formats, including podcast compatible formats; it can also cut, trim and join movies. The biggest benefit, its free!
  • Stomp (www.shinywhitebox.com/stomp/stomp.html) – This Mac-only tool bridges the gap from consumer to professional. It offers an easy-to-use interface but also unlocks filters and customized presets. The tool produces great results and offers excellent visual feedback when changes are made to a clip. Another unique feature is that the tool offers Core Image Filters, which are very fast and can perform tasks like color correction. $30.
  • Microsoft Expression Encoder & Expression Encoder Pro (www.microsoft.com/expression/products/Encoder4_Overview.aspx) – This PC-only tool comes in both a free and a pro version. It is replaces the Windows Media Encoder, which was retired in mid-2010. It can create both Windows Media Video and Silverlight files. The Pro version can also output H.264 and AAC files as well. Basic version is free.
  • Apple Compressor (www.apple.com/finalcutstudio/compressor/) – This powerful compression tool used to be included with Apple’s Final Cut Studio bundle and is now sold as a standalone application through the Mac App Store.. It has full support for batch processing and filtering. $49 from Apple App Store.
  • Adobe Media Encoder (www.adobe.com) – The Adobe Media Encoder is not a stand-alone product. Rather it is a core-technology in the Adobe Creative Suite products that work with video. You can easily access it through products like Adobe Premiere Pro. It supports several formats besides podcasting, and offers excellent control. Bundled with Adobe Premiere Pro, After Effects, and Creative Suite.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Designing Backgrounds with Photoshop and After Effects

7_design

As a motion graphics designer, you often have to work harder than other types of designers. Unlike those in the print world who can usually get by with a white background for the printed page, you must put more thought into your projects.
Motion backgrounds have become a staple of broadcast and motion graphics design. In fact, entire companies exist just to create and sell backdrops. The use of backgrounds (whether static or dynamic) is essential to good motion graphics design. Fortunately, certain features in After Effects and Photoshop can be combined to create some fantastic "wallpaper."
Read the whole article here –
http://www.peachpit.com/articles/article.aspx?p=1660202

Comments

Duplication vs. Replication for DVD and BD

iStock_000012707901Medium
Image by iStockphoto

When creating DVDs or BDs, you have two choices to manufacturer the optical discs. If you’re dealing with small quantities, you can use the optical burner or disc drive with your computer. These discs are easy to make, but may not be as compatible in all players.
If you need to produce discs in larger quantities, the use of replication is preferred. In this case a master disc image is created (often called the glass master). Discs can then be created using specialized hardware that can create the discs much faster and with greater accuracy to prevent errors. This process is typically used for orders above 500 discs.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track



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Name That Stage – Identifying the Progress of Your Edit

Plan_09

In a photography workflow, you may be used to selecting shots, then color correcting and post processing before layout occurs. With video editing, the process involves continuous improvement. It is standard to quickly assemble an initial edit, then get feedback from the team and client. Along the way, improvements are made as the video moves closer and close to a finished state.
The following stages are common for most video editing projects. Depending on budget, some projects may have additional stages added or deleted. For example a feature film goes through many more rounds of editing than a broadcast news story.

  • Assembly: The goal of the Assembly Edit is to simply strong the right clips the the right order. Initial selections are made and the goal is to quickly create an edit that can be watched. This may be called a “radio edit”, meaning that it is meant to be listened to more than actually watched. The objective is to get an idea of how long the video is running and get quick reactions from the stakeholders on how to approach the project.
  • Rough Cut: The rough cut is a stage at which many elements begin to get added. It is likely for example that music may be placed (even if it is a temporary track for reference) and supporting footage (called b-roll) is added. Many other pieces such as graphics and sound effects may be missing. The project also lacks refinements like color correction and audio mixing. The truth is that there are likely several rough cuts, and as the producer, director, and editor interact with the video, they will reach a point of confidence in which the project is shared with the client or stakeholders for feedback. When showing a rough cut, it is essential that you identify what is still missing from the piece.
  • Fine Cut: A fine cut is a video that is essentially complete. It is an attempt to achieve “picture lock” meaning that no more changes to the shot selection or the duration of the shots will be made. This version is done, but may lack some polish. The goal is to get the client to make any final requests while the editorial team begins final audio mixing and any tweaks to color correction and grading. Final graphics and other elements are generally placed. This is the cut that needs final change request made and the client’s last chance for budgeted change orders.
  • Final Cut: The Final Cut is also called the Approval copy. The goal here is that all changes and minor improvements to picture and sound have been made. It is the belief of the editorial team that this video is done. The client is merely asked to review that all changes that were requested have been made. This is not a chance to make new requests, and most professionals communicate in their contracts that changes made to the final cut are considered out of scope of their were not raised during the Fine Cut stage.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Repairing and Retiming Footage

figure-06_01


Unfortunately, you are not always in complete control of a project from start to finish. As a motion graphics artist, you will often be excluded from the field production stage. Footage will be shot without you (and often without regard to your needs). We learned an important lesson early on: If you're at the end of the line (which is where video editors and motion graphics folks are in the process), you're responsible for everything that's wrong with the final product. Sadly, there's not much you can do to change this fact.
Except of course, you can "fix it in post."
Now, we hate this phrase as much as you. Fortunately, After Effects and Photoshop offer some great options for repairing footage. You can fix color and exposure problems, change the speed or duration of clips, and even remove unwanted objects.
Read the whole article here –
http://www.peachpit.com/articles/article.aspx?p=1660189

Comments

How to Publish Video to the Web


I explain how to export video from your nonlinear editor to make sure your movie is ready for the web.
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Premiere Pro: Using the Waveform monitor



This Premiere Pro tutorial titled Using the Waveform Monitor is from chapter one of the Fixing Video Exposure Problems in Premiere Pro course presented by lynda.com author Rich Harrington. This specific tutorial describes how to evaluate images through a Waveform monitor that helps us accurately read the exposure of an image. The complete 1 hour and 14-minute long Fixing Video Exposure Problems in Premiere Pro course provides an explanation for the popular phrase "fix it in post" and explores various methods for fixing exposure problems in video footage.

To view more of this course on lynda.com, click the link below.

Fixing Video Exposure Problems in Premiere Pro table of contents:

  • Introduction
  • 1. Evaluating Images
  • 2. Working with Adjust Effects
  • 3. Using Color Correction Effects to Fix Exposure and Tone
  • 4. Controlling Noise and Grain
  • 5. Keyframing Effects
  • 6. Toning a Background
  • 7. Using Blend Modes to Improve Footage
  • 8. Working with Raw Video
  • 9. Legalizing for Broadcast
  • Conclusion
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Premiere Pro: Using the Auto Contrast effect

This Premiere Pro tutorial titled The Auto Contrast Effect is from chapter two of the Fixing Video Exposure Problems in Premiere Pro course presented by lynda.com author Rich Harrington. This specific tutorial shows you how to use the Auto Contrast effect to analyze an image and correct it based on values determined by your computer. The complete 1 hour and 14-minute long Fixing Video Exposure Problems in Premiere Pro course provides an explanation for the popular phrase "fix it in post" and explores various methods for fixing exposure problems in video footage.

To view more of this course on lynda.com, click the link below.

Fixing Video Exposure Problems in Premiere Pro table of contents:

  • Introduction
  • 1. Evaluating Images
  • 2. Working with Adjust Effects
  • 3. Using Color Correction Effects to Fix Exposure and Tone
  • 4. Controlling Noise and Grain
  • 5. Keyframing Effects
  • 6. Toning a Background
  • 7. Using Blend Modes to Improve Footage
  • 8. Working with Raw Video
  • 9. Legalizing for Broadcast
  • Conclusion
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Importing Media into Adobe Premiere Pro

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In this chapter, you'll learn about importing files and the effect it will have on your system. You'll also learn how to bring in audio and even how to record your own narration tracks.
The first step to starting an actual project is getting your media into Adobe Premiere Pro. No matter what kind of project you're doing, if you can't import media, you're stuck. Of course, not everything will come in the way you expect it. So, it's essential that you know how to modify clips. Adobe Premiere Pro also doesn't work alone: It's crucial that you understand the real "superpowers" of the suite. You can draw assets from the rest of the Adobe Creative suite, including Adobe After Effects, Adobe Photoshop, and even Adobe Audition.

In this chapter, you'll learn about importing files and the effect it will have on your system. You'll also learn how to bring in audio and even how to record your own narration tracks.

Read the whole chapter here – http://www.peachpit.com/articles/article.aspx?p=1729266

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How to Buy Multiple Copies of FCPX without Multiple iTunes Accounts

fcpxbizstore

One of the initial concerns with Final Cut Pro X was how to actually purchase more than one copy legally, without setting up multiple iTunes accounts.

I recently had a chance to catch up with a member of the Final Cut Pro team and he pointed out a useful link to me.

The Apple Store for Business DOES sell Final Cut Pro X, and you can get as many licenses as you need.


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Free Seminar on seminar on Mastering Adobe Premiere Pro Timeline Panel

timeline_webinar


Recently, I recorded a webinar for Adobe on the Adobe Premiere Pro timeline. It's posted for free viewing.
Here’s the recording.
I covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end.
Here’s a brief outline of what I talked aboutt:

  • getting started and configuring the user interface
  • basic editing
  • audio
  • miscellaneous questions and answers

It's free to watch –
http://bit.ly/u8ltN8

Be sure to also pickup the book and training DVD –
An Editor's Guide to Adobe Premiere Pro

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Affordable Compression Tools

compression

Essentially, all compression tools do the same thing. They take large video files and make them smaller. What differs from one tool to the next are factors like speed, supported file formats, and user interface design. Fortunately, most of these tools are either free or inexpensive. You’ll also find demo versions that you can try out before you buy.

Here are some recommended tools to try:

  • QuickTime Pro (www.apple.com/quicktime/pro). This versatile application lets you convert video from one format to another. QuickTime Pro is a cross-platform solution and lets Mac and Windows users convert video files to work with Apple’s portable media players. It can also produce files using the Apple TV spec, which matches the HD requirements of most video-sharing sites. The app sells for $29.
  • iMovie (www.apple.com/ilife). Apple’s entry level video-editing tool can publish QuickTime and H.264 files directly. It can also publish video directly to YouTube, Vimeo, and Facebook. The app is sold separately for $15 through the Mac App Store or bundled with four other apps in the iLife suite.
  • Adobe Premiere Elements (www.adobe.com/products/premiereel). This versatile editing tool also contains a versatile compression tool set. With it, you can create movies in several formats, including MPEG-4 and Flash, and post directly to social media and video-sharing sites. The app sells for $99 new and is available for both Windows and Mac.
  • MPEG Streamclip (www.squared5.com). MPEG Streamclip is a multipurpose video converter, player, and editor that works on both Mac and Windows. It can encode to many formats; it can also cut, trim, and join movies. The biggest benefit is that it’s free!
  • Microsoft Expression Encoder and Expression Encoder Pro (www.microsoft.com/expression/products/Encoder4_Overview.aspx). This Windows-only tool comes in a free and a Pro version. It replaces the Windows Media Encoder, which was retired in mid-2010. It can create Windows Media Video files and Silverlight files. The Pro version can also output H.264 files.
  • Apple Compressor (www.apple.com/finalcutstudio/compressor). This powerful compression tool used to be bundled with Final Cut Studio but is now sold separately in the Mac App Store for $49. It allows you to create Apple-compatible files and is optimized for computers with multiple processors.
  • Adobe Media Encoder (www.adobe.com). This compression tool is not a stand-alone product. Rather, it is a core technology in the Adobe Creative Suite products that works with video. You can easily access it through products like Adobe Premiere Pro. It supports several web video formats and offers excellent control.

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Final Cut Pro X Update Released + FCP7 Project Converter

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Apple delivered on its promise of an update to Final Cut Pro X this morning. They released Final Cut Pro X v10.0.3 (Full Specs). The update fixes SEVERAL glaring gaps that users have been asking for.
The major features include:

  • Multicam editing with automatic syncs up to 64 angles
  • New chroma keying
  • Enhanced XML for interchange with third party apps that can include color grading and audio keyframes
  • A BETA driver for broadcast monitoring that supports Thunderbolt devices as well as PCIe cards.
  • Layered Photoshop graphics support
  • Manual media management with the ability to relink
Pricing:
  • The application still costs $299.99 (US) to new users.
  • The update is free from the Mac App Store
  • A 30-day free trial of Final Cut Pro X is available at www.apple.com/finalcutpro/trial.

Apple has also taken down their FCPX FAQ document (http://www.apple.com/finalcutpro/faq/) which is too bad. I liked the company communicating status on what was coming next.

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Third-Party News:
Intelligent Assistance releases 7toX for Final Cut Pro, a lightweight application for translating Final Cut Pro 7 projects to Final Cut Pro X.
The application sells in the Mac App Store for $9.99 (US). The application looks to rely on the new XML features released today in the free update.

  • 7toX for Final Cut Pro translates Final Cut Pro 7 Bins to Keyword Collections in Final Cut Pro X,
  • Converts Sequences to Compound Clips that can be browsed and edited.
  • Metadata and log notes from Final Cut Pro 7 are migrated to Final Cut Pro X.
  • Motion tab settings and keyframes are translated into equivalent parameters in Final Cut Pro X.
  • Layers from Photoshop files are properly preserved
  • More than 30 Transitions and 70 Filters are matched and applied — with detailed reporting in context in the Magnetic Timeline
  • 7toX also allows editors to migrate their Final Cut Pro 7 multicam projects to the latest version of Final Cut Pro X.

I have not been able to test the above, but I know this company well. This is a
HUGE accomplishment and I commend them. Apple, buy this code and put it into Final Cut Pro X. This fills in critical holes.
 

What's Next?
I am happy to see that many of the problems have been addressed. There is still work to do however.
  • Non-beta broadcast monitoring
  • The option to see a second window when working (I find it impossible to line up a 3 point edit with one window).
  • Ability to switch to a track-based timeline
  • Support for raw workflows
  • Support for several missing codecs

A great
detailed article from my friend Gary Adcock at Macworld Magazine

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Adobe Tips & Flicks Event in DC on February 22

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Join Adobe, Government Video Magazine, and industry experts for a day of valuable information concluding with complimentary pre-release screening of the groundbreaking new film, Act of Valor. This event is targeted for those working in the government or military.

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Jacob Rosenberg, Director and CTO of Bandito Brothers will share his experience in the post production workflow and editorial process for
Act of Valor. The film Act of Valor straddles reality and fiction, military messaging, and entertainment. It features real life SEALs—not actors—strike scenes written by the SEALs themselves, and jarring live-fire footage.


This information-packed day will provide valuable knowledge you can use in all your work—from everyday government video projects to more complex productions. There will be something for government employees or contractors doing government work, followed by great entertainment. You can register here –
http://gov.adobeeventsonline.com/TipsAndFlick/2012/Feb22/registration.php?source=004.
Agenda
11:30 a.m. – 12:00 p.m.
Registration and Lunch

12:00 p.m. – 12:45 p.m.
Adobe Creative Suite®5.5 Production Premium: High Performance for a
New Generation

Colin Smith
Senior Solutions Consultant, Adobe

12:45 p.m. – 1:30 p.m.
Beautiful Graphics for Video Editors
Rich Harrington
CEO, RHED Pixel

1:30 p.m. – 1:45 p.m.
Software Raffle and Break

1:45 p.m. – 2:30 p.m.
Join the New Digital
Video Publishing Revolution

Jerry Silverman

Adobe Solutions Consultant

2:30 p.m. – 2:45 p.m.
Software Raffle and Break

2:45 p.m. – 3:45 p.m.
Mixing formats, frame-rates, and bullets in Act of Valor
Jacob Rosenberg
Director & CTO, Bandito Brothers

3:45 p.m. – 4:30 p.m.
All Star Panel Question and Answer
Jacob Rosenberg, Rich Harrington, Christina Clapp,
Editorial Director Video for New Bay Media, and Colin Smith.

4:30 p.m. – 4:45 p.m.
Popcorn and Snack Break

4:45 p.m. – 6:30 p.m.
Screening Act of Valor



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Tips for On-Camera Video Interview Subjects

OnCam4

Here are a few extra tips to help less-experienced on-camera talent or interviewees. I usually send these on to a client to share with folks prior to the production day.
  • Bring at least one alternative set of clothing to the interview.
  • Herringbone, stripes, or small patterns do not look good on camera. Avoid vivid patterns, plaids, and geometric shapes.
  • Please keep your jewelry simple.
  • Do not wear bright white. Cream, eggshell, or light gray are preferred.
  • Unless told otherwise, maintain eye contact with your interviewer throughout the interview.
  • Relax. Your crew is here to make you look good.
  • It's okay to revisit an interview question, or to occasionally take a "do-over."


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Retiming Audio in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Retiming Audio



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington explores the companion application to Premiere Pro -- Adobe Audition, included in CS5.5.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Triple Exposure Podcast #5

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Welcome to the Triple Exposure podcast.
You can direct-download the MP3 here – 
http://3exposure.podomatic.com/entry/2012-01-16T09_52_42-08_00

You can subscribe on iTunes here - 
http://itunes.apple.com/us/podcast/triple-exposure/id440563481

Scott & Rich talk about the Lytro camera (including its role in time-lapse) as well as the new Lightroom 4 Beta.  A good overview of where things are going in 2012 is shared.

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Are You Making the Move to Premiere Pro?

If you're in the process of adding Adobe Premiere Pro to your video workflow, I have a Facebook group that may be helpful

Lots of good discussion in it, as well as a good cross section of folks.

Here it is –
https://www.facebook.com/groups/premierepro/
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Merging Clips and Syncing Audio in Adobe Premiere Pro

DSLR: Merging Clips and Syncing Audio



DSLR video training with Robbie Carman and Rich Harrington: This episode features creating a single clip that contains your video and high quality audio. In Premiere Pro CS5.5, they'll be merging clips and syncing audio in post.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Retro TV: Indian Head Wallpaper


A few folks commented about my desktop pattern at a recent conference. It seems the old 'Indian head' pattern evokes some memories in many audience members.

Well the version I had comes from a Russian designer named Art. Lebedev. You'll find it and several other pieces of artwork on his
posters page. For the test pattern, scroll down to the bottom and you'll find it in the right column. All are free to download.
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How to use the Replace Edit Command in Adobe Premiere Pro

Premiere Pro Video Adrenaline: How to use the Replace Edit Command



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington demonstrates how to use the replace edit command in Premiere Pro so that you can swap out one take for another. In this example, the actor delivers his line a little late, and with low energy. Take the clip in the source monitor, use the current time indicator to create a sync point and automatically create the correct in and out points.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Controlling Focus with AE's Camera Lens Blur Effect



Learn how to control depth of field with the camera lens blur effect in After Effects.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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The History of Alpha Channels

Ch16-Figure-28-Alpha-3
Alpha channels grew out of work done at the New York Institute of Technology in 1977. The goal was to embed transparency data directly into each file to cut down on rendering. The name alpha was chosen because it’s the part of a mathematical equation that represents blend-ing between composited images. The embedded alpha channel eliminated the need for a separate traveling matte. After Effects users should consider embedding alpha channels as Photoshop users do. Embedded mattes reduce the need for two-step rendering and eliminate the possibility of a misaligned matte.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track


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Stabilizing Footage with the Warp Stabilizer

Premiere Pro Video Adrenaline: Stabilizing Footage with the Warp Stabilizer



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington delivers the great new feature in AE CS5.5 for image stabilization and ties it seamlessly into PP using Dynamic Link. Take advantage of this new feature to seamlessly exchange files between the two programs.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Special Effects and Performance Art



A cool find of performance art and technology. I love the planning that went into these 3 pieces.

"This video is most interesting is that it did not join any computer post-effects, only the use of cameras, projectors and Play Station Move is realized as the science fiction version of the magical effects."

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Techniques for Slowmotion Video

DSLR: Techniques for Slowmotion



In this video tutorial with Robbie Carman and Richard Harrington, learn various ways for converting DSLR footage into instantaneous, buttery smooth slow motion using After Effects, Twixtor, or Cinema Tools; you might also use Optical Flow in Apple Motion, Advanced Frame Blending in AE, and FCP .

Check out more at –
http://library.creativecow.net/harrington_richard/
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Avoid Lens Flare by Flagging Your Lens


While the sun is generally incredibly useful to photographers, it can occasionally be annoying. If the sun hits your lens at an undesirable angle, you can end up with spots or flares that ruin a shot. Flares generally take on a geometric shape, and may be easy to miss while recording. Additionally, a flare can significantly reduce the amount of contrast and saturation in your image.

flare1

The flare is typically caused by a very bright light sources (it most cases the sun). Flares are far more common in zoom lenses as they have multiple surfaces that are prone to light scatter. With a little practice you’ll learn to spot flares quickly. Getting rid of flares just requires a few strategies and modifications to your shooting style.

One way to prevent lens flare is to block the light. Typically the flare is caused by light entering from the side of the frame. This light is rarely needed for a proper exposure and can be blocked. If using a tripod, you can place your body to the side of the lens to serve as a wall. You can also reach out with a hat off to the side to block the light.

flare5
I used a Rogue FlashBender to protect the lens from additional flare while shooting on a bright day.


You can of course use other devices to block unwanted light. I’ll often attach a Rogue FlashBender right to my lens (http://www.expoimaging.com). These flexible cards are normally used to shape an off-camera flash, but I find the built in flexible support rods bendable surface works well to flag a troubling flare.

Get more tips here –
Want Better Photos or Video? Avoid Lens Flares


This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Shooting Video? Better Under than Overexposed

This is a sneak peek from a new book I am writing – Creating DSLR Video: From Snapshots to Great Shots

While you can do a lot in postproduction to fix exposure, video files are a lot like working with JPEG images (as opposed to raw photos). Push an adjustment too far and you’ll get posterized image where details are clipped. Shoot too dark or too bright and you’ll have no information to work with and possibly quite a bit of noise.

The key is to always protect your highlights. Do not let the bright areas of your image (like skies or faces) get clipped. One view you likely have on your camera is a histogram. You typically can see this after taking a photo or cycling through your view options (in most cameras you can push the Info button or press your navigation dial from side to side to cycle views). If the histogram is pushed against the right edge, it means you have no information to work with. Blown out highlights go pure white and there is just no way to recover the details.

Here you can see the same scene shot two different ways. In the first, I shot things a little hot. With color correction in post, I was able to recover a lot of details. But you’ll notice that a lot of the details in the shadows are clipped.

Ch06_Over
Be careful to keep your histograms from getting slammed to the right.
ISO 125 | 1/50th sec. | f/14 | 32mm lens

On the other hand, I also shot the scene and exposed for the “boring middle.” In this case the histograms were more balanced and I had a lot more information to work with. After color correction (a Levels and Saturation adjustment), the shot looks a lot better.

Ch06_Under

It’s better to slightly underexpose than overexpose when shooting video. Notice how the shadowy details in the rocks are preserved better in this version.
ISO 100 | 1/60th sec. | f/14 | 32mm lens


The use of a loupe or viewfinder is essential for outdoor shooting. Bright light on your LCD just makes things damn near impossible to judge. If this is out of your price range, wear a hat and use it as a shield for time to time to judge exposure. I can’t emphasize enough though that a loupe should be one of your first investments if you become serious about shooting video on your DSLR camera. By removing all light pollution, you can make accurate decisions.

Ch06_loupe
Photo by
Vanelli


Be sure to pre-order my new book – Creating DSLR Video: From Snapshots to Great Shots

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How to Use Raw Red Video Natively



Learn about how to use work with Red video natively (actual raw video) in this tutorial on Adobe Premiere Pro and After Effects.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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Creating a Timelapse or Stop-Motion Movie with Photoshop Extended

Many photographers are experimenting with creating time-lapse or stop motion animations with their cameras. To do this, the camera is typically placed on a secure tripod and a series of still photos is taken with their camera of a scene. Typically teh photos are taken at regular intervals.

1. Organize your frames You’ll need between 12 and 30 images for each second of animation, so chances are you’ll have a lot of source material. Make sure all the images are in one folder and that they are named sequentially. If needed, you can use the Batch Rename command in Adobe Bridge to fix any naming issues. Files should be named similar to frame001, frame002, frame003, and so on.

Sequence1

2. Open your animation When you’re ready, it’s time to open the image sequence in Photoshop. Choose File > Open and navigate to your folder that contains the image sequence files.

3. Import a sequence
Select only the first frame of animation (selecting more than one frame will disable the animation). Make sure the Image Sequence option is checked. Click Open to import the sequenced frames.

  1. Sequence2


4. What speed?
The next dialog box asks you to specify a frame rate. All of the standard video frame rates are offered. Check with your video editing software to determine which rate you need for a particular project.

Sequence3
5. Check playback You can use the Animation panel to check your animated movie. When satisfied, you can choose File > Export > Render Video.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Timecode in After Effects



Learn about how to use timecode in Adobe Creative Suite CS5.5.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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How to Fix a Shaky Camera



Learn about the Warp Stabilizer in Adobe Creative Suite CS5.5.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.

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Spot Color Effects for Video Plus a Free HD Download



A free tutorial using After Effects or Final Cut Pro X to do advanced secondary and spot color effects. Learn how to tweak a color in a video clip (even with a moving subject). This technique is fast and easy (and is a client-pleaser too).

Plus thanks to iStockphoto, you can get:
This vide clip for free –
http://www.istockphoto.com/stock-video-13410332-poppy-on-meadow.php
A free audio file too –
http://www.istockphoto.com/freeaudio

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Need a Drobo? I've Got a Deal for You (Valid 11/26 Only)

We use a lot of Drobo products in my office… and I use them at home too. They make some great storage units for keeping data safe.
We've kept in touch with Drobo providing feedback on features and performance (fortunately they're a good listener).



I also got them to offer up two great deals
(valid on Saturday, November 26 only).
We edit most of the video in our offices off Drobo Pros or the Drobo B800i units. Our graphics department also uses the Drobo FS units to share files. I store my photo library on two Drobo S units at home.

drobo-s

Drobo S

  • Creative pros and photographers.
  • Can also work for many video formats
  • 5 drive bays (Fill with your own drives)
  • eSATA, FireWire 800, USB 3.0

List Price $799.00

Discount Code -$300
RHEDBF

Rebate - $100 (
http://info.drobo.com/l/2552/2011-09-23/BEL52)

Final Cost $399 (That's Half Off)
Code is valid starting 12:01 am 11/26/11 only for 24 hours

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Drobo Pro

  • Creative pros and photographers. Works well for video workflows too.
  • Single-computer storage for creative professionals and small business
  • 8 drive bays
  • Gigabit Ethernet for iSCSI, FireWire 800, USB 2.0
  • I prefer Gigabit Ethernet for video editing (very fast)

List Price $1,499.00

Discount Code -$500
RHEDBF
Code is valid starting 12:01 am 11/26/11 only for 24 hours

Rebate - $150 (
http://info.drobo.com/l/2552/2011-09-23/BEL52)

Final Cost $849 (That's Almost Half Off)



Also, be sure to follow me on Twitter and Facebook


Follow Drobo too…

We'll have a contest coming up in a few weeks.

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Editing Multi-camera Productions in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Editing Multi-camera Productions



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington goes over the process of setting up a multi-clip for editing and walks you through the essential steps.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Animation for Producers — Free Panel at GV Expo

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Wednesday, November 30 | 5:30pm - 8:00pm
Washington, DC Convention Center
http://on.fb.me/vt8dtC


Don't miss this special Animator's Roundtable at GV Expo. It's
FREE and open to the public. This is the chance for DC's best Animators, Motion Designers, and VFX Artists to meet their Producer counterparts.

Producers and Animators don't always understand each others areas of expertise. Creating an animation or graphics heavy video can often be daunting, so the Animator's Roundtable has activated its universal translator to help Producers and Animators speak the same language and communicate better! Our expert panel, a mix of Producers and Animators, will share their knowledge and a few tips on planning for and using animation effectively. They'll help you figure out how to solve your creative challenges with the magic of graphics.

Special Guest Panelists:

  • Chris Dominici, Potomac Motion
  • Richard Harrington, RHED Pixel
  • Pradeep Mistry, PCM Animation
  • Ann Ramsey, US Dept. of Health and Human Services

This is a FREE event starting right after the close of the exhibit hall floor. Come join us for some networking and a great discussion, so if you're a Producer, an Animator, or just intrigued, this event is for YOU!


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Want to Recharge Your Video Editing Mojo? Join Me at Editor's Retreat 2012 (Discount Code)

logo2012
I have been going to the Editor's Retreat event for almost 15 years (back when it was known as the Avid Master Editor Workshop). This is a great event that lets professional editors get together for several days of learning and networking in a small intimate event. The next time its being held is February 1–5 in Austin, Texas.

Editors Retreat from Editors Retreat on Vimeo.

Now in its fifth year, the Editors Retreat has become an annual gathering for the post-production elite. Highly experienced editors from the worlds of film, TV and video come together to network, exchange ideas, share tips and of course, have fun! To ensure that only the best of the best attend, participation is subject to an application and screening process.



The Editors Retreat is an intensive, interactive environment for TV, video and film editors that fosters creativity and the exchange of ideas at the highest level.Now in its sixth year, the Editors Retreat has become an annual gathering for the post-production elite. Highly experienced editors  come together to network, exchange ideas, share tips and of course, have fun!  Running for 5 days and 4 nights, the Editors Retreat offers advanced sessions on post, visual and audio techniques and features valuable insight into emerging trends and technologies.  

Keynote attendees have included such names as Alan Heim, Sally Menke, Geoffrey Richman, Dan Lebental and Maysie Hoy.  Retreat attendees are known to walk away with incredible raffle prizes and swag, often worth more than cost of attending!


For more info visit : 
EditorsRetreat.com
Special 10% Discount Code  :  ERRH12


Comments

Why I Switched to Adobe Premiere Pro (A Video Testimonial)

Atlanta Cutters 7_27_2011 Part 3: Adobe Premeire Pro CS5.5 presentation from Atlanta Cutters on Vimeo.



I share why RHED Pixel has switched to Adobe Premiere Pro. Forgive the rough audio… but the content and the logic are good (especially if you've been sitting on the fence wondering where to go about your video editing needs).

Richard Harrington, Founder RHED Pixel, presents Adobe Premiere Pro CS 5.5.
From the Atlanta Cutters Post Production User Group Meeting July 27, 2011. Sign up today to be a member or register for our next event. atlantacutters.com

Lead Camera: Michael Fulcher
2nd Camera: Kevin Olson
Media Management: Chris Fenwick
Comments

Animating the Lens Blur Filter

Photoshop and AE: Animating the Lens Blur Filter



In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores how to use the Lens Blur Filter in AE CS5.5 to create variable depth of field. This filter is an improvement on the last version of the same.

Check out more at –
http://library.creativecow.net/harrington_richard/

Comments

Learn About File Based Workflows with Gary Adcock

One of the smartest video guys I know (who also has impeccable taste in food) is Gary Adcock. Check out this two part video on working with file-based video workflows. Gary has served as a tech consultant on several books as well as technical projects… the man is a genius.

AJA Intensive: File Based Workflows with Gary Adcock (Pt 1 of 2) from Createasphere on Vimeo.



AJA Intensive: File Based Workflows with Gary Adcock (Pt 2 of 2) from Createasphere on Vimeo.

From Createasphere's Entertainment Technology Expo in NYC September 2011, watch AJA product evangelist Gary Adcock share AJA offerings for a range of NLE and VFX solutions.



Comments

Mastering the Media Browser in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Mastering the Media Browser



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington explores the Media Browser in PP and talks about features that you might not know exist.

Check out more at –
http://library.creativecow.net/harrington_richard/

Comments

Discount Code for GV Expo in Washington, DC

150_GVE11_SQLogo

I'll be speaking at the Government Video Expo’s Digital D.C. Conference!

The event takes place November 29th – December 1st at the Walter E. Washington Convention Center in Washington, D.C.

The Digital Media DC conference is DC's leading training event for professionals in the TV, video, film, motion graphics and New Media industries. Now in its seventh year, DMDC offers 3 full days of sessions in four parallel tracks and includes 48 unique sessions focusing on the latest techniques and practices for editors, motion graphics designers, new media professionals and video producers.

DMDC is produced by Future Media Concepts, the nation’s leading training organization and features the world's best Certified Instructors, award-winning editors, authors and power users. This year, with one Full Pass, attendees may move freely between all the tracks and attend sessions of their choice.

I'm happy to offer a 10% discount code for all those who attend. Just type ‘FMC’ in the customer code on the registration form to secure your discount.

Visit
www.gvexpo.com for more information.

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Posting to Vimeo from Final Cut Pro X

FS2M_FCPX_CH11_11
Vimeo is a popular website for sharing video (especially amongst professional and amateur filmmakers). It offers both free and paid accounts with different levels of service. Once you’ve set up a Vimeo account, you publish a project to Vimeo directly from Final Cut Pro X.

1. Select the project (or click in the Timeline) and choose Share > Vimeo.

2. Choose an account from the Account menu, or click Add to add an existing account. You can add more than one account to the list but can only export to one at a time.

3. Fill in the requests field:
Password. Enter your Vimeo account password. You’ll need to enter it each time you want to publish for security purposes.
Viewable by. Choose who can see the video.
Title. Enter a name for the movie so others can search for it.
Description. The information here helps power search features on the site and can convince others to watch your movie.
Tags. You can use keywords to help viewers find your movie.
4. Select the “Set size automatically” option or deselect it and choose from the menu to control the size of the output movie. Vimeo has limits on free accounts as to how many clips and data can be uploaded each week.

5. Use the Compression menu as well as the Advanced and Summary areas to control the quality of the file generated. These controls are identical to the options previously discussed.

6. Click Next to read the terms of service. Click the blue hypertext to go directly to the terms of service and review the rights you are granting the video hosting provider.

7. When ready, click Publish. You can monitor progress with the Share Monitor in your Dock.

Be sure to preorder the new book –
From Still to Motion: Editing DSLR Video with Final Cut Pro X


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Mastering the Adobe Premiere Pro Timeline Panel – Free Class

Here's an archive of my free class sponsored by Adobe – Mastering the Adobe Premiere Pro Timeline Panel

You can view the hour-long class here
https://seminars.adobeconnect.com/_a227210/p84tcyvjq2f/?launcher=false&fcsContent=true&pbMode=normal

The timeline panel in Adobe Premiere Pro is where the story comes together.  Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll.  But once you dig in, you'll find much more.  In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition.

Comments

Customizing Keyboard Shortcuts in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Customizing Keyboard Shortcuts



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington talks about the powerful features of customizing your keyboard using Premiere Pro CS5.5.

Check out more at –
http://library.creativecow.net/harrington_richard/

Comments

Time Lapse Part 3: Assembling a Timelapse Shot

Time Lapse Part 3: Assembling a Timelapse Shot



From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part three in a three-part series on creating time lapse. This episode covers assembling a time lapse shot.

Check out more at –
http://library.creativecow.net/harrington_richard/

Comments

Time Lapse Part 2: Shooting Techniques for Time Lapse

Time Lapse Part 2: Shooting Techniques for Time Lapse



From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part two in a three-part series on creating time lapse. This episode covers shooting techniques for time-lapse.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Free E-Seminar: Mastering the Adobe Premiere Pro Timeline Panel

Title: Mastering the Adobe Premiere Pro Timeline Panel
Time: Thursday, November 3rd, 10:00 am  PT/1pm ET
Registration link: http://www.adobe.com/cfusion/event/index.cfm?event=detail&id=1903730&loc=en_us
 
More Info:
Ch06_20

The timeline panel in Adobe Premiere Pro is where the story comes together.  Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll.  But once you dig in, you'll find much more.  In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The class is taught by Richard Harrington of RHED Pixel.

Bio:
Richard Harrington is the founder of RHED Pixel in Washington, DC (www.RHEDPixel.com).  Richard is the co-author of the new book and DVD, An Editor's Guide to Adobe Premiere Pro.  He is also the host of Creative COW's Premiere Pro video podcast.  Rich is the author of numerous resources for the video industry.  To find out more follow Rich on Twitter @rhedpixel or visit his blog (www.RichardHarringtonBlog.com).
 
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Time Lapse Part 1: Gear You'll Need

Time Lapse Part 1: Gear You'll Need



From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you the first in a three-part series on creating time lapse.

Check out more at –
http://library.creativecow.net/harrington_richard/
Comments

Media and Social Media Symposium by RHED Pixel – Day 2









Stream videos at Ustream

My company, RHED Pixel is offering a two day Media and Social Media Symposium. The event will be streaming live for two days (we have several 45 minute sessions). Below is the schedule for day two, Wednesday, October 26. We'll stream these only once… so if you want to catch these live you can watch below or at this link –
http://www.ustream.tv/channel/rhed-pixel-open-house-day-1


10:00 AM EST
Video on the Go: Producing Video for Smart Phones, Apple iOS and Google Droid
Richard Harrington & Mark Weiser — RHED Pixel

11:00 AM EST
Measuring Social Media Results: Real World Metrics
Amy DeLouise

12:00 PM EST
More than 140 Characters: Enriching Twitter and Facebook with Photos, Video, and More
Richard Harrington— RHED Pixel

2:00 PM EST
You Can Hear the Difference: The Benefit of Audio Sweetening
Cheryl Ottenritter –Ott House Audio

3:00 PM EST
Color Grading your Video Project: When You Really Want to Fix it in Post
Robbie Carman — Amigo Media

4:00 PM EST
Fix it in Post: Rescuing Footage from Production Disasters
Brenda Spevak and Adam Martray — RHED Pixel

4:45 PM EST
The Perfect Key: What You Need to Know About Green Screen
Richard Harrington & Xi Lin —RHED Pixel



Comments

Media and Social Media Symposium by RHED Pixel – Day 1









Stream videos at Ustream

My company, RHED Pixel is offering a two day Media and Social Media Symposium. The event will be streaming live for two days (we have several 45 minute sessions). Below is the schedule for day one, Tuesday, October 25. We'll stream these only once… so if you want to catch these live you can watch below or at this link –
http://www.ustream.tv/channel/rhed-pixel-open-house-day-1


10:00 AM EST
Hypersyndication: How to Get Your Social Media and Video More Eyeballs
Richard Harrington — RHED Pixel

11:00 AM EST
Nobody Cares What You Had for Lunch: Practical Writing Tips for Social Media
Mary Fletcher — Fletcher Prince Marketing

12:00 PM EST
DSLR Video: Hollywood Style – DC Budgets
Rich Harrington & Mark Weiser — RHED Pixel

2:00 PM EST
Why 3D Matters: How your Brain Sees 3D Video
Chris Mayhew — V3 Imaging

3:00 PM EST
Hard Drives and Your Media: What You Don’t Know Can Hurt You
Mark Fuccio

4:00 PM EST
Five Innovations in Video Editing: How to Work Faster and Smarter
Richard Harrington & Adam Martray — RHED Pixel

5:00 PM EST
From Inspiration to Animation: Motion Graphics Design Showcase
Xi Lin & Esin Ozdag — RHED Pixel

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Check Out Several Free Samples of An Editor's Guide to Adobe Premiere Pro

Pasted Graphic
Free resources from the new book "An Editor's Guide to Adobe Premiere Pro"

More than an hour of free video on Adobe Premiere Pro and Creative Suite 
http://ow.ly/74fyH

Importing Avid and FCP Projects
http://ptgmedia.pearsoncmg.com/imprint_downloads/peachpit/peachpit/samplechapters/0321773012/0321773012_appenD.pdf
http://ptgmedia.pearsoncmg.com/imprint_downloads/peachpit/peachpit/samplechapters/0321773012/0321773012__appenE.pdf

Trimming
http://ptgmedia.pearsoncmg.com/imprint_downloads/peachpit/peachpit/samplechapters/0321773012/0321773012_ch09.pdf


Importing Footage
http://www.peachpit.com/articles/article.aspx?p=1729266


Hope it helps. You can order the book here:
http://www.amazon.com/Editors-Guide-Adobe-Premiere-Pro/dp/0321773012/ref=sr_1_1?ie=UTF8&qid=1319509066&sr=8-1
Comments

Adobe Sneak Peek – Video Meshes




In this video, Sylvain Paris will show you a sneak peak of a potential feature for editing videos, including the ability to create 3D fly-throughs of 2D videos and change focus and depth of field.

Rich's Take:
  • This has some serious potential for compositing
  • RotoBrush, Content Aware Fill… apparently Adobe wants to take every hard job and make it easy.


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Free Premiere Pro Webinar 10/18 at 11 AM PST

updated_better_editing_with_adobe_premiere

More and more editors are switching to Adobe Premiere Pro CS5.5 to make them more efficient. If you’re wondering if Adobe Premiere Pro is right for you, join us for a free Webinar. Two long-time industry pros, Richard Harrington and Abba Shapiro, made the switch to Adobe Premiere Pro and will show you why it is now their preferred editing application. You’ll get the real story on the Mercury Playback Engine, what it means to edit footage natively, how you can remove bottlenecks in your pipeline when transferring projects from other applications, and how to work with Adobe After Effects and Photoshop.


  • To showcase Adobe video streaming, we will be hosting the event on Adobe Connect.
Important Update:


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Adobe Sneak Peek – RubbaDub



In this video, Brian King shows you a sneak peek of a potential new feature for automatically replacing the dialog of a video clip with separately recorded audio with near perfect synchronization.

Rich's Take:
  • Sync sound workflow – GREAT
  • Dialog replacement – AWESOME

This is just amazing.

Comments

How My iPhone Saves My Time-lapse & Video Shoots

I have an app for my iPhone and iPad that saves my bacon time after time.

I present to you, the essential and indispensable
Sun Seeker: 3D Augmented Reality Viewer By ozPDA

You see, I often find it difficult to know exactly where the sun is going to be when shooting time-lapse. When will it rise and even more importantly… WHERE!?!

3d_ssmap_ss

See my full review over at 3Exposure.com – http://3exposure.com/2011/09/19/how-my-iphone-saves-my-time-lapse-shoots/

This post sponsored by iStockphotoSave 10%Get a Free Audio Track


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Syncing Clips Automatically in FCPX

If you're working with dual system sound (very common in DSLR workflow) you'll need to marry the camera footage with an external audio recording.The easiest way to sync is to let Final Cut Pro X try to do it automatically. As long as you have sufficient levels in your reference audio, we find the process is successful most of the time. The process works best when you need to sync a singe video file to a single audio file. Here’s how:

1. Select both and audio clip and a video clip in the Event Browser.

FS2M_FCPX_CH06_04


You can select multiple clips by holding down the command key and clicking on each clip. You’’ll know a clip is selected by the yellow selection box at the edge of each clip.

2. Choose Clip > Synchronize Clips (Opt+Cmd+G.)
A new clip is created in the Event Browser. This new clip is a compound clip. Which means it is really a clip made up of at least two other clips.

3. Look for a new clip in the Event Browser.
Newly synced clips do not have any Keywords attached. If you’re filtering your Event Browser using a Keyword collection you might not see the new clip. Be sure to switch your view to see all clips in the Event. You might want to tag the synced clip with additional keywords.

FS2M_FCPX_CH06_05


Depending on the size of the original files, this new clip could appear very quickly or take a while. If you can’t find the clip, simply select the search box in the upper right corner of the event library and type in “Synchronized clip.” You probably will find it after you type “synch.”

4. Select the clip in the Event Browser and click the Play button.

5. Watch the clip back and check for sync.

You should hear both the reference audio and the dual system sound playback. Later you’ll learn how to discard the audio.


Want to learn more about editing DSLR video in Final Cut Pro X? Then check out
From Still to Motion: Editing DSLR Video with Final Cut Pro X (Coming Soon)

Don't worry Adobe Premiere Pro fans… that version is in the works too and will be updated and ready for the next version.


Comments

I've Never Met a Video That Couldn't Be Shorter

shorter
iStockphoto/adventtr


I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media



This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Delivering Video to Mobile Audiences



A presentation I gave on delivering video to mobile audiences. From a recent RHED Pixel open house.

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Using Adobe Photoshop and Adobe Premiere Pro Together



Author Rich Harrington demonstrates how to integrate still images into your Adobe Premiere Workflow.

Be sure to check out the new book – 
An Editor's Guide to Adobe Premiere Pro

Comments

Billing for the Video Industry

billing


Every video project should be split into progress payments. By splitting the financial payments across progress you ensure protection for your financial security. Typically, I recommend the use up to five, equal payments. If project’s have extremely short timelines or do not involve a full-service production (such as shooting only) then adjust your payment schedule.

  • Project Initiation — Once the project scope and budget is agreed upon, a deposit for 20% of the project should be submitted.

  • Preproduction — This stage encompasses the bulk of project planning. Tie a progress payment to the delivery of the script or other relevant preproduction tasks. Issue a progress payment upon delivery of final preproduction items to the client.

  • Production — I recommend the submittal of an invoice once shooting begins. This is typically the most expensive stage of a project. Be sure that you have received some form of payment before production begins. Do not hand off project footage until at least 50% of a project’s budget is in hand.

  • Postproduction — Once editing begins, another progress payment should be issued. Some choose to watermark projects until at least 66% of a project’s budget is received.

  • Closeout — A final bill that reflects any change orders should be generated at the completion of a project. Be sure that your agreement states that you retain certain rights to a production until payment is received in full.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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The Director Needs to be Confident

director


Clients look for a confident vendor who can get the job done. Crews look for a leader to provide the artistic vision. While you may be “inside your head” mulling the creative vision or finding the shot… that won’t work in many video situations. You need to be assertive and confident… otherwise your shoot will spin away from you quickly. Video may be a team sport, but the team needs a captain.

I can’t tell you how many times I am faced with new challenges. Nearly every project brings up new technical and creative challenges that I’ve never faced. This is the truly exciting part about working in video. Rarely do I have every answer (but I do know where to look and how to solve the problem). No client wants to hear ‘I don’t know.’ What they are looking for is ‘I will figure it out.’

When presented with a challenge in a project, I exude confidence (but not arrogance). I know that showing confidence to my team as well as my clients is inspirational. A clear study of the challenge ahead will lead to solutions. Then I’ll leverage my networks. I have a collection of peers I trust to ask questions of. I can turn to online forums like Creative COW. I can ping my social network through Facebook, LinkedIn, and Twitter. All of these play a part in finding answers.

Everything I learned in college about video is technologically obsolete. What I learned was how to tell stories and how to solve problems. Every tape format has changed; every software application has upgraded ten or more times. Heck, web browsers didn’t even exist. But I know that I can learn. And because of that I am confident that I can solve any challenge I face and devise a solution that is an effective compromise between the budget-in-hand and the schedule I have. With a little practice, you can see the world this way too.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

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Find Video Clips with Speech Recognition in Adobe Premiere Pro



Author Rich Harrington discusses the Adobe Story Workflow. Learn how to attach scripts and transcripts to your Adobe Premiere Pro footage.

Be sure to check out the new book – 
An Editor's Guide to Adobe Premiere Pro
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Free Webinar on Mastering Premiere Pro Timeline – Friday 9/30

ASkaPro

Mastering the Adobe Premiere Pro Timeline Panel – by Richard Harrington

The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

The class is on Friday, September 30, at 3:00 p.m. – 4:00 p.m. EST.
Just go to the Adobe Connect Room: http://my.adobe.acrobat.com/askcspro.

The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

To check the session start time for other time zones follows:
http://bit.ly/q13I6l
 
The signup for the event is on Facebook (but you don't need an account). This will send you reminders about the event.
http://www.facebook.com/event.php?eid=274628395898390

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It’s All About Project Management

PMgraf
iStockphoto/kemalbas

  • Video is a multi-headed beast that’s constantly screaming to be fed and nourished. You’ve got people in front of the lens, people behind the cameras, and even more behind the scenes. Video projects are complex with multiple stages of approval along the way. You need to control things and have a plan (and even another plan for when that one fails).

  • Project Management is not unique to video, but it is a critical skill due to the complex interconnected nature of video projects. Chances are that you may have some project management skills… but I want you to go deeper and actually study the formal business practices of project management.

  • The best decision I made in my professional career as a video producer was to formally study Project Management. I chose to get a master’s degree in it, and it saves me nearly every day. Many schools offer consolidated courses and workshops; you can pursue an educational certificate, or even just start your own independent study.

    While I’ll emphasize project management, I mean the business practices. It is important to learn how to balance the scope of the project, track your resources, and maintain budget and quality. Simply buying a project management software package will make you no better a business pro than owning Photoshop will make you a photographer. Software is a tool, not the foundation of a professional career.

    We use project management principles to clearly describe the work to be undertaken. We measure progress and track changes so the end budget reflects the work performed. We closely monitor the budget and schedule (as these are often more important or easier for the end client to measure). Quality video is awesome... and the world is filled with talented folks who can make it. Fortunately (for true business professionals) it takes more than just creative talent to make it in the world of video. Business acumen and client management are just as important.
You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

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Batch Renaming Clips in Adobe Bridge



This episode demonstrates how to rename your files in Adobe Bridge, in order to avoid media management issues.

Be sure to check out the new book – 
An Editor's Guide to Adobe Premiere Pro
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The State of DSLR Video Editing

I recently had the chance to be a guest on the Planet 5D podcast. We talked about the state of the art in editing HDSLR footage and more!

Watch for free here.

podcast #52 Richard Harrington from planetMitch on Vimeo.

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Carry It… Check It… Rent It…

baggage
Photo courtesy iStockphoto/Mathieu

While I’m not a road warrior, I easily log 50 flights a year for my job. I’ve had to travel with equipment all over the world for both photo and video projects.  Traveling just gets more and more expensive these days.  Here are a few rules that I apply to getting there safely with my sanity and equipment intact.

Carry It

I always carry these things onto the plane.
  • A roll-on bag with all my lenses and camera bodies. I have had luggage stolen, the thieves know what gear bags look like.
  • A laptop shoulder bag. With laptop, power supply, 2 TB of portable storage, and spare cables for all items.
  • The Internet. I have an iPad, an iPhone, and a Wireless Modem. Why do I have 3 internet connections at all times? Because its cheaper than paying for WIFI at the airport and hotel.  Plus its much more reliable than counting on clients and coffee shops.
  • A change of clothes. Because your bag will get lost at the worst time

Check It

When it comes to checked luggage, here are some tips to try to stretch your budget.
  • Weigh your bags. Weigh your bags before you fly.  A simple bathroom scale is worth keeping near your gear.
  • Prepay. Some airlines offer annual passes for baggage, while others give you a free bag with their branded credit card.
  • Choose wisely. One of my favorite airlines is Virgin America.  Not just for their lovely service and planes (with Internet), but for their $25 per bag and up to 10 bags policy.
  • Pack a bag. Overweight bags are more expensive than checking another bag.  I carry a very lightweight bag inside my suitcase for “overflow.”
  • Skycaps are your friend. Those great folks out front of their airport are often nicer than the folks inside.  Just walk up and hand them a five or ten dollar bill with your driver’s license.

Rent It

Don’t feel you have to lug all your gear with you.  All those bags can sure add up.
  • Hire local. Find a local crew person or assistant for the market you’re traveling to. These can be a lighting assistant or someone to help with gear on the shoot.
  • Find a peer. Use the ASMP Find a Photographer app or site to find a photographer to rent gear from. For video crews try the Creative COW services directory.
  • Look for a grip house. We typically rent lighting equipment and support gear. from a grip house, which are used by the video and motion picture industries.
Why all this hubbub?  These days every dollar counts.  Clients don’t really look at your rate plus expenses, they just see the bottom line.  In my experience, the better a traveler I am, the more money left over to go in my pocket.

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Creating Logos and Bugs for Video

Logos and Bugs from RHED Pixel on Vimeo.



Use Adobe Photoshop to prepare logos and bugs to overlay your video.


Be sure to check out the book –
An Editor's Guide to Adobe Premiere Pro.
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Age is Just a Number

agenumber

I have seen myself go from being an upstart kid to a balding professional. But I have learned this... age is just a number. I have worked with wonderfully talented “kids” throughout my career. I have also chosen to surround myself with those who are more experienced than me. Both parties have added to my understanding of this medium and its creative applications.

While the guild system of old is all but destroyed, you can still preserve its spirit. Seek out others who you want to work with. Ignore their age and instead look at what they have to offer to the creative process. An open mind goes a long way. I continuously learn things from even the youngest employee or crew member. I also have learned to listen when someone else has something to say.

Video is a collaborative medium and one that has undergone a century worth of change in the last ten years. Bluntly... shut up and listen. Put any preconceived notions you may have about age or experience aside and open yourself to opportunity.
You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

Comments

Setting Up Photoshop for Video and Motion Graphics Part 2

This is part two on setting up Photoshop for a video workflow. Be sure to see part one posted yesterday.

Units & Rulers

Figure ch01-08
Under Units & Rulers, modify Photoshop’s measuring system to match video. If you work in a print environment, you can quickly jump back and change your measurement units by double-clicking on the ruler.
  • Set Rulers to pixels.
  • Set Type to points.
  • Ensure that screen resolution is set to 72 pixels/inch.
  • Ensure that the Point/Pica Size is set to PostScript (72 points/inch) so that type acts like other video applications.
  • Click Next.

Guides, Grid, & Slices


Figure ch01-09
The next category helps you precisely align design elements.
  • I find that a Light Red guide is easier to see than the default Cyan.
  • Set up a grid using Lines with a gridline every 40 pixels and 4 subdivisions. You can now turn the grid off and on from the View menu or from the keyboard using Cmd+" (Ctrl+").
  • Disable Show Slice Numbers unless you are doing a lot of web work. Slices are used with rollover graphics to trigger button effects on web pages.
  • Click Next.

Plug-Ins


Figure ch01-10
  • If you need to travel with your plug-ins on a removable drive (for example a freelance assignment) then you can specify an Additional Plug-Ins Folder.
  • Click Next.

Type


Figure ch01-11
The Type category consolidates several important type options into one area.
  • Check the box next to use Smart Quotes if you’ll need true quote marks and apostrophes more than foot and inch marks.
  • Leave Enable Missing Glyph Protection checked
  • Choose to Show Font Names in English (or the native language of your software).
  • Check Font Preview Size and specify a size that you like. The Huge size is helpful if a producer or client frequently sits over your shoulder.
  • Click Next.

3D


Figure ch01-12
The 3D category controls both the performance and the appearance of Photoshop’s 3D toolset. Stick with the defaults until you master these tools.
  • Click OK.
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Setting Up Photoshop for Video and Motion Graphics Part 1

Photoshop has its roots as a video and film application. The print—and more recently, web—industries have claimed it as their own. Now it’s our turn. Digital video has emerged as the fastest growing technology area; more and more books and applications are popping up on the shelves, promising solutions for all skill levels. It is my goal to help you reclaim Photoshop and learn to harness its diverse imaging abilities to enhance your video projects.

Photoshop has all the tools you need (and many you don’t). Let’s get started by setting up Photoshop to work with our video applications. First we’ll modify its preferences which control how the application functions. To begin, call up your Preferences panel by pressing Cmd+K (Ctrl+K). These Preferences suggestions are based on Photoshop CS5. Most of these options exist in earlier versions of Photoshop, but naming conventions may vary.

General

Figure ch01-02
In the General category, choose:
  • Adobe Color Picker (a consistent, cross-platform color selection tool).
  • Image Interpolation set to Bicubic (best for smooth gradients).
  • Use Shift Key for Tool Switch unchecked.
  • Resize Image During Place checked.
  • Zoom Resizes Windows checked.
  • Zoom with Scroll Wheel checked.
  • Click Next.

Interface

Figure ch01-03
The Interface category groups several preferences together that affect the application’s appearance.
  • Set UI Font Size set to Medium or Large depending upon the resolution of your display. Use a larger size for bigger monitors.
  • Leave Show Channels in Color unchecked. This option affects how your channels and images are viewed and diminish the on-screen viewing quality.
  • Uncheck Enable Gestures if using a laptop (unless you love them).
  • Click Next.

File Handling

Figure ch01-04
In the File Handling category, you need to make some changes to ensure cross-platform functionality. Even if your shop only uses Macs or PCs, you will work with others who are on other operating systems. Be cross-platform compliant when saving your Photoshop files.
  • Always choose the Save an Icon and Macintosh or Windows Thumbnail options. This will allow you to quickly locate files through visual cues.
  • Always append file extension with lower case tags.
  • Set Maximize PSD and PSB File Compatibility to Always.
  • Click Next.

Performance


Figure ch01-05
The performance category groups several options together which manage your installed RAM and hard drives.
  • Memory Usage identifies how much RAM you have installed. Photoshop has a minimum requirement of 1 GB for CS5.
  • Allow at least 20 History States (levels of Undo). You will vary this number based on RAM and personal experience as you grow less dependent on undos.
  • Memory will generally not be a big deal because you’ll work primarily with low-resolution sources in this book. However, if you have extra (local) drives, make Photoshop aware of them. Set your emptiest drive as the First Scratch Disk. Ideally you will choose a drive that is not the system (boot) drive.
  • If you have a robust video card and will be doing a lot of image clean up, then check the boxes for Enable OpenGL Drawing.
  • Click Next.

Cursors


Figure ch01-06
Photoshop uses specialized cursors to make it easier to know which tool is in use.
  • Set Painting Cursors to Normal Brush Tip. I personally prefer to check Show Crosshair in Brush Tip. (The Caps Lock key disables this preview feature.)
  • Set Other Cursors to Precise. This way, you can actually see your sample point for your Eyedropper and Stamp tools.
  • Click Next.

Transparency & Gamut

Figure ch01-07
Under Transparency & Gamut, you can generally leave these options alone. Personal preferences do vary however.
  • You can change the grid size to make it easier to see transparent pixels.
  • You can change the grid color if you despise light gray. You can also disable the grid altogether. Remember, the grid will not print or show up in your video graphics.
  • Click Next.
Comments

Free Webinar on Mastering Premiere Pro Timeline

ASkaPro

Mastering the Adobe Premiere Pro Timeline Panel – by Richard Harrington

The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

The class is on Friday, September 30, at 3:00 p.m. – 4:00 p.m. EST.
Just go to the Adobe Connect Room: http://my.adobe.acrobat.com/askcspro.

The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

To check the session start time for other time zones follows:
http://bit.ly/q13I6l
 
The signup for the event is on Facebook (but you don't need an account). This will send you reminders about the event.
http://www.facebook.com/event.php?eid=274628395898390

Comments

DSLR Creative Suite Workflow Part 5

DSLR Creative Suite Part 5 from RHED Pixel on Vimeo.



Clean up your audio with Adobe Audition. Publish your DSLR projects with Adobe Media Encoder.

To learn more about DSLR Video, check out
From Still to Motion.
Comments

Creating “Print-Worthy” Frame Grabs from a Video File

photoprint
Photo by iStockphoto/ambritsview

One of the most common requests I hear is the desire to take frame grabs from video and format them for use in print. Unfortunately, the mediums just don’t mix very well. Remember, in order to capture between 24 –30 frames per second, a small image is grabbed. Depending on your format, you end up with around 640 X 480 square pixels of information for standard definition. If you condense these pixels to a print resolution of say 300 ppi, you get a print size of about 2 X 1.5 inches. Slightly larger than a postage stamp, but not very useful for most printing jobs. For HD, things are a little better as you have up to 1920 X 1080 which means about 6.5 X 3.5 inches.

In Photoshop, we can “up-rez” an image through the Image Size command (Image > Image Size). Since this information does not currently exist, the computer will attempt to interpolate the information. I recommend that you switch pixel dimensions to percent, and then up-rez exactly 200% using the nearest neighbor interpolation method. Are the results great? No. But they are acceptable for some uses. An excellent Photoshop plug-in called Genuine Fractals uses advanced processing to generate high-quality files from low quality sources. You can find out more information at
http://www.ononesoftware.com.

This post is sponsored by iStockphoto

Want bonus credits for download? –
http://www.istockphoto.com/richardharrington.php

Comments

You Can’t Be Good at Everything

iStock_000006626473Medium
iStockphoto/FPM


Those who “know” me are likely thinking this is a hypocritical statement. But the truth is that you cannot be good at everything. It takes a keen awareness of your personal strengths and weaknesses in order to survive in the world of video.

Truly professional productions require a myriad of source elements. Video is much more than just moving pictures. You’ll need high-quality sound, compelling music, a well-written script, compelling graphics, art direction, and more.

I recommend a triage approach to developing a skills inventory:


  • Marketable Services – These are skills that you feel confident in selling to others. You should aim to keep this list below ten items (after all there’s a reason you have ten fingers). Be sure to develop these skills continuously through exercise (practical use) and training (conferences, books, online learning, and social media).
  • Potential Services – This category houses skills that you both want to offer and show potential aptitude. Look for opportunities to develop through personal projects and volunteering your time. Look for a mentor that you can serve under and log additional practice time.
  • Outsourced Services – There will be lots of services you need to make a video project. You can’t be good at all of them. Learn enough so you understand what’s involved, then build a good pool of talent that you can hire. There is no shame in hiring other professionals. In fact it is critical to the success of the industry. Through the mixing of creative professionals, new ideas are born.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media



Comments

DSLR Creative Suite Workflow Part 4

DSLR Creative Suite Part 4 from RHED Pixel on Vimeo.



Learn how to use Adobe After Effects for your DSLR projects.

To learn more about DSLR Video, check out
From Still to Motion.
Comments

Finding and Hiring Contractors

helpwanted
iStockphoto/belterzview

Find other professionals to work with can seem quite daunting at first. This is especially true if you are changing markets or professional focus. It’s important to realize that the film and video community is well established with its own professional groups and even unions. Finding qualified video crew is not difficult (if you know where to look).

  • Craigslist is Not Your Friend – Before we tackle where to look, lets get where not to look out of the way. I find that Craigslist (and others like it) are filled with ads looking for crews. Nearly all offer no pay (just experience). As such, most professionals don’t even bother looking here for work. It’s hard to find true talent when you’re surrounded by wannabes looking for a handout.

  • Professional Groups – There are numerous professional groups in most markets. A simple web search may turn up user groups for specific technology like tools from Apple or Adobe. You can also find groups that maintain directories and member programming such as MCA-I, Women in Film, and others.

  • Grip and Rental Houses – Many markets have grip and rental houses that rent lighting and support equipment used in the production of film and television projects. These places also rent to other video professionals and usually maintain or even staff crews that can be hired. These are great places to start when you need to hire in a different market.

  • Teaming – Chances are some of your colleagues are also getting into video production. Work with those you know. I have found that collaboration with colleagues works far better than viewing everyone as your competition. Work openly with those you trust and respect and go out of your way to work together. Those who are worth working with will certainly return the favor in some way.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

This post is sponsored by iStockphoto –
www.istockphoto.com/richardharrington.php

Comments

DSLR Creative Suite Workflow Part 3

DSLR Creative Suite Part 3 from RHED Pixel on Vimeo.



Learn how to enhance enhance footage and create graphics for your DSLR video projects with Adobe Photoshop.

To learn more about DSLR Video, check out
From Still to Motion.
Comments

My Favorite Browser Bookmarks and Why

links_23

Photo by iStockphoto/JuSunview

Clientcopia – www.clientcopia.com
This site lets me know that everyone has crazy clients. Good for a laugh and a pick me up.

Basecamp HQ – www.basecamphq.com
I use this online project management tool for both my companies. This keeps me organized and ensures open communication with my clients.

Apple Trailers – www.apple.com/trailers
I’m a movie junkie. Plus this is an excellent way to see the best lit, best composed shots in the whole movie.

Rafael Concepcion – www.aboutrc.com/blog
RC is a helpful author and podcaster who shares his discoveries in great posts. He’s a natural storyteller and very passionate.

Twitter – www.twitter.com
I follow a great group of photographers and media pros. This is the water cooler/bar for the digital age. I get news, gossip, and strong opinions. Feel free to follow @rhedpixel and share any news you have with me as well.

Photo Focus – www.PhotoFocus.com
This site is an extensive collection of articles and resources. There are daily posts and I truly enjoy the breadth of coverage.

Screenr – www.Screenr.com
If I need to record a quick tutorial or show a colleague a technique, Screenr is great.

Creative COW – www.creativecow.net
This is where I go to get all of my video questions answered. You’ll find active forums and extensive selection of tutorials and podcasts.

Kelby Training – www.kelbytraining.com
This site offers a large selection of classes and tutorials by some of the top photographers and photoshop users in the world.

Mac Rumors – www.macrumors.com
I’m an Apple enthusiast. I like to know what’s going on as well as what might be going on in the Apple ecosystem.

Photoshop Disasters – www.psdisasters.com
This is another site that’s good for a laugh. It’s also educational as you can learn from other’s mistakes.

Triple Exposure – www.3exposure.com
This one is a blog I share ... but that doesn’t mean I don’t read it every day. There are great comments and resources all about my three favorite styes of photography – panoramic, HDR, and time-lapse.

How about you? What are your must read sites? I’m always looking for more.

This post is sponsored by iStockphoto

Comments

DSLR Creative Suite Workflow Part 2

DSLR Creative Suite Part 2 from RHED Pixel on Vimeo.



Get started editing with Adobe Premiere Pro and DSLR footage.

To learn more about DSLR Video, check out
From Still to Motion.

Comments

Free eBook – From Still to Motion–The Business Manifesto

From Still to Motion–The Business Manifesto


Practical advice for professionals working in video and new media


Get it here


Comments

Chromakey with After Effects

Chromakeying in After Effects from RHED Pixel on Vimeo.



Learn how to key footage with Adobe After Effects and Keylight.

Be sure to check out the book –
An Editor's Guide to Adobe Premiere Pro.
Comments

DSLR Creative Suite Workflow Part 1

DSLR Creative Suite Part 1 from RHED Pixel on Vimeo.



Learn how to organize your DSLR video projects for an Adobe Creative Suite workflow.

To learn more about DSLR Video, check out
From Still to Motion.
Comments

Four Free Chapters from new Adobe Premiere Pro Book

ShowCover.aspx_
In case you haven't picked up An Editor’s Guide to Adobe Premiere Pro, you can now check out a bunch of the book for free. This is the most detailed book on video editing that I've ever worked on, I literally wrote it to retrain my own staff. It is all about realistic workflows and maximizing the entire Production Premium Creative Suite.

Todd Kopriva of Adobe says:
“This book is an excellent resource for experienced editors to learn Adobe Premiere Pro. It begins from an assumption that you already know about video editing in general and only need to learn the details of the features and workflows specific to Adobe Premiere Pro and its companion applications.”
Here are two free chapters and two appendixes:


Get the book here

Comments

Need a Royalty-Free Audio Track (For Free)

audio_free
If you need to put together a new video or slideshow, I'd highly recommend checking out the Audio section of the iStockphoto website.

They have thousands of royalty-free audio tracks that are truly fully cleared. Buy the track and you can use it for just about anything with no additional rights to by or legal worries.

A lot of folks think they can use
ANY track for "personal" use.

Nope. You cannot post to the web, show as your portfolio, use less than 30 seconds, etc. BE LEGAL and buy your music.

Except, I'll make it even easier on you to get started. I'll give you a track for
free!

http://www.istockphoto.com/freeaudio

Photo by iStockphoto/chrisgramly





Comments

Using Multiple Cameras For Time-lapse Photography

20_01_img_0392

I see a lot of folks try to flip cameras as they go from one model to another. I know for many, the economic realty is a need to trade-in or re-sell gear in order to upgrade. The truth however is that the amount you’ll see for used gear may not be worth as much as you’d hope. I subscribe to the belief of putting the gear to work.
When it comes to shooting time-lapse, a second camera body (or even a third) can really come in handy.

  • A second body can be set to a different ISO or aperture when shooting tough exposures (like sunrise or sunset)
  • You can shoot different focal lengths on each body to create dramatically different shots. You can get your master shot and some additional angles all at once.
  • A spare body can be especially useful if you are shooting content that requires simultaneous coverage like an event or live process, such as at a construction site.
  • Shoot raw on one camera and JPEG on the other.
  • You can shoot at different intervals to produce different looking footage

Chances are you have at least a few lenses in your bag… put them into use on that next shoot.

Be sure to check out the Triple Exposure website –
www.3exposure.com – for more on time-lapse.

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Film Look—Soft Bloom with Adobe Dynamic Link

Are you looking to push the "film look" even further for your DSLR footage? A quick trip to Adobe After Effects can enhance your clips.

filmlook

  1. Duplicate your current sequence in Adobe Premiere Pro in case you change your mind.
  2. Select the clips in the current timeline that you want to process.
  3. Choose File > Adobe Dynamic Link > Replace With After Effects Composition.
  4. The selected clips are sent to After Effects. If its not running already, the program will open. Name the project and click Save.
  5. Double-click the composition to ensure it is open, then click in the Timeline panel.
  6. In After Effects, choose Layer > New Adjustment Layer. You can use an adjustment layer to affect all clips below.
  7. Choose Effect > Blur > Fast Blur and crank the filter up to a radius between 15 and 90 pixels. Don’t worry if it looks over-done.
  8. Click the Repeat Edge Pixels checkbox.
  9. Switch to modes in the Timeline and try different blending modes such as Add, Overlay, Soft Light, or Multiply. In fact you may want to try all of the different modes to see which one you like best. Depending on your source, you may need to use different modes, to get results.
  10. Adjust the opacity of the adjustment layer to taste.
  11. Choose File > Close Project. Save your changes.
  12. Return to Adobe Premiere Pro to see the updated effect. If you want to update the effect, highlight the linked composition and press Cmd+E (Ctrl+E).

Comments

Meet the Adobe Premiere Pro Product Manager and Get FCP Migration Tips

I just heard about a great webinar that's being held this Friday. Your chance to hear right from the Product Manager's mouth about Adobe Premiere Pro. Al is a great guy with a lovely sense of humor and whip smart skills (I say these things so my feature requests go through – oh but they are true).

Here's the official blurb

More and more Final Cut editors are switching to Adobe Premiere Pro CS5.5 to become more efficient. In this week’s Ask a CS Pro, Product Manager Al Mooney will review some of the most important workflow tips and tricks to help editors, new to Premiere Pro, get up to speed quickly.

When: Friday, Aug.12

Time: 12 p.m. -1p.m. PT  Session start time for other time zones follows: http://bit.ly/qG22EX
Where: Connect Room: http://my.adobe.acrobat.co m/askcspro. The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join. 

___________________________________________________

For more videos and a complete training experience, check out An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

Comments

Make Clips Open in Adobe Premiere Pro Faster


While I love 95% of Adobe Premiere Pro… I do have a few annoyances. One of the biggest is loading clips from the Project Panel.

Select a clip… press Return (Enter) and nothing happens.

LOAD!

Well the good news is (like most of the "missing" shortcuts) this can be changed.

1. Choose Premiere Pro > Keyboard Shortcuts or Edit > Keyboard Shortcuts.

2. Choose Panels from the pop-up menu.

ppshort1


3. Type the Open in the search field.

ppshort2


4. Click in the field next to Project Panel > Open in Source Monitor and then press the Return (Enter) key. This ill remap the default Render work area (which I would change to Command/Ctrl + R).

ppshort3

5. While you/re at it, click in the field next to Media Browser Panel > Open in Source Monitor and then press Shift + Return (Enter) key.

There… problem solved.

If you want to learn A LOT more on Adobe Premiere Pro – Be sure to
check out my new book.




Comments

The Great Camera Shootout 2011: Episode 2 ~ "Sensors & Sensitivity"

The Great Camera Shootout 2011: Episode 2 ~ "Sensors & Sensitivity" from steve weiss on Vimeo.



I got to see some of this great footage and test at a sneak peek at NAB. This is a real-world comparison of DSLR and other CMOS type sensor cameras like the RED, Alexa, and Sony F3.

Episode 2, “Sensors & Sensitivity” of the three part series continues with tests covering sensitivity, resolution, compression and the relationship between them. These tests were designed and administered by Robert Primes ASC, director of the Single Chip Camera Evaluation (SCCE) and shown at 2K screenings around the world to indie filmmakers, event shooters, commercial DP’s, directors and corporate filmmakers alike. Their opinions on the footage are invaluable when it comes to understanding what all this data means in real world shooting situations.

Comments

Zacuto Electronic Viewfinder Adds New Features

EVFflip

My Zacuto Electrnic Viewfinder showed up Saturday. I'm already using it on my second shoot tonight. This thing is so awesome in that I can really see things like exposure and focus with a true viewfinder. The buttons are easy to use, the unit feels solid (but weighs practically nothing).

The best part? The fact that I've only had it a few days and Zacutto is already adding features via a free firmware update (love that).

Here's the complete
user manual so you can check out the features.
Download the current EVF Manual: Z-Finder EVF Manual

Heres the free firmware update (took 20 seconds to update)
Current Version of Firmware: 1.01.00.  Click Here To Download
Firmware 1.01.00 includes the following updates:

  • Audio meters enabled that are able to be positioned in any of the four corners.
  • Battery meter can now be positioned in any of the four corners
  • Audio loop through enabled
  • Underscan now implemented
  • Can now save and recall Chroma, Contrast and brightness settings as presets.
  • Changes to color, brightness and contrast are now saved on power down and return on power up.
  • Red One, Sony FS100 scaling presets added

How To Upgrade Your Firmware
Once you download the firmware the next thing you need to do is have a USB Thumb Drive formatted to FAT32.  Please note this is not the default file system used for either Mac or PC and by formatting your thumb drive in this way it will erase all data that is currently on the thumb drive.
1. Reformat a USB thumb drive as FAT (FAT 32 or MD-DOS). This can be done with Disk Utility on a Mac or by right-clicking in windows and choosing Format.
2. Download the current firmware –
Click Here To Download
3. Copy the current firmware file to the FAT32 thumb drive (
NOTE: File name must be evfupdate.fw)
4. Insert thumb drive into EVF USB port
5. Select UPDATE from the EVF menu
Menu-12
6. Select 
USB DRIVE
Menu-13
7. Select 
START UPDATE
Menu-14
8. When prompted, power down and restart the unit.
9. Enjoy!

Here is a detailed page about the EVF Units – http://www.zacuto.com/electronicviewfinder-faq




Comments

Final Cut Pro X App Store Scores Rise

FCPX_SCORE_7_31

The App Store scores for Final Cut Pro X continue to rise over time. In the strictest sense, the app is no longer failing.

Here are a few observations I'd like to share:

  • The App has fallen off the Top 10 list of selling apps (down to 11). This is largely due to initial demand being satiated and Apple removing it from the home page (except for a little button below the fold).
  • The App is firmly entrenched in the #2 spot for Top Grossing. This means Apple is making good money of the application and it can b considered a success financially.
  • The user community remains fiercely divided. I've spent the last few weeks entrenched in user group events and industry functions. Apple, Adobe, and Autodesk are certainly gaining new users.
  • The next dot release update is going to be a watershed moment. MANY (and I mean many) are taking a wait and see approach to see how much Apple can put back in.
  • I heard from a reliable source at the Atlanta Cutters Event that the XML resources will be released to developers in the next two weeks. This will open up new opportunities for FCPX to participate with other professional applications. No word on cost implications however.
  • I have heard from many people switching (or thinking of switching) to Adobe Premiere Pro how surpassed they are at its performance and features. These same people love After Effects and Photoshop, yet seem surprised at how good the integration is between the three. Dynamic Link, Native Editing, and Adobe Media Encoder continue to please.
  • Hardware companies like AJA are broadening their support to all the manufacturers. Avid, Adobe, and Apple are all seeing new products and new support with drivers.
  • Several major places are adding in or strengthening their use of Adobe and Avid tools. I've spoken to folks at Discovery, CNN, Turner, American University,
  • The DSLR crowd (including Vincent Laforet, Phillip Bloom, and Shane Hurlbut) are now using Adobe Premiere Pro. The RED community is quickly switching too.
  • The industry got a quick shot of evolution. "Everything just changed in post" rings true. It's just that a lot more shuffling is occurring than anyone expected.


Comments

Adobe Offers Path to FCPX Editors

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As disgruntled Apple Final Cut Pro users search out options for professional video editing, Adobe Systems has been a major beneficiary of the big switch since FCPX hit the market. In her interview with Jim Guerard of Adobe Systems, Debra Kaufman finds the result of Adobe's offering for former FCP users to be a big uptick in pro video users.

Article Focus:


Creative COW has posted a great article that goes in-depth with both Adobe staff and users about why folks are switching to Adobe Premiere Pro.

Some of my favorite parts:

Adobe also created another key feature: ensuring integration of Adobe Premiere with the new generation of digital cameras. "We natively support all these camera formats from Sony to Panasonic, from RED to the Canon 5D Mark II," says Guerard. "You don't waste hours and hours of transcoding on ingest. The time and money we save people and the amount they're able to get done is huge."

and

Who's making the switch to Adobe Premiere Pro? According to Guerard, the broadcast and indie filmmaker arenas are the most likely suspects. "In broadcast, there is so much happening with multi-screen delivery and distribution," says Guerard. "With Premiere, you can seamlessly take the content out to all kinds of platforms. And broadcasters know us and trust that we're dedicated to this market. They know they'll get a brand new release every year. For professional editors who count on their software application to pay the bills, they need that kind of partnership and collaboration."

Be sure to read the whole article here – http://library.creativecow.net/kaufman_debra/Adobe-offers-switch-FCP/1

______________________________________________________________________


If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel


Comments

Vincent Laforet and Richard Harrington Show a Complete Adobe Workflow

Detailed Adobe Premiere & Dynamic Linking Workflow from Vincent Laforet on Vimeo.



I recently had the chance to spend two days working with Vincent Laforet going over a bunch of Adobe workflow stuff. He's a super talented guy and and we had a lot of fun exploring some of the geekiest corners of time-lapse, HDR, Raw video and more. The video above is an edit down of some of the stuff we discovered.

The above video covers the following steps:

  • Setting up a project with Premiere, including what settings are best to modify, and what settings are best to leave alone.
  • How to bring media into your project through the Media Browser and use its features efficiently. Including how to organize clips, and bring them into your sequence timeline.
  • How to best create your sequence with optimum settings for the video you are working with and how to set up an adequate number of audio tracks.
  • How to set in and out points on your raw footage and either overwrite or insert a shot into your timeline, as well as a demonstration of Adobe’s patching feature.
  • A demonstration of the ripple tool (which adjusts one side of an edit), roll tool (which adjusts both sides of the edit), the razor tool (which splices footage), and the rate stretch tool (which changes the speed of your clip).
  • How to map your keyboard with custom hot keys, as well as set it up with FCP hot key commands (for those of you making the transition).
  • A demonstration of how to use the marker tool to create points on your timeline, and how to automatically fill those markers with footage from your media browser using the "automate to sequence" function.
  • How to admit that it’s okay to use the help menu
  • How to quickly apply color correction within Premiere without exporting to After Effects or a third party application, with an overview of the different controls.
  • How to import and edit your looks from RED CINE X into your Premiere timeline when you are working with RMD files, and how to bring those changes back into RED CINE X.
  • How to use clip handles and apply and modify transitions between clips.
  • How to send clips over to after effects from your Premiere project using Adobe’s Dynamic Link function, which updates all changes you make in both programs in real time.
  • A demonstration of the After Effects Warp Stabilizer and its different stabilization methods. Also a demonstration of the Vibrance plugin, and how you can work with such plugins while others are analyzing.
  • Demonstration of the Magic Bullet Colorista within After Effects (or Premiere).
  • How to output/export your Premiere project using Adobe Media Encoder, which is 64-bit.
  • How to create a "watch folder" that automatically encodes your footage to a preset codec.

Comments

Creating Time-lapse Movies with Raw Files

Using Raw Photos in a Time-lapse from Richard Harrington on Vimeo.

In this Triple Exposure tutorial, Rich Harrington shows you how to use raw files in a time-lapse movie. Learn how to access Adobe Camera Raw from right within Adobe After Effects.



For more on time-lapse, be sure to check out Triple Exposure at
www.3exposure.com.

Comments

Listen to this Maccast on Final Cut Pro X

Pasted Graphic
I recently had a chance to talk with some very smart folks about the release of Final Cut Pro X. The show looks at several issues and tries to explain why people had such a hard time with the release.

"A podcast about all things Macintosh. For Mac geeks, by Mac geeks. Show 357. When Apple released the latest version of Final Cut Pro they created quite an impact although it may or may not have been the one they wanted. The Final Cut Pro X (FCPX) release was very anticipated and had a lot of hype. When it shipped many in the high end pro video market cried foul. In this episode I invited three video pros, Richard Harrington, Ron Brinkmann, and Chris Fenwick to come on and help the average Mac Geek make sense of why this release was such a big deal. The changes impact not only those in the video community, but also bring insights and revelations for the rest of us as well."
Be sure to listen to the show here –
http://www.maccast.com/2011/07/16/maccast-2011-07-16-final-cut-pro-x/
If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel
Comments

The Adobe Photoshop to Adobe Premiere Pro Workflow



In this video you’ll learn how to create a Photoshop file from within Adobe Premiere Pro. You’ll also learn how to use the Camera Raw module to develop a photo from a DSLR. We’ll even explore advanced options like the Lens Correction filter, Content-aware Fill, and the Content-aware Scale command to selectively resize a photo.

For more videos and a complete training experience, check out
An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

Comments

Importing a Final Cut Pro Project into Adobe Premiere Pro



Learn how to exchange data from Apple Final Cut Pro to Adobe Premiere Pro in this movie. This movie is by Robbie Carman, my co-author.

For more videos and a complete training experience, check out
An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

Comments

Don't Miss the Great Camera Shootout



In the most scientific camera comparison to date, “The Great Camera Shootout 2011: a documentary of the Single Chip Camera Evaluation (SCCE)” premieres with Episode 1: “The Tipping Point.” The first episode of the 3-part web series examines three SCCE Tests: The Dynamic Range Test, The Under Exposure Test and The Over Exposure Test.

You can see part one – here (http://www.zacuto.com/the-great-camera-shootout-2011/episode-one)
Comments

NY Post Conference Returns October 11–13

hpbannerblast

Just a quick reminder to SAVE THE DATE: October 11 - 13, 2011. The New York Post Production Conference in New York City. The show features dozens of expert training sessions for video, TV, film and new media professionals.

3 full days of expert training in
multiple tracks
Sessions taught by
industry experts
Certification prep class & exams for Final Cut Pro & Avid Media Composer 5.5.
Browse the Show floor with hundreds of exhibitors at the
Content & Communications World Expo

See the full schedule
here.

For more information visit the NYPPC
website.

REGISTER NOW by early bird date to save!

Comments

Camera Requirements for Multi-camera Shoots

Figure_06-06

When planning a multi-camera video shoot, several factors can impact the quality of the final production. Choosing the right equipment (along with the crew to run it) will have the greatest influence on the quality of the final production. Here are some details to look for when selecting cameras:

  • Matched codec/format. Ideally, all your footage will have the same codec (compressor/decompressor). If you've mixed formats (like DVCPRO HD and AVCHD), you may need to convert the footage to match for some edit systems. You'll also want to be able to match frame rates so footage stays in sync.
    Lens length. With multi-camera events you'll often be shooting from a distance. Many cameras have fixed lenses that aren't good for long-distance shooting. Be sure to consider distance from subject when choosing a camera.
    Number of audio inputs. Generally speaking, cameras will have 2–4 inputs. Depending on your number of audio sources, more discrete audio channels can really come in handy. If not, look to use an external audio recorder.
    Chip size. Many multi-camera shoots are for concerts or performance events. These events often have low light, which means cameras with single chips, or even 1/3"1/3-inch chips, can get grainy.
    Tapeless acquisition. Choosing to record direct to disk or cards makes it easier to record for long periods without interruption. Make sure you have enough recording capacity to avoid having to stopping for a "tape change."
    Timecode method. Be sure to examine your options, which will may include time of day or synced timecode. These professional options make syncing cameras easier.

Figure_06-04

Tip: Power in Demand

Ten cameras plus a five-ton grip truck’s worth of lights can put a big drain on a location's circuit. Be sure you do a site survey and identify where your power is coming from. You'll likely need to use several extension cords ("stingers") to get the required power to your set. If you draw from too few outlets, you may blow a fuse.


Comments

An Update About PluralEyes and FCPX

PluralEyes
I've been a big fan of PluralEyes since I first met Bruce Sharpe (its inventor) at Podcast Expo (nearly five years ago).
We use this product for both multi-camera projects and DSLR sync sound workflow.

We use it both in Final Cut Pro and Premiere Pro. Unfortunately, it can't work in Final Cut Pro X yet. I've pushed this tool to many of you, but wanted to let you know about its future.

Here's a quick update on the status from Bruce.



PluralEyes and Final Cut Pro X Questions and answers

We are getting lots of questions about PluralEyes and Final Cut Pro X. Here are the answers.

Q: Does PluralEyes support FCP X today?
A: No

Q: Will PluralEyes support FCP X?
A: As with any new host release, we intend to support FCP X as soon as we can, but the technical information that we need to do so has not been released yet. In the meantime, the engineering team has begun the process of analyzing FCP X.

Q: When?
A: We can't make any promises. We haven't seen the technical specs to know how much effort will be required and we don't know when those specs will be available.

Q: Will it be a free upgrade?
A: Yes, for anyone who bought PluralEyes (for FCP 6 or 7) recently.

Q: I thought I detected some weasel words in that last answer.
A: Our updates have always been free up until now. We can't guarantee that an FCP X update will be free for those who didn't buy recently, but that would be our preference.

Q: I see other plug-ins are supporting FCP X already. Why aren't you?
A: There are several different developer kits. One of those has been released and is being used to update some plug-ins. The one we need has not been made available to us.

Q: What about those of us still using FCP 6 and 7?
A: PluralEyes will continue to support those versions for some time and through subsequent releases.

Q: Hey, wait. Doesn't FCP X have auto sync built in?
A: As expected, a basic auto sync feature has been included in FCP X. We also expected that PluralEyes would be able to add value to FCP X, and our experience with it has confirmed that. We have heard from several customers that they still want PluralEyes.

Q: I need PluralEyes for FCP X! Can't you do something? A: We're doing everything we can think of. If you would like to make your wishes known to Apple, they provide a page where you are invited to give feedback about Final Cut Pro. http://www.apple.com/feedback/finalcutpro.html.

Best regards, The PluralEyes Team


Do note... PluralEyes and the companion product DualEyes are cross platform and available for several editing platforms.

Comments

Adobe Premiere Pro and Production Premium are Half Off for Switchers

Well, it looks like the folks at Adobe know an opportunity when they see it. They've launched a new campaign at http://www.adobe.com/products/premiere/switch.html.

If you are a Final Cut Pro or Avid owner, you can save 50% on full copies of Adobe Premiere Pro.

The better deal in my mind is Adobe CS5.5 Production Premium.
  • Adobe Premiere Pro
  • Adobe After Effects
  • Adobe Photoshop Extended
  • Adobe Media Encoder
  • Adobe Encore (DVD, Blu-ray, Flash)
  • Adobe Illustrator
  • Adobe Flash and Flash Catalyst
  • Adobe Story and CS Review

Just use the code
“SWITCH” during checkout. The code also looks to get you an additional discount on upgrades too (though not 50%). The discount doesn't show up until you go to pay, so don't panic.

The offer expires September 30, 2011.

Remember, the Adobe demos are fully functional for 30 days, so you can try them out with no risk.

I've got a bunch of Photoshop, After Effects, and Adobe Premiere Pro tutorials over at
Creative COW in the podcast section.
You should also check out the new book for migrating editors–
An Editor's Guide to Adobe Premiere Pro

Even if you're unsure of your future, this is a great deal. We've used Photoshop, After Effects, and Adobe Media Encoder for years with Final Cut Studio. Classic FCP Editors should check out
Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite.

If you have trouble finding the promo, try these two links
http://www.adobe.com/special/offers.html?promoid=IUAXH
http://forums.adobe.com/message/3773888#3773888

Comments

How to Do an Add Edit in Adobe Premiere Pro

Adobe Premiere Pro CS5001
I keep hearing from folks who are looking for the Add Edit tool in Adobe Premiere Pro. It's there, just under a different name. As you edit in the timeline, you may want to change the length of a shot. Here are a few quick editing techniques you should know:

  • Razor – Press Cmd+K (Ctrl+K) to split a clip at the playhead.
  • Razor All Tracks – Press Shift+Cmd+K (Shift+Ctrl+K) to split all tracks at the playhead.
  • Clear – Press the Forward Delete key to remove a selected segment and leave a hole behind.
  • Ripple Delete – Press Shift + Forward Delete to remove a selected segment and close the gap in the sequence.
Comments

More Questions Raised by the Final Cut Pro X FAQ

fcpxfaq

Apple just posted an FAQ document that addresses the top questions. This is a certainly step in the right direction (open communication always is). I respectively submit my commentary and additional questions to respect additional clarification.

Gary Adcock contributed to this article and added clarification.

Readers, please add to this list in the comments section.

Import


Can I import projects from Final Cut Pro 7 into Final Cut Pro X?

“Final Cut Pro X includes an all-new project architecture structured around a trackless timeline and connected clips. In addition, Final Cut Pro X features new and redesigned audio effects, video effects, and color grading tools. Because of these changes, there is no way to “translate” or bring in old projects without changing or losing data. But if you’re already working with Final Cut Pro 7, you can continue to do so after installing Final Cut Pro X, and Final Cut Pro 7 will work with Mac OS X Lion. You can also import your media files from previous versions into Final Cut Pro X.”

  • If we are willing to lose some data, what could be imported?
  • Can we import the bin structure of a project to use existing organization?
  • You say that there is no way to translate or bring in old projects. Can we definitely take this that there will be no way now or ever?

Gary thinks that the question becomes how much can be brought in and how much of the previous structure is not translatable to the new app. Gary thinks that it should be possible to import the media files into a FCP X event. Folders and subfolders could carry over the existing naming conventions and folder nesting as Smart Collections and use the folder structure to achieve hierarchy via keywording.


Can I import my video directly into Final Cut Pro X as I could in Final Cut Pro 7?

“Yes. Final Cut Pro X allows you to import video from a wide range of devices, including many AVCHD-based cameras and DSLR cameras. You can find a list of supported cameras here: http://help.apple.com/finalcutpro/cameras/en/. The list will grow as we continue to test and qualify new cameras.”

  • We also use decks to ingest media too, what about them?
  • Any plans for device control for decks and standard protocols?

Gary thinks that third-party tools will be required for acquisition and playback of tape-based media, and are not yet available. He feels that Log and Capture is gone. Options like serial control will be in the hands of the hardware manufacturers.

  • How about third party capture cards?
  • What about Firewire based capture devices like the AJA IO HD?

Gary says that there is billion dollar ecosystem built around Final Cut Pro. He feels confident that there will be devices and they will be able to do more that output a Mirrored Desktop signal. He is of the opinion that this is the number one priority at this time for Apple. However he wants that just like how most three year old capture cards do not work with FCPX, users should not expect older capture hardware will likely need to be replaced too.

"Some camera manufacturers will need to update their import plug-ins to work with the new 64-bit architecture of Final Cut Pro, and we are working with them to provide these updates as quickly as possible. Until then, you can use your camera manufacturer’s import software to convert video for Final Cut Pro X."

  • Which manufacturers are you working with?

"For example, Sony offers an XDCAM Transfer application that allows you to convert XDCAM video without transcoding so it can be imported into Final Cut Pro X. You can find more information here: http://support.apple.com/kb/HT4724. If you are working with RED cameras, you can use the free RED software REDCINE-X, designed to transcode RED RAW video to ProRes for use in Final Cut Pro X: https://www.red.com/support/all/downloads.”

  • What if we don’t want to transcode to ProRes (defeats the purpose of Raw workflow for many)?
  • What about Arri Alexa?
  • How about camera raw formats for time-lapse?
  • Any plans to recognize the advanced metadata created by high end cameras? Many use FCP7 XML side car files, how do we access this data?

Gary points out that Raw is a viable workflow for many users, however, that long form or documentary projects have always done the Online / Offline process to keep the overall media size somewhat manageable.


Editing


Can I edit my tape-based workflow with Final Cut Pro X?


"Yes, in a limited manner. Final Cut Pro X is designed for modern file-based workflows and does not include all the tape capture and output features that were built into Final Cut Pro 7. Final Cut Pro X does support FireWire import for DV, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. In addition, companies like AJA and Blackmagic offer free deck control software that allows you to capture from tape and output to tape."

  • Are you saying that anything to do with tape, outside DV and HDV, is up to third-parties?
  • What about other decks (such as those from Panasonic) that can use FireWire to pass DVCPRO and DVCPRO HD data?
  • What APIs have you opened up? In other words what features are possible if third-parties choose to use them?


Does Final Cut Pro X support multicam editing?

"Not yet, but it will. Multicam editing is an important and popular feature, and we will provide great multicam support in the next major release. Until then, Final Cut Pro X offers some basic support with automatic clip synchronization, which allows you to sync multiple video and audio clips using audio waveforms, creating a Compound Clip that can be used for simple multicam workflows."

  • By next major release, do you mean version 2?
  • Historically there has been approximately two years between major versions, can you comment on a timeline more specifically?
  • By simple multicam workflows , do you mean two angles?


Does Final Cut Pro X support external monitors?

"Yes. If you have a second computer monitor connected to your Mac, Final Cut Pro X gives you options to display the interface across multiple monitors. For example, you can place a single window — such as the Viewer or the Event Browser — on the second monitor, while leaving the other windows on your primary monitor. Like previous versions, Final Cut Pro X relies on third-party devices to support external video monitoring. We’ve been working with third-party developers in our beta program to create drivers for Final Cut Pro X, and AJA has already posted beta drivers for its popular Kona card: http://www.aja.com/support/konaNEW/kona-3g.php."

  • Will we be able to mirror that second window to two places?
  • What color space is that second monitor going to function in?
  • How can we view a true video signal on that external monitor?
  • Any plans to support a second computer monitor and an external video monitor at the same time?
  • Will devices like the AJA IO Express and IO HD as well as Matrox MXO line work for laptop users and those with limited card slots?

Can I save different versions of my project?

"Yes. Final Cut Pro X automatically saves your project during the editing process, so you never lose your work. If you want to save a version of your project, with or without duplicate media, select it in the Project Library and choose File > Duplicate Project."

  • Will I be able to choose a Restore command to go back to a specific point in time?
  • Can I set a control for how often FCPX saves? Currently it appears that the app is literally saving every keystroke and movement.
  • Can I view separate states of an autosave so I can choose to compare two versions of a project based upon their time stamp?


Are keyboard shortcuts in Final Cut Pro X different from those in Final Cut Pro 7?

"Many keyboard shortcuts for navigation, start/end marking, and tools are the same in Final Cut Pro X and Final Cut Pro 7. Some keyboard shortcuts have changed to support new features. Final Cut Pro X offers powerful keyboard customization, and you can view and modify keyboard shortcuts at any time by choosing Final Cut Pro > Commands > Customize."

  • Is there a way to save my settings to move to another machine?
  • How can a user backup their settings?


Can I use my third-party plug-ins in Final Cut Pro X?

"You’ll be able to use them as soon as they are updated. Because Final Cut Pro X has a modern 64-bit architecture, third-party plug-ins must be 64-bit too. Final Cut Pro X already supports 64-bit Audio Units plug-ins. For motion graphics, third-party developers can build effects, titles, transitions, and generators as templates in Motion 5 for use directly in Final Cut Pro X. Developers can also build 64-bit FxPlug 2 plug-ins for Motion 5, and integrate those plug-ins into templates that can be used in Final Cut Pro X. These templates, together with any associated FxPlug 2 plug-ins, will work in Final Cut Pro X even if Motion is not installed on the computer."

  • In the future, will you release the plugin specifications before the day of software release to give developers adequate time to develop? It is very inconvenient to keep having your tools break because of secrecy.
  • Is there a way to create a bundle installer as well as to protect the work if you develop effects or templates using Motion?
  • Will Apple offer a market place (or open the App store) to help distribute these effects?


Media Management


Can I specify a scratch disk location?

"Yes. When you import media, you can specify the Event and the drive where you’d like to put it. You can also specify where you’d like to put your project. In Final Cut Pro X, a project and its rendered media always travel together in the same folder, so it’s easy to move projects between different hard drives and computers."

  • Many prefer to keep projects on one drive and renders and media on another drive, is this workflow possible?
Currently the only choice seems to be to keep the render files and project files together, which can place a performance hit on your system drive. The alternative is to place your project files on the media drive which makes project recovery difficult after drive failure.

Can I share projects with other editors?

"Yes. You have several options for sharing projects. You can hand over just the project file, and the recipient can reconnect the project to his or her own copies of the Event. Or you can send the complete project and Event as a package to another editor. Final Cut Pro X includes options for duplicating, moving, and consolidating projects and associated media to streamline sharing between editors."

  • Will we gain the ability to trim unused media using handles? This allows a project to be consolidated to a smaller package.

Can I store media in locations other than my system drive?

"Yes. Turning off the “Copy files to Final Cut Events folder” option leaves the imported files where they are currently located. You can also move the project and associated media at any point during the editing process by dragging the project to another mounted hard drive within the Project Library."

  • Can we gain some easy setup options that make this simpler? I find that I need to take 11 steps in order to prevent transcoding. I must uncheck options for both import and automatic rendering?
  • When will we see support for many popular networked drives formats that are not HFS+? Many are also reporting issues with gigabit ethernet, please address?


Can I hide Events that I am not working on?

"Yes. You can hide Events in Final Cut Pro X by moving them out of the Final Cut Events folder. In the Finder, navigate to the /Users/username/Movies folder and create a new folder. Then move the Events you are not using out of the Final Cut Events folder and into your new folder. The moved Events will no longer appear in Final Cut Pro X. If your Events are located on an external drive, you can move the Events to a new folder on that drive, or you can simply unmount the drive."
  • Are you open to other options?
  • How about the traditional concept of a project file?
  • What about the approach of Apple Aperture which uses multiple libraries that can be easily switched between on import?


Export


Can Final Cut Pro X export XML?

"Not yet, but we know how important XML export is to our developers and our users, and we expect to add this functionality to Final Cut Pro X. We will release a set of APIs in the next few weeks so that third-party developers can access the next-generation XML in Final Cut Pro X."

  • Are you saying that it will be the same type of XML that is supported currently by numerous manufacturers industry-wide? Or is this a new version?
  • In order for export to be useable, XML exports would have to be able to conform to the industry standards for inter-device communications
  • Will this ability cost us extra money like the OMF export option or will it be built-in?



Does Final Cut Pro X support OMF, AAF, and EDLs?

"Not yet. When the APIs for XML export are available, third-party developers will be able to create tools to support OMF, AAF, EDL, and other exchange formats. We have already worked with Automatic Duck to allow you to export OMF and AAF from Final Cut Pro X using Automatic Duck Pro Export FCP 5.0. More information is available on the Automatic Duck website: http://automaticduck.com/products/pefcp/."

  • You say when the API’s are available... is that dependent on Apple or another company to make these available?
  • Are these features waiting on the hardware API set as defined for Lion?
  • What is the priority of these features? Is it this version or the “next major release”?


Can I send my project to a sound editing application such as Pro Tools?

"Yes; you can export your project in OMF or AAF format using Automatic Duck Pro Export FCP 5.0. More information is available on the Automatic Duck website: http://automaticduck.com/products/pefcp/."

  • Any plans for native support?


Does Final Cut Pro X allow you to assign audio tracks for export?

"Not yet. An update this summer will allow you to use metadata tags to categorize your audio clips by type and export them directly from Final Cut Pro X."

  • Will this be a bundled feature or one that requires a third-party plugin?
  • Can we actually view and organize tracks in the timeline?
  • What about clips that are reused in different ways?
  • Will this still require a plug-in like the one made by Automatic Duck to fully function?


Can I customize my export settings?

"Yes. Compressor 4, available from the Mac App Store for $49.99, allows you to create a wide variety of custom export settings that you can use in Final Cut Pro X. The most popular export options and formats, including ProRes and H.264, are already built into Final Cut Pro X."

  • What about using the media manager to go to other codecs from companies like Cineform and Avid?
  • What about choice on import for more than two codecs?

PurchaseCan I purchase a volume license?

"Final Cut Pro X, Motion 5, and Compressor 4 Commercial and Education Volume Licensing will be available soon via the Apple Online Store for quantities of 20 or more. After purchasing, customers will receive redemption codes they can use to download the applications from the Mac App Store."

  • What about 5 users licenses? 10 user?
  • How does a company purchase more than one license without using multiple credit cards or iTunes accounts?
  • How many machines can a single copy be installed on?
  • How many users can use it at once?


All in all, a good start in the right direction. Please add your questions below. Hopefully the official Apple document will keep growing.

Comments

How to Render Less in FCPX

Got a great tip from a friend... You can work natively in Final Cut Pro X. You just need to change some settings to overcome its desire to eat up disc space. Start by launching Final Cut Pro X. Be sure to keep an eye out for Abba Shapiro's forthcoming title.

Playback Settings

You need to adjust how media is played back as well as rendered.

Final Cut ProScreenSnapz001
  1. Choose Final Cut Pro > Preferences.
  2. Click the Playback button.
  3. Uncheck the Background render box.
  4. Check use original or optimized media.
  5. Set Playback Quality to Better Performance.

Importing Settings

Now it's time to adjust how media comes into the system.

Final Cut ProScreenSnapz002
  1. Click the Import button.
  2. Uncheck Create optimized media.
  3. Uncheck Create proxy media.
  4. Uncheck Copy files to Final Cut Events folder.
  5. Close the preferences panel.
There you have it... looks like its possible, it just takes some extra work to disable the many preferences that will want to transcode or render.


Comments

Previous Final Cut Pro Updates Restored

updsates_FCS

It appears that Apple listened on one point (which is great). The software updates have been restored to Apple's website. Previously, many just pointed to the Mac App store to buy Final Cut Pro X. You were able to run the update through Software Updater, but it was difficult to access the files for backup.

  1. Go here http://support.apple.com/downloads/#final%20cut%20studio.
  2. Download the ones you need.
  3. Burn them to disc and put them with your Final Cut Studio install discs.

Thank you Apple.


Comments

Updates Below (Round Two)

I've posted additional updates to the article entitled My Response to David Pogue’s  “Professional Video Editors Weigh In on Final Cut Pro X”
I will continue to do so as people add useful clarifications and point out verifiable sources.
Thank you for keeping the discussion going and keeping things civil.
Updates here – 
http://www.richardharringtonblog.com/files/fcpx_response.php
Thank you to all my friends for your support and keeping things civil during these difficult times. Remember to keep the focus on Apple (and not attack others in online forums or blogs). Keep posting and pass this article around to those who tell you that you are wrong. Be civil, reversing a "revolution" won't happen with angry words. The initial shock is over... move past anger. Make your opinion known with respectful words. Apple corporate is the one who made these decisions... address the cause of the problem.
Comments

My Response to David Pogue’s  “Professional Video Editors Weigh In on Final Cut Pro X” *Updated June 25*

Before I begin ... let me say this.  
  • David Pogue is a fine gentleman who I have met several times.  He is smart, he is generous in his knowledge, and he is fair. He is not a shill and his article was trying to be helpful (I commend him for getting Apple to answer questions).
  • He is not a video editor. Nor does he try to pass himself off as one.
  • I am sorry this response is SO long. It's technical and it's important I be clear and detailed (I've already been criticized and accused of being an Apple hater or colluding against them).
*Updated – 6/24 8:05 AM – I just got a great phone call and a few emails. I am inserting some updates in Orange. I will add corrections and clarifications as they come in (and I can verify).
*Updated – 6/25 5:26 pm (I am adding additional context and links to article). Also be sure to look at the many comments and answers below the article. Please keep posting issues you find (but keep things civil here). The time for anger is past... let's work to get a clear list of issues and give Apple some context as to what we want and why.
Here is the original article – http://pogue.blogs.nytimes.com/2011/06/23/professional-video-editors-weigh-in-on-final-cut-pro-x/
*Updated – 6/25 5:26 PM – I won't call this winning, because it is not about that. But David now says "Having read through hundreds of comments from professionals, both civil and uncivil, I’m now convinced: Final Cut Pro X may indeed be ready for the future. But for professional video editors, it’s not yet ready for the present."
Please read
http://pogue.blogs.nytimes.com/2011/06/24/the-quarrel-over-final-cut-continues/. Stop beating up on David... but do head over and read it. If you work in pro video, voice your support for his reversal.
I would like to briefly respond.  But before I do, a brief overview.
  • I have been a certified instructor for three of the A’s that make video editing software.
  • I have produced Final Cut Pro tutorials which have been given away for free for years as podcasts through iTunes.
  • I have written several books on Final Cut Pro (as well as other products). 
  • I do use other company’s tools (always have).
  • My opinions here are based on owning a 10-person video production company which has built its infrastructure around Final Cut Pro for 10 years.
  • I am not even going to touch on the challenges of completely retraining my staff and myself on something that is so radically different.  You thought people whined when Microsoft added the Ribbon to Office...go look at what editors are saying in the App Store reviews.  Remember only people who actually BOUGHT the application are allowed to rate it.
*Updated – 6/25 5:29 PM – The comments below this article as well as the forum over at Creative COW are excellent places to see the confusion. The FCPX techniques forum is a great place to get help too.
Hopefully that’s enough context...  Let’s begin. (Red is Pogue’s summary of the complaint.  Blue is his answer (with input from Apple).  Green is my response.

**************************************************

Complaint: There’s no multicamera editing. In the old FCP, you could import the footage from various cameras that covered an event (say, a concert) from different angles simultaneously, and then easily cut back and forth between them while editing. It was a star feature of Final Cut, and it’s gone from FCP X.”
Answer: Apple intends to restore this feature in an update, calling it “a top priority.” Until it does, here’s a stopgap facsimile of multicam editing: If you drag two clips into parallel timeline tracks, you can choose Clip->Synchronize Clips. By comparing their audio tracks, the program aligns the clips exactly. Now, each time you select a piece of the upper video track and press the V key (“disable”), you are effectively cutting to what’s on the lower video track.”
My Take: Final Cut Pro could previously edit up to 128 angles.  While that is a tad excessive for most, using three to nine angles is very practical.  We regularly cut programs such as talk shows, concerts, and events using this feature.  The method described by Pogue is like telling a NASCAR driver to turn over their car, strap one roller skate on, and push as fast as possible with the other foot.
*Updated 6/24 8:27 AM – In order to edit a lot of angles, you used to have to use several hard drives and they had to be really fast. We'd also off the option of using a a flavor of the Offline RT codec, then easily relinking. It was complex (at times), but powerful.

**************************************************

Complaint: You can’t share a project with other editors. In professional editing companies, editors routinely exchange projects. But in FCP X, “all of your project organization is now globally contained in the application rather than in your project file. You literally have to give that other editor your entire computer,” writes one blogger.
Answer: Not true. You can share your project, your files, or both. If the other editors already have the raw video files, you can hand over the project file. The other editors can inspect the Project Library; on its Info panel, they can click “Modify Event References” to reconnect the project to their own copies of the media files.
If the other editors don’t have the raw files, the various commands in the File menu let you move the project file, the media files, or both to another computer on the network, to another hard drive or whatever.
My Take: I am glad that some of my initial fears are wrong.  However this command is much less robust than the previous Final Cut Pro media manager.  It seems to lack the ability to force a file to reconnect or to invoke a search if the file says it can’t be found.  The Media Manager seems to also lack ability to trim media with specific handles to make the media smaller.  
Gary Adcock (my genius technical editor) Offers this useful summary

  • Duplicate Project — Functions much like the FCP7 media manager did. You can choose the Project only, Project & all References or Project with just used media.
    • Move Project —
    Will move all media and Associated to new volume. This can be used for uploading a field edit to a desktop system. It too can move just project or project and media
    • Merge Events —
    This can combine two copies of the same project into a single Project file. This can be used to bring last night's changes you did on the train into your desktop at the office.
    • Consolidate media —
    The is the clean your desk command.
    • Organize Project –
    This will consolidate media for the scratch disk only.
My Take: With all of these options there are still things missing. Also despite my best efforts to keep project and media split, a ton of files still end up on my internal drive in the movie folder (especially when I use generators). FCPX seems to be always rendering. So when I tweak an effect, it re-renders and those files keep adding up. In the "old days" you'd get lots of precomputes you'd manually clean up on an Avid (or other system). This problem was solved years ago by all manufacturers it seems. Render files are usually smarter these days. Also, being able to work in real-time and experiment is great. But I want to choose WHEN I render. Otherwise I am using machine power and disk space unnecessarily. I like to render when I leave the room. Not while I'm sitting in front of my nonlinear editing system.
You also have the ability to transcode to only two flavors of ProRes (a proxy file or a high quality file).  Previously you could manage the project to any installed codec (format) that you wanted (including third-party formats).  This made collaboration and exchanging media with others much easier. There are five flavors of ProRes... why can I only choose two of them (let alone everything else).
Gary points out that the transcode settings appear to follow logic.
  • That 8-bit material and DSLR videos files are rendered to ProRes 422.
  • Animation and Uncompressed codecs are converted to Pro Res HQ if 1920 x 1080 or less
  • Animation and Uncompressed codecs are converted to Pro Res 4444 if 2K or larger
  • Turn off the Optimize media check box to cut your re-rendering in half
Gary catches a potentially troublesome problem:
"If you start a project by using the “ prefs based on first clip” and then import content, all renders will be based on that content level. I found this out when starting with PR4444 from Alexa and found all of these huge renders on my system."

**************************************************

Complaint: You can’t freely organize your media files. “There is no way to customize the organization of the project media,” gripes one blogger.
Answer: You can customize the organization freely if you’re willing to understand the new keyword tagging system. Dragging a clip into a folder essentially applies a new keyword to it.
My Take: I am glad we have these options.    But there are fewer ways to customize the view.  You can’t seem to add custom columns.  There are collections, but not the simple ability to use folders and nests of folders to organizer.  Imagine if you had no folder structure on your Mac hard drive.  Just Spotlight.  You could only organize by tagging keywords onto all your stuff. 
You also can’t organize media while any background tasks are running. Such as rendering, transcoding, stabilizing, etc. Background tasks are frequently happening as things automatically render.  Change a color effect, it renders.  Adjust the size it renders.  In the past you would choose when to render.  Now you have to keep opening the Background Tasks panel and canceling. 
*Updated – 6/24 8:30 AM – You can make folders in events with a right click on the event in the Event Library. It is very different in appearance than FCP 7, but does seem to work better than I thought. I stand by my lack of creating custom columns as well as the challenges of constantly looking from the far left edge of my screen to the right to see the Events Library and Inspector panels. Wish I could move panels next to each other.
*Updated – 6/25 5:57 PM – Turns out you can also drag keywords into folders (and be sure to learn how to use collections too).
Gary says
"I found the keywording for organization is like having Google searching my project, it’s faster and you can sort the materials based on any variety of keywords or even strings of words."
My Take: I agree this is awesome... but I'd also like the ability to use the thousands of projects I've organized already. I'd also like to not let one client see another client's media. The current media browsing seems to be based on the idea that you only have a couple of projects. I may grow to like events... but right now I don't.
Events didn't make it into Aperture (from iPhoto). Projects did. By the way I can have many libraries in Aperture making it easier to isolate client's work from one another (as well as personal projects from work). Maybe FCPX and iMovie could grow a little more distant (as well as over useful documentation like this –
http://www.apple.com/aperture/iphoto-to-aperture/how.html that address how to move projects and libraries in).

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Complaint: No Reconnect command when media is offline. When media is offline, you get a red screen with an exclamation point. There is no Reconnect Media command, as there used to be.
Answer: True. Then again, the old Reconnect dialog box got people into a lot of trouble; they often reconnected a project to the wrong files, or the wrong versions of files.
FCP X assigns a unique behind-the-scenes identifier to every single video clip. When you reconnect the missing hard drive, your project reconnects to its original files automatically, even if you have moved them around or renamed the hard drive. You can’t reconnect to the wrong thing.
My Take: I am glad that some of my initial fears are wrong.  However this command is much less robust than the previous Final Cut Pro media manager.  It seems to lack the ability to force a file to reconnect to a new version (such as an updated graphic file) or to invoke a search if the file says it can’t be found. Finding the information is a little tricky and involves opening a panel. It also appears that you also can’t invoke the re-connect command unless the media is offline.
While the command COULD get you into trouble if you made bad choices.  It also gave you important controls that professionals really needed.
*Updated – 6/25 6:10 PM – Gary pointed out to me that this seems to be a huge change. Previously Final Cut Pro just remembered the file pathways. Now it is actually polling and tracking media via a database. (based on SQL actually). Updated files are automatically included as part of the metadata management. This also means that when you add a new volume to your system, X will poll it, looking for FCP event or content flags in the media. (He is still trying to find out what this file is called and where it is hiding on the drive).
My take: Again this sounds better, but we need to ability to force a re-connect. We also need to be able to backup that database for safety.

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Complaint: You can’t assign audio tracks. “We send all our audio files out for ProTools mixing,” writes one editor in an e-mail. “We always put narration on Track 1 and 2, interviews on Tracks 3 – 6, and so on. So our audio engineers know exactly what’s on which track. But FCP X’s ‘trackless’ design makes that impossible.”
Answer: For now, you can use a utility called Automatic Duck Pro Export 5.0 ($200 to upgrade) to create and manage these tracks automatically when you export to ProTools. Apple says  it will restore this feature to FCP X.
My Take: That’s $200 to upgrade from a full version of Automatic Duck (not a $200 upgrade to FCP).  It’s $500 new.  Gone is also the version to map specific output when going to professional tape formats (a frequent requirement for professional delivery). In fact if its not HDV or DV, tape support seems to be gone all together.
But it's not just ProTools output.  Several of the exchange methods are gone. XML is the biggest deal which would allow this tool to continue to communicate with the now discontinued Apple Color, Davinci Resolve, Adobe After Effects, and many other tools that people use for special purposes and collaboration.
*Updated – 6/25 6:16 PM – Gary says that the XML should work in Lion. Also that the necessary hooks are in FCPX already. He says he can also find output libraries for DPX and Open EXR that are already visible. He also feels that there should be some changes in how hardware can be accessed with Lion.

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Complaint: No custom frame rates or custom frame sizes. Editors are complaining that you can’t specify unusual frames-per-second rates or frame dimensions.
Answer: Not true. When you create a new project, you can specify any frame rate or size you want, right in the Import dialog box. You can also change the frame rate or size when you export the finished product — if you’re willing to spend $50 on Compressor.
My Take: Sorry ... you are 95% wrong.  If you choose custom in Final Cut Pro 7, you have the option to enter just about any size or rate. When I choose custom in FCPX... I can choose from several standard options.  But I can’t enter any value. If you choose Other, your choices are:

  • 640 x 480 or 960 x 540
  • 23.98, 24, 25, 29.97, or 30
Final Cut Pro 7 was resolution independent.  You could enter custom sizes, pixel aspect ratios, and frame rates.  This made it a great tool for producing irregular sized videos for web or presentation use as well as doing things like custom video walls for installations or retail.
Changing the frame rate on export is not what we’re asking for.  Being able to work with a setting that matches footage or lets you work with custom settings as needed is gone.  You also cannot save you own easy setups or sequence presets that let you store the settings you’ve made for easy access.

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Complaint: No support for RED digital cameras. The RED camera is a favorite of filmmakers; it records incredibly high-resolution video directly to a hard drive. But FCP X can’t import its files.
Answer: Apple is working with RED to create a plug-in that will give native RED support to FCP X. In the meantime, you can set your RED camera to shoot and capture video in the QuickTime format, which FCP X imports just fine. Or you can use RED’s free conversion program, which converts its own files into the Apple ProRes format, which FCP X loves because it’s so much faster and easier to edit than the native RED files.
My Take: David, you don’t understand why people choose to shoot RED.  The benefit of shooting raw video is the same benefit as pro photographers choosing raw stills over JPEG.  Shooting or converting to QuickTime throws away A LOT of information and latitude in adjustments.
What pros wanted was the same level of control they get in Adobe Premiere Pro or Red Cine X.  The ability to truly grade color, work with high dynamic range features and more. They also need greater controls on media management and reconnection.  The reason why pros are so furious is that Apple and RED had the closest working relationship in the industry.  People don’t understand why the program would ship without support.
*Updated – 6/24 8:40 AM – It's not just RED... it's other Raw formats too (like Alexa). A few pointed out that we have 4K sequence presets, but no easy workflow for getting in 4K footage.

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Complaint: No ability to pause or fork the Autosave. Final Cut Pro autosaves your work as you go. Editors complain, therefore, that they can’t save different versions of a project as they go along.
Answer: You can duplicate your project at any time, thus freezing it in its current condition. Just click it in the Project Library and choose File -> Duplicate Project.
My Take: David... have you ever been affected when an application like Microsoft Word crashed?  Sure you could open up the last version you CHOSE to save ... but sometimes the Auto-Save comes to the rescue and you get back work you would have lost.
You could choose when and how often FCP auto-saved.  It also stored multiple versions automatically.  This let you go back in time when clients changed their mind.  It also could save you if a project became corrupt.  While these don’t happen every day ... they happen more than we like. The new method requires you to choose to backup, not set an interval.  Isn’t this why Apple invented Time Machine in the first place (which does let you choose how often to backup). I don’t know how Time Machine and FCP project files will work ... but I am less than confident that I will have the same level of control I do now.
*Updated – 6/24 8:33 AM – Several point out Lion's autosave abilities. I can't comment further as I don't have it running since it's not shipping. What about those who can't go to Lion, however?
*Updated – 6/25 6:23 PM – Also, what's big is the ability to run the Restore command which let you choose which backup to use.

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Complaint: Can’t specify the scratch disks. In previous versions of Final Cut Pro, you could choose individual hard drives for storing your project’s render (preview) files. But if you didn’t know what you were doing, things could get messy. For example, you might store the project on one drive, and then render files on another; then, later, you would open up the project when the render-file disk wasn’t available. You would have to re-render the whole project.
Answer: In FCP X, the render files are stored on the same disk as the project, so they don’t get separated. You can still store your files on any drive; you determine that by where you store the project file.
My Take: Duplicate the project also starts to spread files out to more folders.  Those renders, pre-computes, and cache files are with the project.  You choose to duplicate, there’s more to copy.  That means time and disk space.  In the past, these render files were in a folder of your choosing.  Duplicating the project was no big deal as the project just looked at the files in the same folder that you specified.  Less time, less disk space (which in my world means saved money, happier clients, and a greater chance of dinner with the family).
Also this level of control is less than before.  I could choose to but my project files in one place and renders on another.  Like I said before ... most people choose to split their project files to a different location than render files and media files.  This is because the project file is usually small, and you want to back it up (or even keep it on a USB thumb drive for easy portability).  The media and render files on the other hand need to be on a performance hard drive.
*Updated – 6/25 6:27 PM – A new issue:
A trusted colleague (who asked not to be named) raised a huge potential issue. Personally, I have not been able to fully test this, but this person would know.

  • It appears that the new FCPX doesn't work with Apple's (previous) XSAN system
  • You can only save to an HFS+ drive.
  • This also means no go for most networked storage systems as Events appear to be incompatible with a XSAN, AFP, NFS or SMB volume

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Complaint: Can’t output to tape. Videotape is on the way out  — you would be hard pressed even to find a camcorder that takes tape anymore — so it’s not built into FCP X. This is one of several ways that FCP X is clearly a program designed more for the future than the past.
Answer: You can buy tape-deck control programs like AJA VTR Exchange and Black Magic Media Express. AJA and Black Magic are two major makers of add-on circuit boards for professional video editing. These apps work with their boards.
My Take: Tape is NOT dead (although we’d like it to be in many cases).  Tapes don’t demagnetize though like hard drives on a shelf.  They also outlast hard drives in most cases.
TV stations want tape.  My government clients want tape.  My nonprofit association clients want tape. Tape is typically required by the vast majority of clients that professionals serve (those that make their living editing video).  
David... Print is dead.  It’s on it’s way out.  Could the New York Times stop printing newspapers tomorrow?  You may want to (environmental concerns, costs of paper and delivery, those annoying children who throw newspaper and yell that they want their $2 back)?  Print is not dead ... neither is tape.  Are they dying? Yes... a SLOW and PAINFUL death.
When Apple killed the floppy disk, you could still buy them yourself and hook them up.  Even though Apple doesn’t let you burn a Blu-ray disc, they let you buy a burner yourself.  The built in the “hooks” that let hardware and software manufacturers connect.
In the past, companies like AJA and Apple collaborated closely.  When Apple would ship software, new hardware would be out. In fact, old hardware would have updates that made it work too.  These devices often cost $1,000–$5,000 dollars. We have five of these devices in my offices.  They are currently serving as paper weights when we launch Final Cut Pro X.
So you say just use the old version.  But how long will Apple ship updates and support the old software.  What happens when your computer fails and you have to buy a new one.  Will you be able to install 5 year old software on it? 
Never mind the fact that pro customers feel they deserve to get to use a 64-bit editing application.  Why? Because other companies have 64-bit applications on the Mac that edit video quite well AND support the same hardware that Final Cut Pro 7 supported.

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Complaint: Can’t export AAF or OMF files. These formats are successors to EDL. They let you export your project to other programs, like Avid, Quantel or Pro Tools, for more sophisticated editing.
Answer: Automatic Duck ProExport 5.0 adds AAF and OMF exporting to FCP X. There will be other companies offering similar export plugins (including EDL, by the way), once Apple publishes its XML programming guidelines (API).
My Take: Why are pros mad? Because all of these formats (as well as EDL and XML were supported). David, how would you feel if you couldn’t get your photos out of iPhoto?  You could sync them to your iPad ... you could look at them on your Mac.  But printing? Opening the image in Photoshop? Handing it off to a website authoring or page layout tool?  Nope.
These exchange formats allow professionals to collaborate.  Would you like special effects, great color correction, and a superior soundtrack in your next Hollywood film? Not gonna get it (or at least not yet).  We’re told we have to wait for third-party folks.  Who all have to rewrite their tools to standards that aren’t even fully clear or released.
*Updated – 6/25 6:28 PM While we're talking about XML export, how about the ability to send to Apple Color?
Commenters on this blog even point out the difficulty in sending clips to Apple Motion (a previously supported workflow).
I also have heard from many plug-in developers crying foul.   A couple people seem to have had early access and knowledge.  Apple lists two plug-in packages on their site.  What about the 100+ companies that had tools working before?  We now must wait ... and hope these companies can afford to redevelop and redeploy.  We’ll also have to repay for tools that worked just fine because these (often small) companies will have to scramble to redevelop their tools to keep their customers.
*Updated – 6/25 6:29 PM I've been told that some plugins work by "luck" since they were designed with the previous version of Motion in mind. I do not know the validity of this statement. I do know that I have talked and read about many developers who are crying foul.
Speaking of secrecy...  there’s a lot of confusion throughout the reseller community that helped ensure local sales and support for Apple products. The training companies seem to be confused and their trainers are too. I am not allowed to say more here.

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Complaint: Can’t connect an external monitor. Pros work with Final Cut on the Mac screen, but they prefer to view the actual edited video on a dedicated second screen. While Final Cut Pro X works just fine with a second computer monitor — you just choose Window -> Show Events on Second Display (or Window -> Show Viewer on Second Display) — there are complaints that it can’t connect to an external video monitor (TV), which pros feel offers better color fidelity.
Answer: Just as before, you need a Mac Pro with a video-output card in order to connect a TV monitor. Apple expects that the output-card companies will soon offer the necessary drivers for FCP X; AJA, one of the major makers of these boards, already offers beta versions of such drivers. Apple is working with Black Magic to offer drivers for its boards.
My Take: You have several mistakes here ... but I would make the same mistakes if I tried to talk about the professional printing presses your company uses to make newspapers.

  • You do not need a Mac Pro.  Several manufacturers made devices that use FireWire connections.  They also use the Express Card slot (which seems to be on the way out).  We suspect that Thunderbolt will help here too (Blackmagic showed this at NAB this year).
  • It’s not a TV.  We use higher quality monitors.  Often with unusual connections like HD-SDI or professional component connections. We also run the signal out the hardware tools that help us calibrate and legalize the color for broadcast (just like how you have to fix out of gamut images for color printing). The method Apple has now does not let us see a true video signal.  It also doesn’t work if you have two computer monitors and a video output card attached.  It’s one or the other (at least according to the AJA documentation).  Be sure you READ that documentation ... it’s filled with apologies. The signal Final Cut Pro X sends out is not in the correct color space or proper size. David, I’d like you to switch the New York times to consumer inkjet printers...  tell me if that would work for you?
  • What about the others? There are more companies besides AJA and Blackmagic Design. What’s happening there? The lack of information is what scares professionals.  People want a road map ... especially in this economy.  I know companies need some secrecy.  The keyword is some.
*Updated – 6/25 6:33 PM – Gary Adcock responds with greater detail (Gary has consulted and worked with many hardware companies... those who know of him can more than certify this is his expertise.
Gary says: "All of the hardware solutions currently available are not of a quality that pros can accept. Without the ability to control audio and video timing signals direct from within the application all anyone is looking at is an RGB desktop preview being converted back to YUV by the hardware to make that signal viewable via HD/SDi.
Adding 3rd party hardware output to previous versions of FCP forced the application to respond as a professional tool in regard to timing inaccuracies, issues with low performance storage or color issues when outputting content. In FCPX we have only Apple’s word that the output files would conform to SMPTE standards and Practices.
My Take: For those of you who just had their heads explode... it basically means don't plan to submit anything you do to a broadcast station or even expect it to look the same when you play it back on a television. This is just huge! Even bigger here is the question of which hardware can work and which cannot. Unusually the support has come for only certain products in AJA's line. Some of the newer products have not had anything said about them yet. I'm still looking for info on other manufacturer's as well.

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Complaint: Can’t import old FCP files.
Answer: As I noted in my column, this is true; your old projects are stranded forever in the older FCP program. You’ll have to keep both programs on your hard drive, and edit the old projects in the old program. When you install the new FCP, your old copy is safely preserved.
My Take: This is partially true. Many users have reported problems with having both on the same system.  Apple even has a very detailed and useful article on the topic (http://support.apple.com/kb/HT4722). 
This document provides critical information.  It’s not called out in the App Store.  It’s not called out in the installer.  Apple could have released it two days before Final Cut Pro X and said “Get ready for Final Cut Pro X.”
Nope... no communication or warnings on how to avoid potentially large problems. In fact I found out about the new software from Twitter.  It didn’t even make it to the Apple home page.  The article I mentioned isn’t on the product page or even the support page in a prominent position.
The application is also not “safely” preserved as you have to move things back and rename things if you want to actually use the applications in many workflows.  Apple says “Note: Final Cut Server, Podcast Producer, Software Updates for Final Cut Studio (2009), and some third-party workflows and tools may require that the Final Cut Studio (2009) applications remain in their original location in the Applications folder.”
Also, would you accept that you couldn’t open up your iPhoto library with future versions of the application?  How about if all the music you imported into iTunes would no longer play and all your organization and playlists were gone. Oh, and what if Adobe decided that Photoshop CS5 (the 64-bit version) couldn’t open up files from the past.
The argument of "finish your project before you upgrade" is crazy. Clients always come back with changes. Filmmakers decided to make updates and re-release. Even hobbyists want to go back and look at something they did and potentially reuse some of their editing. Even if both applications are properly installed, you can’t have them open at the same time. Want to look over a FCP 7 project, you can't launch both apps as it will prompt you to close FCP X.
*Updated – 6/25 6:39 PM Visit https://discussions.apple.com/message/15469892#15469892. Scroll halfway down the page to this post.
FranklyFilm — Re: FCPX, just the tip of the iceberg — Jun 23, 2011 6:35 AM
Mail form Randy Ubillos, the designer of FCP X
“FCP7 projects do not have enough information in them to properly translate to FCPX (in FCP7 all of the clip connections live in the editor's head, not in the timeline). We never expected anyone to switch editing software in the middle of a project, so project migration was not a priority.
Final Cut Pro X 1.0 is the beginning of a road, not the end.”
My Take: I do not know if this is true. It is on Apple's website. I would assume given how widespread it is being pushed around the net... someone would respond or clarify. I hope this is not true, but I have now heard this same information from different sources more than 10 times. This rumor or statement needs confirmation. This is the DEAL BREAKER for many.

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The Bottom Line: Apple has followed the typical Apple sequence: (1) throw out something that’s popular and comfortable but increasingly ancient, (2) replace it with something that’s slick and modern and forward-looking and incomplete, (3) spend another year finishing it up, restoring missing pieces.
These are fair statements. Remember your feelings on iMovie ’08 (http://pogue.blogs.nytimes.com/2007/08/17/apple-takes-a-step-back-with-imovie-08/)?  Apple reversed course and continued to make the previous version of  iMovie available.
With Final Cut Pro X, Apple discontinued to entire Final Cut ecosystem in one swoop.  Final Cut Server, Color, Soundtrack Pro, Cinema Tools, and DVD Studio Pro.  "So what" you say ... just use the old one.

  • But you can’t buy the old one from Apple any more.  In fact I have been told that many resellers were asked to ship their stock back to Apple. 
  • Many were waiting to upgrade from older versions until Final Cut Pro X shipped. Now they find out their computers won’t work with the new Final Cut Pro.Several computers aren’t supported due to their graphics cards.  Even machines that are slated to work on Lion may not work with Final Cut Pro X because they lack Open CL compatibility.  Here is the list (http://support.apple.com/kb/HT4664).
  • The exact same time the new product started shipping, the old one went away. Yes, some stores still have inventory, but not Apple (apparently). The existing stock will run out and people don’t know if will be refreshed.
  • There was not sufficient details warning people about compatibility issues.
  • If you go to Apple’s webpage and try to look up old documentation or links about the old Final Cut Pro, it redirects you to the new page.  If you visit the support page and try to download an update to a previous version (often needed after changing machines or doing a software restore). Guess what, its sends you to the App Store to buy Final Cut Pro X. I tried several of the links on the support page (http://support.apple.com/downloads/#final%20cut%20studio).  Go see what happens
*Updated – 6/27 12:17 PM Looks like most of the links are back to working on the support page. That's a GREAT thing.

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Professional editors should (1) learn to tell what’s really missing from what’s just been moved around, 
I agree, but the training and support industry is scrambling to catch up.
(2) recognize that there’s no obligation to switch from the old program yet
That is correct.  But pros were told it would be “awesome.”  I guess that word means different things to different people.  And if you need to update your old software, most of the links on the downloads page keep sending me to the App Store to buy the new one.  Subtle, I know.
(3) monitor the progress of FCP X and its ecosystem, and especially (4) be willing to consider that a radical new design may be unfamiliar, but may, in the long term, actually be better.
Most in the Final Cut Pro community like change.  They also wish that the investment in time as well as thousands in equipment would continue to be supported.
David, your article was helpful and answered many questions for me.  I know you can reach me on the phone.  I raise a few more questions that maybe your Apple contacts can answer.
Will I ever be able to import a layered Photoshop file? This is a common workflow that lets editors easily work with graphics.
*Updated – 6/24 8:41 AM – You can import the file (I knew this) but layers are flattened. Motion supports this workflow, but Final Cut Pro X no longer does. This was a common scenario.
What about volume licenses?  How do companies buy multiple copies for the employees to use?  Do they really need to set up an iTunes account for each and need to use elaborate combinations of credit cards or gift cards?
What about educational licenses? Apple gained much of its success from students who learned it in school then moved into the workplace.  Students always got a discount as did schools.  What about them?
What is the intention with the apparent decimation of the previous ecosystem? Are the broken links and missing documents temporary?  Will we be able to buy the application in 2 months (or next year)?  Will there be software updates ... if so for how long?
Will there be physical distribution?  Broadband access is not a reality for much of the world.  I have interfaced with editors in Africa where broadband is scarce.  I have also talked with several who pay by the megabyte for data (and pay a lot).  There are many places in the world where the user will pay far more to download the software than to purchase it. What if I need to reactivate (such as after restoring from a backup) but I can’t get Internet access?
In conclusion, I appreciate your article.  You attempted to get to the bottom of things.  I hope I have opened some new doors here for you to knock on.  Keep making the world a better place for techno geeks.
There are SEVERAL posts in the comments about missing and confusing features. Since I have violated every rule about length of a blog post, I will respond below. Apple (or others looking to develop new products) please see the list below. There are also several other places that have good lists going.
Thank you to all my friends for your support and keeping things civil during these difficult times. Remember to keep the focus on Apple (and not attack others in online forums or blogs). Keep posting and pass this article around to those who tell you that you are wrong. Be civil, reversing a "revolution" won't happen with angry words. The initial shock is over... move past anger. Make your opinion known with respectful words. Apple corporate is the one who made these decisions... address the cause of the problem.

And to leave you with a laugh... the issue made it all the way to the Conan O'Brien show. Most have seen this, if not, go laugh. We all need one right now.
http://teamcoco.com/video/conan-editors-love-final-cut

Comments

How to Make a Seamless Transition to FCP X and Lion

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I just want to point you to a great article over at Creative COW that addresses a timely topic.

"Forget all the rumors and speculation about Final Cut Pro X, Creative Cow Contributing Editor David Roth Weiss delivers nothing but facts as he guides you through the steps necessary to partition your Mac system drive with a cool multi-boot setup that will allow you to easily and efficiently switch back and forth between different versions of Final Cut Pro, between different operating systems, or all of the above."

Be sure to head over for the whole article.
A must read.

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Adobe Premiere Pro Timeline Shortcuts

Adobe Premiere Pro Timeline Shortcuts


Be sure to check out the new book too – An Editor's Guide to Adobe Premiere Pro
http://www.amazon.com/exec/obidos/ASIN/0321773012/richardharrin-20/


Comments

Adobe Reveals its Video Plans for Next Several Years




Join Jim Guerard, vice president and general manager of Professional Video, as he discusses the massive shifts happening in the industry today, how Adobe is responding through rapid innovation, and the company's pillars of focus moving forward.

It's always great when the companies that make the tools that I use are actually open. Here's where Adobe is going. Listen close to some of the points (it's a tad dry... but trust me... LISTEN to what's being said).

Comments

Trying Out Blending Modes

Photoshop001
Blending modes are an integral part of both design and color correction workflows as they let you mix the content of two or more layers. Part of the reason many pass on blending modes is that they are hard to use if you don’t know which one you want. The truth is that the list can get a little long and if you aren't familiar with them, it can get a little confusing.

Here’s a much better way to experiment:
  1. Select the layer or layers you want to blend.
  2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
  3. Press Shift + = (Shift plus Equal) to scroll through the list.
  4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.

Comments

Robyn Plus Lights and Steadicam



I always like creative music videos. This one is very simple in some ways, yet elegant. It's a single take Steadicam shot. Then toss in some really interesting lighting cues. Cool video concept.

Comments

DVD Menu Sizes

menu4
A DVD menu can come in two shapes, standard (4:3) or widescreen (16:9). The sooner you learn these sizes (and to accept their limitations) the sooner you’’ be designing your next project.

1. Launch Photoshop CS or newer.
2. Choose File > New…
3. From the New document preset list choose on of the following options:
  • NTSC DV 720 X 480 (with guides) for a standard 4:3 menu commonly used in North America or Japan.
  • NTSC DV Widescreen, 720 X 480 (with guides) for a 16:9 menu
  • PAL D1/DV, 720 X 576 (with guides) for a 4:3 menu used in Europe and other parts of the globe.
  • PAL D1/DV Widescreen, 720 X 576 (with guides) for a 16:9 menu used in Europe and other parts of the globe.
4. Click OK to create the document.
5. The guides added to the document identify the title safe region. All objects meant to be seen must fall onside them. The outside region is similar to the ‘bleed’ area in a print project.
  • Action Safe – The outside box. All elements meant to be seen should fall inside of the inner 90% of the menu. Still design the background edge-to-edge.
  • Title Safe – The inside box. All text elements meant to be read should fall inside the inner 80% of the menu.
6. Start to design.

Comments

Time Repmapping Footage in Premiere Pro

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There are many options to change the speed of clips, including the rate stretch tool, time remapping to achieve a variable speed value, and using After Effects own remapping abilities to fine tune your results.

See it here –
http://podcasts.creativecow.net/adobe-premiere-tutorials-podcast/time-repmapping-footage

Comments

A Great Resoure Page About Adobe Premiere Pro and CUDA

I think that this page does a better job with Mercury and CUDA details than does the document that you have for lesson 1:
http://blogs.adobe.com/premiereprotraining/2011/02/cuda-mercury-playback-engine-and-adobe-premiere-pro.html


Here's an update for more goodness with Adobe Premiere Pro CS5.5
http://blogs.adobe.com/premiereprotraining/2011/04/adobe-premiere-pro-cs5-5-improvements-in-cuda-processing-and-the-mercury-playback-engine.html

Here are a few gems from the pages
  • A list of all accelerated effects
  • A list of all supported graphics cards
  • A discussion how mixed media is handled

Be sure to also check out this page on
How to make Premiere Pro and After Effects faster.

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The Visual FX in Thor

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There's a great article over at Creative COW about the visual effects in the new Thor movie.

Article Focus:
Marvel Entertainment's epic adventure Thor has dominated the box office in the last few weeks, with a worldwide gross of $357.6 million. In this cinematic version of the super hero tale, the powerful but arrogant mighty Thor is exiled from the mystical realm of Asgard to live on earth, in punishment for his reckless actions that have reignited an ancient war. Forced to live among humans, Thor's powers are tested when The Destroyer, a monstrous suit of living armor, is sent to earth. In the process, Thor learns how to be a true hero.

In this article in the Creative COW Library, Luma Pictures takes us inside the building of The Destroyer and the Bifrost arrival to earth, the mystical storm that delivers the gods to the other worlds. Let Creative COW's Debra Kaufman take you to the realms of mythology and VFX possibility.

Head over to check it out – http://magazine.creativecow.net/article/thors-vfx-spin-film-to-box-office-heights

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Adobe CS5.5 Production Premium Road Show Hits LA, San Francisco, and New York

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Be sure to check out the Adobe CS5.5 Production Premium Road Show. The event is a free, in-depth seminar in LA, SF, and NYC: http://bit.ly/lcfJnT

Join Creative Suite video experts for a free, in-depth seminar that features the new Adobe® Creative Suite® 5.5 Production Premium, the high-performance leader in video production software. Learn how you can produce your best work with game-changing innovations like the blazing fast Adobe Mercury Playback Engine in Adobe Premiere Pro, the new Warp Stabilizer in After Effects, and a high-performance audio tool, Audition—now included in CS5.5 Production Premium.

Registration now open for these training dates and locations:

  • June 2, 2011 - REGISTER NOW Los Angeles, LA Film School, 5:00pm to 9:00pm
  • June 14, 2011 - REGISTER NOW San Francisco, Adobe Headquarters, 4:00pm to 9:00pm
  • June 21, 2011 - REGISTER NOW New York City, The New Yorker Hotel, 4:00pm to 9:00pm


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My New Book on Professional Video Editing with Adobe Software Ships Soon

egapp
My brand new book on Adobe Premiere Pro is written and off to the presses. It was written specifically for the many professional editors who already know how to edit using tools like Final Cut Pro and Avid, but need to now learn Adobe Premiere Pro. The book is a fast-paced, but thorough exploration of what an experienced video editor needs. The idea literally came from my own staff who were frustrated by all the existing books and classes on the market.

The official description:
In this intermediate level book three experienced editors take students step-by-step through the entire editing process in Premiere Pro, from file creation all the way through output. Along the way they’ll learn the ins-and-outs of (or “to do things such as”) file management, essential and intermediate editing techniques, color correction, audio mixing and repairing, titling and effects, and delivering their video onto tape, the web, and mobile devices. They’ll learn to work within the Adobe ecosystem as well, getting up to speed quickly on time saving tools such as Dynamic Link, Adobe Story, and more.

As they work through sections, they’ll find references to engaging videos that accompany the book, giving them a visual and audio frame of reference and solidifying their knowledge of the program.

Students will learn to:
  • Quickly organize their existing Final Cut or Avid projects, or create new projects to use right away in Premiere Pro
  • Understand how to use Premiere Pro with other Adobe software
  • Edit their footage the way they like but with tips and techniques from authors with tons of experience in all the editing programs and who speak your language.
  • Put their skills to work immediately by using the accompanying lesson files to work through the steps in the book

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Documentary Photo Effects in Adobe Premiere Pro

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In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington takes a look at how to integrate still photos into your Premiere Pro timeline to acquire the very popular documentary photo effects style with pans and scans.

Be sure to check out the many
tutorials at Creative COW.

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A Useful Article on Final Cut Pro X

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Over at Macworld.com, industry veteran (and personal friend) Gary Adcock has a
detailed overview of the new Final Cut Pro X. The software was shown at NAB as a sneak peak.

"As a professional user, I was excited by a lot of what I saw Tuesday night—particularly magnetic tracks that keep audio and video from losing sync, auditioning that will more easily separate good takes from bad ones, and non-destructive color correction and filtering. All will be fantastic additions to my workflow. Additionally, metadata will now be harvested on import, allowing for better online/offline workflows, while the application's new content aware environment keeps everything in line for easy alternate versioning (similar to Photoshop's history palette).

As intriguing as the brief demonstration was, we weren't shown enough for me to make a critical judgement on whether this will be a home run for professional users, as Apple's presentation certainly implied, or something less spectacular."

Be sure to read the whole article here – http://www.macworld.com/article/159202/2011/04/final_cut_pro_x_blog.html

I'm reserving my own judgement until I get my hands on the software and try it out fully.

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Time Lapse Part 2: Shooting Techniques for Time Lapse

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From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part two in a three-part series on creating time lapse. This episode covers shooting techniques for time-lapse.

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Image Stabilization & Rolling Shutter Reduction with After Effects CS5

With the release of After Effects 5.5, Adobe introduces an entirely new method for stabilizing footage that can also be useful to video editors. The Warp Stabilizer can remove jitter caused by camera movement. The effect is very useful as it can remove both unstable parallax type movements (where images appear to shift on planes). An extra benefit for those shooting with CMOS type sensors (such as those on DSLR cameras) is the ability to compensate for the rolling shutter which can lead to an optical bending of material that has strong vertical lines.

1. Select a clip in an After Effects composition. You can also send clips from Adobe Premiere Pro to After Effects via Dynamic Link.

2. Choose Animation > Stabilize Motion. The Warp Stabilizer effect is applied to the layer. The footage is immediately analyzed between its in and out-points. The analysis process takes two steps and you’ll see a banner across the footage as it’s analyzed. You can also see a progress update in the Effect Controls panel. While the analysis is in progress, you can keep working in the project.

stabilize1

3. You can enhance the effect with several useful options for the Stabilization Method:

  • Result – You can choose Smooth Motion to retain the general camera movement (albeit stabilized) or No Motion to attempt remove all camera movement.
  • Smoothness – This option specifies how much of the original camera movement should be retained for Smooth Motion. Use a higher value for maximum smoothness.
  • Method – There are four methods available. The two most powerful are Perspective and Subspace Warp. If either method creates too much distortion you can try switching to Position, Scale and Rotation or just Position.

If you want to see just how much the stabilizer is actually doing, set the Framing to Stabilize Only. This will show you black around the edges. If the motion looks unnatural, you can always adjust the Smoothness settings.

4. You can also control how the borders are drawn for the effect. With the Framing pop-up you can choose to simply stabilize the shot. You can also tell After Effects to automatically scale or even synthesize new edge content.

stabilize2

5. If you see vertical distortion or warping in the shot, enable the Rolling Shutter Ripple option under the Advanced category. In order to use these advanced options you need to use either the Subspace Warp or Perspective method for Stabilization. Be sure to experiment with both methods as the choice may vary based on the source footage.nIf you want maximum stabilization quality you can choose the Detailed Analysis option under the Advanced category. This makes the Analysis phase do extra work to find elements to track. This option is much slower, but produces superior results.

6. Use the RAM preview option to preview the effect as needed.





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Piracy Hurts Everyone in the Video Business

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As a content creator respect the rights of others. I repeatedly see the rights of others abused all the time in video production. Be sure to preserve the rights of others as you’d expect your rights to be upheld.

  • Music – This is the greatest area of abuse across the video industry. There are affordable stock music options for purchasing or licensing music. You can also hire a composer or use software tools to create your own music. What you cannot do is used recorded music made by others. Giving credit is not enough. I am sickened by the number of videos I see created using copyrighted music and the number of excuses and loopholes others try to give to justify its use.
  • Stock Footage – Make sure the footage you choose to use is properly acquired. There are numerous libraries and sources for licensing footage. Some are buy out libraries, others offer per clip purchases, even still you can find public domain collections. Make sure your footage is properly licensed.
  • Client Provided Assets – Just because the client gives you materials doesn’t mean they are free to use. I’ve faced many instances of clients providing copyrighted materials that they did not have rights to use. Their assurances of “it’s okay” or “this is an internal use only video” would hold no bearing to my being held liable for violating the law. Be certain that what you are given to use is materials that are properly cleared.


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Seven Ways to Move Media In and Out of Adobe Premiere Pro

You’ll find seven ways to move media to and from Adobe Premiere Pro. Be sure you understand all of your options so you can make the right decision for your workflow.
  • Dynamic Link – You can hand off media between Adobe Premiere Pro, Adobe After Effects, Adobe Encore, and Adobe Audition. The media exchanges seamlessly and you can easily switch between the two applications as needed as the to projects become linked.
  • Copy & Paste – The easiest way to move media between After Effects and Adobe Premiere Pro is the standard Copy and Paste commands in the Edit menu.
  • Export PRPROJ – From After Effects you can choose File > Export Adobe Premiere Pro project to send to Adobe Premiere Pro.
  • Capture In Adobe Premiere Pro – Use this command in After Effects to switch to Adobe Premiere Pro and capture media files.
  • Import PRPROJ – You can import an entire Adobe Premiere Pro project into After Effects. This brings an individual or all sequences in as media files. All edits are preserved, but After Effects treats the Adobe Premiere Pro sequence as a single media file. Changes in Adobe Premiere Pro will update the corresponding media file in After Effects.
  • XML – Using the XML format, Adobe Premiere Pro can both import and export an XML file that links to media assets.
  • AAF – You can import the Advanced Authoring Format from Avid editing systems. You can also export using this format to send a project onto an Avid.

Keep your eyes out for our new Premiere Pro books that's in the works.


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Keep it Short

short

I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

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Better Black and White Conversion

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In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington explores how to make a better black and white image with a combination of filters.

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The Video Industry is Usually Work for Hire

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In the video industry, it is very rare for a video professional to retain rights to the footage. Video productions are usually a complex and collaborative process that involves more parties and financial involvement than a typical photo. As such, the videographer of director of photography is rarely the copyright holder.

Here are a few points to consider.
  • Cash is power – Whoever pays for a production is typically the copyright holder. This can be a client, television studio, or independent producer. The standard in the world of video is work for hire.
  • Unused footage – Most funders will expect that all footage you shoot while on assignment is theirs. On the road to an exotic location for a client? Even if you’re just there to shoot a 60 minute interview, they may expect that all the footage you shot will belong to them. Be sure to clearly spell out your expectations and read any agreements before you sign them.
  • Request portfolio permission – Be sure you get in writing your rights to show work samples. This may be limited to client selected portions or can be denied all together. It is best to negotiate your rights up front so you can show your work.
  • Self-funded productions – Nothing keeps you from pursuing other models of production. There are certainly self-funded and distributed projects as well as the opportunity to shoot and license your own stock footage. The limitations on this front are really based on traditions. Because video production and distribution has been such an expensive undertaking, the power usually lies in the hands of the network or studio model. Be prepared for an uphill battle if you want to change the status quo.

I'll present more on this at the
ASMP Strictly Business Conference in Chicagp – April 1–3
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Wireless Microphones Explained

wireless
A wireless microphone goes a long, long way towards a flexible production. This setup also makes it easier for a small or one-person crew where the camera operator is also running audio. It’s much easier to work with moving talent then to have to chase after them with cables connecting you–less tripping and more recording.

There is potential of radio interference, when working with wireless microphones, so be sure to get a unit that offers the ability to use different frequencies. Most kits include a lavaliere microphone, an XLR adapter for other microphones, and a wireless receiver to plug into the camera.

You need to be aware of a recent development regarding the use of wireless RF microphones. As of June 12, 2010 the FCC has made it illegal to use any equipment that operates in the 700 MHz band. This set of frequencies has been reassigned for use by emergency personnel only. Many wireless mics previously on the market operated in this frequency range and must be replaced. More information about this ruling can be found on the FCC website at
http://www.fcc.gov/cgb/wirelessmicrophones.

Be certain to actively monitor your audio with headphones. Besides interference, there are a few common problems. One is that batteries can wear out, which can introduce dropouts and noise. The most common problem though is human error. With two off switches (one on the microphone and one on the receiver) it’s easy to leave the microphone turned off. Remember, you plug into the camera and listen to what the camera is recording to know you are getting good audio.

For more on video production check out
Professional Web Video and From Still to Motion.

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TV Networks Thinking More Like Web Marketers

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CBS and Nielsen are pushing for a new way in tracking TV viewership. TV has finally realized that age and sex don't seem to be good predicators of audience behavior. After extensive research, they are pushing for a model based on what people buy and what makes them buy than demographics.

The new categories they are suggesting are:

  • TV companions: For this group, TV is almost always on and is like a member of the family.
  • Media trendsetters: Early adopters of technology and new content, and also 39% multicultural.
  • Sports enthusiasts: Made up mostly of men, but most guys aren't classified here. This group also likes action-adventure programming.
  • Program passionates: Highly involved with favorite shows, and the biggest DVR time-shifters.
  • Surfers and streamers: Most open to watching alternative content on TV and most often using laptops or tablets to multitask while watching TV. They skew young, but include a large component of 50-plus people.
  • TV moderators: Those who enjoy being experts and leading others' choices.

Here's a detailed article on the change – http://adage.com/article/mediaworks/cbs-viewers-age-sex-matter-marketers/149534/

What do you think? To me it seems more like they are catching on to how the web has worked for years.

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How to Calibrate Your HDSLR with Color Bars

A quick post on how to calibrate a HDSLR camera with color bars.

Proper tutorial later. We we're so excited about what we figured out that we just flipped on the laptop iSight camera.



Here are the bars for download – 
www.richardharringtonblog.com/downloads/Color_Bars_Start.png

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Useful Videos About Documentary Editing

A colleague of mine, Steve Audette has posted some useful videos about the art and theory of documentary editing. Steve is a lead editor for WGBH public television and a very talented editor. Be sure to check some of these options out.

Here's one on After Effects:




Here are three more:

"Thoughts on Documentary Editing part one"
http://vimeo.com/13853751

"Thoughts on Documentary Editing part two"
http://vimeo.com/14002312

An Overview of After Effects for Documentary Editors
http://vimeo.com/18281019

Avid ScriptSync for Documentary Editors
http://vimeo.com/17502817
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A Creative Timelapse Project I just Finished



22 hours of activity + 5 cameras = 2 Minute timelapse about the impact of diabetes.
RHED Pixel team turned the post in only 9 hours!

Thanks to
Biosector 2 for the great job.
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Adobe Sneak Peek

I love when Adobe can't keep a secret. Be sure to check out this page to learn about some of the new things Adobe has in store.

These are short, and many are aimed at mobile platforms, but this is a good glimpse into the future.

Here's one of the videos – Don't miss the rest. –
http://tv.adobe.com/show/adobe-technology-sneaks-2011



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Selecting Storage for Editing

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When it comes time to edit your video, the hard drives you use are going to have a huge impact on the performance of your system. No matter how much RAM you have or how powerful of a video card, you just won't get real-time performance if your drives are a bottleneck.

Important Factors

There are three factors when choosing a disk for video editing:
  • Speed. The speed of drive is the biggest factor on what media you can play off it. Drives like internal laptop drives or bus-powered USB drives are generally not fast enough to edit HD video.
  • Capacity. When you start to edit HD video, you'll quickly use up disk space. For example, each minute of video shot on a Canon 5D Mark II is about 320 MB. In order to get the storage you need, you may invest in multiple drives or drives that are striped together for a performance RAID.
  • Redundancy. The last thing you'll want to happen to your video footage is to lose it. Most video creators choose to back up their footage to two or more drives or to use additional methods like Blu-ray Disc. Look at redundant drives (such as RAIDs)

Drive Technology

Be sure to consider your options when looking at hard drives.
  • Internal Drive Solutions. Many computers support multiple drive slots. Consider placing a fast SATA drive internally into your computer as a performance disk. Keep this as only a scratch disk and avoid installing application or system files on it.
  • External and Portable Drive Solutions. There are several different drives available once you've maximized your internal storage. You'll find both single and multiple drive solutions available. Look for units offering connections like FireWire, USB3, or eSATA.
  • Networked RAIDs. You'll find several professional drives that allow multiple users to connect simultaneously. These solutions are important if you work in a multiple editor environment and need to share projects or assets.

For more on DSLR video, check out From Still to Motion.

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Mastering DSLR Frame Rates

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In this DSLR podcast Robbie Carman and Richard Harrington discuss the various frame rates available on today's DSLR Cameras such as the Canon 7D. Learn what rates to use for proper film looks, slow motion and other special effects, PAL or NTSC. http://podcasts.creativecow.net/dslr-video-podcast/dslr-frame-rates Subscribe for free at the COW – http://podcasts.creativecow.net/dslr-video-podcast Subscribe for free on iTunes – http://itunes.apple.com/us/podcast/creative-cow-dslr-video-podcast/id409873...

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Color Calibration Tools for Video

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When shooting in the field, it's often worth the effort to calibrate your camera. By manually setting your white balance, you increase the chance of proper color. Each camera is a little different (so look up the specifics in your manual). What we want to talk about now is using a consistent source to white balance during both the production and postproduction stages.

Here are two tools that are affordable and portable, and can help you calibrate cameras in the field and double-check color balance in post:

  • QPcard (www.qpcard.se). A cheap and easy way to address color calibration is to use a fresh calibration card when shooting. One option is the disposable QPcard. Priced at less than $5 per card, this is a great investment in accurate color. Simply use the adhesive strip to adhere one to your clapboard at the start of each day of shooting, and you’ll have a great source for checking color balance in post. With a white, black, and neutral gray surface, it is very easy to use the Three-Way Color Corrector when color correcting. In most cases, it will only take three to calibrate each camera.
  • Photovision One Shot (www.photovisionvideo.com). This calibration device offers a black, white, and gray stripe to color calibrate. The other side is a white reflector to help bounce light on set. What’s great about it is that it is reusable and can fold to a small size to fit into a camera bag. Various sizes are available, from 6-inch targets to wear around your neck to 34-inch targets for large multicamera events.

For more on DSLR video, check out
From Still to Motion.

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Visual Contrast for Interviews

Adobe Premiere Pro CS5042

As you watch your video are you noticing that almost every person in it is looking in the same direction? Unfortunately, this seems to happen a lot unless you consciously pay attention when shooting and remember to adjust lighting and backdrops between interviews.

Don’t worry; a simple built-in effect can save you. Use a Vertical Flip effect to reverse screen direction. You don’t need to maintain a L-R-L-R-L-R visual order throughout, but try to get some visual intercutting by changing the direction your subject looks.

Be careful not to flip a screen with text, recognizable logos, or a clock in it. Also be sure to be consistent with all appearances of a person throughout the edit.


For more on DSLR video, check out From Still to Motion.

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Writing a Video Treatment

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The treatment is considered a standard part of the development cycle for most film and television productions. The truth is that all kinds of video producers can benefit from creating a treatment. The goal is to write a single document that defines the video’s concept and summarizes the creating approach to be taken. The best part of making a treatment is that is formalizes the creative process for the producer. The major benefit here is that the document can then be shared with others as you work with other creative professionals, get approval from a client, or even seek funding or approval.

We recommend the following approach to developing a treatment:
  1. Define the Goals and Set Parameters. What is the core message you are trying to convey. Who do you want to watch the video? What’s the desired outcome you’d like to create (volunteering, purchases, political change, or a good laugh?) What’s your budget and how long will the video run.
  2. What’s the Concept? You’ll want to be able to quickly summarize the thene and objective for the video. Describe to others the core message and frame its delivery method.
  3. What’s the Approach? Now’s the time to lay out the specifics. This is generally a narrative summary of the journey the audience is going to take. In a way, it might resemble a book report you wrote in school. A clear summary that reveals all of the important details which will be presented to the viewer. Describe specifics that will elicit response by the audience including music choice, shooting style, and editing approach. Describe the emotions you will solicit along the journey and how the audience will feel at the journey’s end.
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There’s No Replacement for Mic Placement

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Having a good microphone is nearly worthless if you don't put it in the right position. The closer you can get the mic to the source of the audio the stronger the signal. Skimp on taking the time to position and test your mics and you run the risk of noise and hollow sounding audio.

Here are a few guiding principles when it comes to microphone placement:

  • Too far away. Extend your thumb and pinky finger in opposite directions. This is a good target distance for the microphone to be from the mouth of your subject. You can't get this close all the time, but do your best.
  • Getting too close. While proximity is important, you can get too close. If a microphone is too close to the audio source, the signal can become overloaded and distorted.
  • Microphone rub. Be careful where you attach a microphone (especially if using a lavaliere mic). Try to avoid having the microphone rub against clothing.
  • Consider the pickup pattern of the mic. Different microphones have different purposes. Make sure if you’re using an omnidirectional microphone, to place it so it can best capture the “whole” scene. Likewise, if using a shotgun microphone, angle it to capture the directional audio it’s capable of recording.

For more on DSLR video, check out
From Still to Motion.

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Getting the Right Audio Mix

Adobe Premiere Pro CS5041
When you're working in the Timeline, chances are you'll use multiple audio tracks. Over time you'll have interviews, environmental sounds, music, and sound effects. And they all add up. The natural tendency of most editors is to start to raise the volume across the board, making each element louder than the next.

There’s a lot of confusion when looking at the Audio Meter. Unlike the analog world, you
DO NOT want to mix to 0 db. What this means is that you’ll likely need to adjust audio clip by clip in the Timeline.

  • For a digital mix, you should aim the volume to be near –12 dbfs. This works for tape-based output as well as DVD, and Blu-ray Disc (all non-broadcast environments).
  • Many broadcasters request -20 dbfs as reference with peaks up to -10 dbfs.
  • If you’re going to just output to the Internet, you can mix it hotter for playback on computer speakers. Boost the volume during the compression stage with a Normalize effect.
  • If you’re “seeing red” in the audio meters, then your audio is distorted. This is bad and will create unwanted distortion.

For more on DSLR video, check out
From Still to Motion.
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Importing a Final Cut Pro Project into Premiere Pro

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Video editing is often a collaborative process. You may find that you need to work with someone else’s editing project that was started using Final Cut Pro. Fortunately, Adobe Premiere Pro is a very flexible editing solution. You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap.

  1. In Final Cut Pro, mark an In and Out point within a sequence for the range you’d like to export.
  2. Choose File > Export > XML. In the dialog that opens, choose Apple XML Interchange Format, version 4 (or newer) and click OK.
  3. Specify a location for the new XML file (such as your project folder) and click OK. The XML file is very small and references the original media on your drive. It will only take a few seconds to write.
  4. Switch to Adobe Premiere Pro and create a new project using a preset that most closely matches the video format you’ve been using.
  5. In Premiere Pro, choose File > Import. Navigate to the XML file you created and click Import. Premiere Pro creates a sequence and adds the media and a report to the project.
  6. Begin to update the edit or work with the imported project sources.

For more on DSLR video, check out From Still to Motion.

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How to Repair and Retime Video Footge

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There are several reasons that footage might need repair. Archival sources (especially those that are tape-based) can wear with time or equipment failure. Rushed crews or poor preproduction can also impact the quality of a shot through inadequate lighting. Environmental conditions, such as a sunset or inconsistent cloud cover, can wreak havoc with footage as well.

Although the reasons may vary, you'll find a useful collection of tools in After Effects. The footage we'll show you is bad (in this case purposely so).

Check out the
full book chapter here for free.

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Playing Fairly and Pricing Fairly

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The world of video is going through a revolution when it comes to pricing. When I started my career, tape decks were more expensive than cars and a complete editing system cost more than my townhouse. Oh how the world has changed.

The video industry is experiencing a race to the bottom. Gear keeps getting cheaper, which is a good thing in many ways. The problem lies in the cost barrier. Just as many photographers been frustrated by every schmo who buys a DSLR thinking he or she is a pro photographer, so have video professionals felt about photographers thinking they are video pros. Add to this sudden influx hundreds of schools pumping out graduates from media programs and you have a cluttered workplace.

I do not say the above to be protectionist or confrontational. The fact is that the video industry needs to evolve and will benefit from fresh talent and fresh ideas. Just don’t piss in the pool after you jump in.

Take a look around you and see what business practices others are following. Here are a few that I wish more would follow for the good of the video industry:

  • Price fairly – Different businesses will need to charge differently for their services. Still, be sure you price services so you can survive for the long term. Be consistent with your prices and be sure to cover related costs like facilities, insurance, and equipment.

  • Don’t do spec work – There is a lot of pressure to do unpaid work in the video field. Taking spec jobs to prove capabilities or show interest in a client. Look at other professions, they don’t face these same pressures. If you truly need to expand your portfolio, seek out legitimate nonprofit organizations and make a donation of your time and skill.

  • Don’t badmouth your competition – Your only true competition is yourself. Speaking ill of your peers will only lower the standards of the industry as a whole.

  • Your problems are your problems – Always pay your subcontractors (even if you haven’t received client payment). Similarly, you should not accept excuses from others above you in the client chain due to delayed payments. Make sure you responsibly keep payments flowing to those you hire.

  • Act more like a lawyer and less like an artist – I’m not saying shelve your creativity... but remember that you are a trained professional with a code of conduct. You need to remember the important aspects of client management, professional communication, and ethical business practices if you want to succeed in video for the long term.


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Photoshop's 21st Birthday

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Today is Adobe Photoshop's 21st birthday... Since I'm in New Orleans with a few Adobe employees, I hope we can properly celebrate. I wanted to point out the many great Photoshop resources I have for you that are FREE. I hope you can enjoy the wonder of Photoshop.


And for the next week (until February 27). Our iOS apps are
FREE (yes FREE).


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HD Video: Frame Rate or Field Rate

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Sometimes we miss the good old days where choosing a frame rate was an either/or decision. When it comes to HD, one area of confusion that we get asked about a lot is the difference between frame rate and field rate. It’s common to see numbers like 720p60 or 1080i60 as part of a description.
  • The first part describes the vertical resolution.
  • The P or I describes whether the footage is progressive or interlaced.
  • The last part describes its frame or field rate.

In HD video, frame rate and field rate are often used interchangeably and it can be hard to tell what someone is talking about. Here is an easy way to think of it.
  • When an HD format is interlaced, the number generally describes field rate (1080i60 would describe 60 fields per second).
    • When an HD format is progressive, the number generally describes frame rate (720p60 would be 60 frames per second).

The interesting thing is that field can describe frame too! This is because field rates are double that of frame rates. So 1080i60 footage has a frame rate of 30fps. Got it? Well, it’s not that simple. Most of the time numbers like 60 or 30 really represent fractional field rates (59.94) or frame rates (29.97) for backward compatibility with NTSC television.

Math—oh, how we hate you.
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Rediscovered Gem: World Builder



I recently stumbled back across this great video. Perhaps it was meant for Valentine's Day. The storytelling and visual FX work are both top notch.

A strange man uses holographic tools to build a world for the woman he loves. This is a short by filmmaker Bruce Branit.

Enjoy... and remember to tell those you love how important they are.

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Video is a Team Sport

Teamwork

This is the hardest message for most photographers to accept. You cannot truly make a professional video in isolation. Am I saying that one person can’t do everything? No. But can they do it well? Consider the following.

  • Video projects often have firm deadlines – Whether it’s an air date, a live event, a corporate meeting, or a project launch. Deadlines are standard in the world of video, having a team means bench strength and safety in numbers.

  • You’ll make more money doing what you do best – How many photographers are magazine publishers? Do they sell the advertisements and write all the stories? What about when publishing a book... do they fire up their personal printing press? The point here is that a photographer should do what they do best. That tends to be direct the talent, pick the locations for shooting, lens the project, and carry their creative vision through the editing and graphics stages. I am not saying you should avoid editing or motion graphics, but you may be pretty slow (especially when you first start). I say try anything three times… but if you find you hate the work or you are turning down other jobs... then its time to move on. You can always find people who want to do parts of the job you are weakest at… plus they’ll likely be far faster than you. This will let you shoot more and line up more business through your contacts.

  • The creative mind is like a hive – Adding additional people that you trust can really lead to a better product. I find that having other professionals around keeps me from slipping into my old habits. It also leads to creative discussions that push the envelope and lead to a better outcome.

I'll be presenting two full sessions to help professional photographers who want to move into video. Come learn the ins and outs of business at the
American Society of Media Photographer's Strictly Business 3 Conference (Philadelphia & Chicago).

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Maximizing a Production Day

prod_Day
We typically build our production days around a 10-hour schedule. This allows about 7 hours of time for shooting and the other 3 for setup, breaks, and teardown. The important thing here is to pace yourself. Make sure you what you want to accomplish each hour you’re on set so you can measure progress or take corrective action.

While we try to maximize the day, we don’t try to kill the crew … there’s a difference:
  • Make sure you have enough help to load gear in and out so you get off to a good start. For that matter, be sure to use a rolling cart to cut down on wear and tear on your body and speed up moving times between locations.
  • Be sure to allow time for meal breaks. Keeping people from eating will only make them cranky and less productive. Try to bring some snacks and drinks on the set to keep people comfortable and from wandering off.
  • Keep the schedule reasonable. We try to not to let the client schedule the first interview for 8:00 a.m. We’ve often had to convey to the client, “If you schedule this for 8:00 a.m., it means we have to leave our houses at 4:30 a.m. in order to have to everything set up on time.”
  • We routinely have to remind clients that an eight-hour day does not mean eight hours of interviews. We also have to point out that it is a contiguous eight hours. You can’t schedule a crew to start at 9:00 a.m., then give them a five hour break in the middle of the day, and want them tape something that goes until 10:00 at night.
  • Be sure to work with your clients and gently educate them. Sometimes we’ve had to say, “Yes, we can do this. But we’re going to have two crews and we’re going to have a changeover period here and the second crew will step on to the set and continue into the night.” Be smart: Respect your clients and your crew if you want the best results.

To learn how to make great web video check out Professional Web Video.


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All the Creative COW Podcasts on One Page

creativeCowitunes

Just wanted to let you know that you can now find all the
Creative COW podcasts on one page. I am a co-host on several shows.

  • DSLR Essentials
  • Photoshop for Video
  • Adobe Premiere Pro
  • Adobe After Effects
  • Final Cut Help

There are HOURS of free video training here.... plus several other topics. Be sure to check out the
page. Most shows are available in both HD and SD versions.


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Easy Path to P2 Software


I was on a shoot last week and I was trying to remember where to find the latest P2 and AVC Intra drivers from Panasonic. Seems like these keep getting updated and moved around, meaning its not always easy to find where this software lives.  Sure you can bookmark the page, but seems like I always need it when I’m in an edit suite or trying to help someone else out through their problems. So, I have solved the problem once and for all (I hope).

I used the URL shortening service TinyURL.com to trim the long URL.
While the software is available at
https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/download.htm that is just too hard to remember. We used the TinyURL service to shorten it to http://tinyurl.com/p2swdl. Just think P2 Software Download and you’ll remember it.

Check it out –
http://tinyurl.com/p2swdl


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Create Accurate Budgets with a Free Video Budget Template

budget
For video production, the budget is truly king (especially these days). It is important that you create a detailed, line item budget so you have a clear idea of the work involved and the costs associated with the project. Many clients will expect this level of detail in your pricing. You may also find it helpful to share a line item
budget with your production team members so they know how much time is budgeted for each task.

  1. Open the file Budget_Template.xls. You’ll either need Apple Numbers (part of iWork) or Microsoft Excel. The templates are filled in with several standard labor items for video production tasks.
  2. Add rows for tasks as needed since this document is by no means exhaustive. Be sure to add any items you frequently need and delete any items that you never use from the starter template.
  3. Adjust the rates for your services. It is beyond the scope of this book to tell you how to price your services. You should do a little market analysis and see what your competition charges for items as well as look at your own internal costs.
  4. Once the rates and task items match your internal needs, save the document as a Budget Master for your company.
  5. Locate the file on your computer and press Command+I to access its properties.
  6. Select the Stationary Pad and Locked check boxes. Now your master budget cannot be overwritten, and when you double-click it, a new blank budget opens as a clean slate.
  7. When you’re ready to use the budget, double-click the file to open a new budget. Enter the quantity for all items you expect the project to need.
  8. Instead of deleting unused items, simply right-click on a row and choose Hide Row (Numbers) or Hide (Excel).
  9. If you want to discount items, just adjust the discount amount in Column E.
  10. All items will be subtotaled by category with a budget summary at the bottom of the spreadsheet.
  11. Save your budget, and then print or email it as needed. Be sure to save a new version for every change in case you need to compare budgets later in the project.


For more on the fusion of photography and video, check out From Still to Motion.
To learn how to make great web video check out Professional Web Video.


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How to Calibrate DSLR Video Cameras

calibratecams
Oftentimes you'll find yourself using more than one camera body while shooting footage. This may be to get an extra angle or to avoid having to change lenses in the field. The closer your camera settings the match, the more seamless it will appear when you edit the different footage together. Ideally the acquired footage will match as closely as possible. This means that you to adjust both the aesthetic and technical properties.

Aesthetic Matching

Look inside the camera and check your menu settings. You'll typically find several options that will aesthetic properties of the footage. Ideally, you'll closely match these settings across multiple cameras:
  • Color settings – Use the same color space for each camera if it's a choice.
  • Picture Style – Many cameras offer different modes that stylize the footage. We recommend shooting flat and adjusting your color with Adobe Premiere Pro or After Effects after the shoot for greater flexibility.
  • Shutter speed – Your shutter speed should typically be 1/60 if shooting 30 fps or 1/50 if shooting 24 fps. You can alter this number for different looks, but be sure the cameras all match.

Technical Matching

You’ll also want to check several technical properties for each camera. Be sure to identically match the following properties across each camera:
  • Frame size – Your frame sizes must match. Be sure that you aren’t mixing 720p with 1080p.
  • Frame rate – All your cameras must match frame rate (exactly). Be sure to check that you have a precise match. Make sure the firmware of your cameras is also up to date.
  • Color calibration – Be sure that all angles color calibrate at the same time, on the same subject, under identical lighting conditions. Otherwise, you’ll have a lot more postproduction work.

For more on the fusion of photography and video, check out From Still to Motion.

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Saving a Logo for Video

When creating graphics for use in a video editing program (like Premiere Pro) you may need to do a little extra preparation. Let’s convert a vector graphic (like an Illustrator file) so it’s ready for the video screen.

1 Create a video-sized document Choose File > New... and choose a preset that matches your video editing timeline.

2 Add the logo Choose File > Place then navigate to your desired logo file and click Place and then click OK.
Logo_1
3 Scale the logo to size Drag the Transform handles to size the logo, hold the shift key to scale proportionately. You can use the guides to help you keep the logo properly sized. Be sure the logo stays inside the inner box (also called the safe title area). Press Return (Enter) to rasterize the logo.

4 Give the logo a transparent background Click the visibility icon for the Background layer to hide it. Now, only the logo itself is visible and the rest of the file is transparent.

Logo_3

5 Store the transparency in an alpha channel Choose Window > Actions to view the Actions panel. Click the small triangle in the panel’s upper-right corner and choose Video Actions from the menu that appears. Select the Alpha Channel from Visible Layers action and click the Play button. Click Continue and a new alpha channel is added to the image.

6 Save the file Choose File > Save As. Name the file and be sure the Alpha Channels box is checked. Click OK to save the file.

Be sure to check out my Photoshop book –
Photoshop for Video.

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Creating a Film Look with Photoshop Extended

title_banner

In this podcast Richard Harrington uses Adobe Photoshop Extended CS5 to work with footage files and create a film look. Richard uses smart filters, masking, grains and a vignette to create the final look. After Effects is used to batch render the comp.

Watch it here –
http://podcasts.creativecow.net/photoshop-tutorials-podcast/creating-a-film-look


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Advanced Photoshop After Effects Color Magic

title_banner

This is one of my most advanced, deepest, and most useful techniques. I show you how to isolate the color of a single object in moving video and swap it to anything you want. The magic is done with LAB color mode and tracking mattes. If you watch only one Motion Graphics or Video tutorial this month... this is it.

http://podcasts.creativecow.net/photoshop-tutorials-podcast/secondary-color-correction-with-lab

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Fonts Designed for Use On-Screen

Original_Mac_fonts
Some fonts are meant for printing only. This fact is easier to accept if you remember that the print industry has been around a heck of a lot longer than the television industry. Test your fonts. If they are too busy or have too many elaborate serifs, make them inactive or remove them from your system.

Many modern fonts look particularly good on screen. Some recent additions include Georgia, Verdana, Myriad, Impact, Trebuchet, Gill Sans, Helvetica Neue, and Futura. These are just a few of the fonts that have been optimized for viewing on computer displays. Any font marked as optimized for web output is also well suited for video work.

Here are a few of our favorite websites offering free and affordable fonts.



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Boston DSLR Wrapup

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I had a great time up in Boston recently speaking to the DSLR Meetup group. I met some lovely folks and had a chancee to share a bunch of info about DSLR Pre-Production and Post.

Here is a great writeup on the event –
http://www.needcreative.net/main/2010/12/20/holiday-boston-dslr-meetup-featuring-richard-harrington.html

Here are my slides from the event –
Producing DSLR Shoots

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A Very Funny Cartoon for Video Editors

Stat-Shot-What-Are-We-Fixin_jpg_630x1200_upscale_q85

Thanks to the Onion for making me laugh.... You need to head over to their site and check out other great infographics.

http://www.theonion.com/articles/what-are-we-fixing-in-postproduction,7107/
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Final Cut Pro's Dividing Line


When dragging tracks in the Timeline, where you drag is as important as what you drag. Careless dragging may result in an unintended overwrite edit when you intended an insert edit. If you look closely at the Timeline, you’ll notice that it’s divided by a thin gray line. When dragging, look to see which region you enter to determine the edit type.

When dragging from the Viewer or a bin, use these tips:
  • Dragging to the upper-third of the track results in an insert edit.
  • Dragging to the lower two-thirds of the track results in an overwrite edit.

When dragging in the Timeline, use these tips:
  • Dragging in the Timeline horizontally results in an overwrite edit by default.
  • Dragging in the Timeline horizontally results in an insert or swap edit when you hold down the Option key.
  • Dragging in the Timeline vertically results in an overwrite edit by default.
  • Dragging in the Timeline vertically results in an insert edit when you press the Option key after you start to drag.
  • Pressing the Option key and then dragging in the Timeline vertically results in a cloned copy added to the Timeline via an insert edit.
  • Pressing the Option and Shift keys and then dragging in the Timeline vertically results in a cloned copy added to the Timeline directly above the clip


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Shot Ratio is the Key to Profitability

In video, its important to keep the ratio of how much footage you shoot to how much footage you use as low as possible. This ratio is the biggest influencer on maintaining profit.

More footage means:
  • more storage – Hard drives cost money
  • more time searching – Time spent searching for the right shot costs you money
  • more time loading or transcoding – Even fast machines still take a long while to transcode

I always recommend rehearsing your shot if possible, then firing a few takes. Be sure to cut camera between takes as well so you can have shorter clips. If you're using a slate, hold it up at the start of each shot (then you can clearly see it in the clip thumbnail, which speeds up browsing).

You need to remember time equals money. More time searching means less time editing. More time recorded means more backups and hard drives. Look out for your best interests and you'll see more profitability.

For more on the fusion of photography and video, check out From Still to Motion.


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A Good Video Works Without Picture

Another way of saying this... audio is king! I can’t emphasize enough recording great sound is essential. Invest in a good audio recorder and plug microphones directly into that. A device like a Zoom H4N is a great dedicated audio recorder. Until DSLR camera manufacturers are will to raise the cost of camera bodies to cover real audio inputs (like XLR connections) you’ll still need to go this route.

Syncing up sound is simple if you use a clapboard (a large spike appears on both the camera audio and the synced sound). You can also use tools like
Plural Eyes (available for Final Cut Pro, Sony Vegas, and soon Premiere Pro).

One more important piece of audio advice. Once you’ve edited your video rough cut... close your eyes and just listen to the edit. You should be engaged in the story without the use of visuals or transitions. A good edit works as a solid radio piece... adding pictures and graphics will only make it better.


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My Advice if You are New to Creative COW


It’s impossible to know all the answers or even who to ask Fortunately there’s a lot of great forums for interacting with video pros. I offer a few simple pieces of advice when participating forums (the ones I hang out in are at Creative COW).
  • Lurk a little. Get the hang of the tone and community first. It’s just like a party, don’t walk through the door and start yelling.
    Use the search function first. If you ask a question that has already been recently answered recently, you’re going to feel ignored.
    Post short questions. Nothing turns off a potential responder than the feeling that they’re taking a graduate school exam. Eight-part essay questions are fun for no one. Keep your questions short and direct.
    Give context. Let people know details about the system or gear you’re using, software versions, etc. Even smart geeks aren’t mind readers.
    Give a little, get a lot. If you only ask questions in a forum, you’re going to have bad karma. Most forums have unpaid hosts who do their best to answer questions. Helping out is good for the health of the forum and community.
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How to Create a Master File for Video

For many, getting footage into their edit application is the easy part. It's getting the footage out that becomes tricky. While each editing application will all have its own unique steps for exporting a project, the process is pretty standard. Use these steps to create a master file.

  1. Identify the final sequence. This sequence should be what is called "picture-locked" meaning that no additional changes will take place to the sequence.
  2. Make sure that the whole sequence is rendered. Click in the timeline and choose Select All, then render the clips.
  3. Mark and In point at the start of the footage you want, then mark an Out point at the end of the range. For most editing tools, you can use the keyboard shortcuts I and O for In and Out respectively.
  4. Look in the file menu or application menu for an option to export the file. Choose this option.
  5. Export the file using the same high quality settings that you were editing with, meaning the same frame size, frame rate and codec.
  6. Save the file to a location of your choosing, keep in mind that the file you export will be large so choose a location that has enough storage space.

After exporting the file you now have your master file that you can make compressions from, pull stills from or archive.


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New Web Video Book

The staff of RHED Pixel just finished updating our web video book. This book significantly expands our original book on podcasting. We've added coverage of lots of brand new things. Here's the official listing:

Want to create professional quality web video that stands out in a crowded playing field? Gain a complete understanding of the opportunity, limitations, production, and distribution process with this book. Step up from the flip-cam experience with this solid introduction to professional planning and production techniques, ensuring that your video meets the same standards you set for every other element in your communication program.

  • Follow the RHED Pixel team as they detail every step of the way with engaging illustrations that demonstrate the process from concept to distribution including:
  • Preproduction planning of concept, scope, budget, and casting
  • Web-specific techniques for audio, lighting, and videography
  • Detailed overview of editing and encoding of web video
  • Effective branding and storytelling aids including b-roll, images and motion graphics
  • Distribution alternatives including HTML5, Flash, podcasting, RSS, and website hosting
  • Effective techniques to promote and monetize your video

Now available for pre-order.


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Converting MP3 Audio for Video Editing

Seems like we're often being handed MP3 files to use in our video projects. It might be a sound effect or an audio track we've got the rights to use. The problem is that the MP3 format is not very good for video editing (wrong sample rate... rarely works in real-time). Fortunately there's an easy fix... iTunes. If you don’t have access to the original files, you should convert the compressed files to an AIFF file for use in a video editing or motion graphics tool.

  1. Drag the file into iTunes.
  2. Choose iTunes > Preferences, then click on the General button and click the Importing tab.
  3. Choose AIFF and set the sample size to 16 bit and the sample rate to 48kHz. Specify if the file is stereo or mono.
  4. Click OK then Click OK again to close the second window.
  5. Highlight the files you want to convert and choose Advanced > Create AIFF version.
  6. To reveal the converted file, highlight it and press Command + R to reveal it at the Finder level.


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Recommended Camera Sliders

There is another handy tool that has showed up in recent years that is a type of mini-dolly. The original camera slider was developed for large movie rigs but has been adapted for smaller cameras like DSLRs. These are very useful for tight spaces where a traditional dolly would not fit.
The sliding rods are made of lightweight materials like carbon fiber, aluminum, or chrome-plated steel. The camera plate will have a bowl adaptor to accommodate your fluid head from your tripod. These sliders travel well, and really can add some production value.

There are several sliders worth checking out:
Kessler Pocket Dollywww.kesslercrane.com
Pegasus Heavy Lifterwww.cinevate.com
indiSLIDERprowww.indifocus.com
Glidetrack SD & HD Rangewww.glidetrack.com

Be sure to check out the book,
From Still to Motion

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Create a Client Screener Disc


Check out this video to learn more about creating a screener disc for your clients.
This a sample of the 6 hours of video included with the book
Video Made on a Mac.
You can also visit the website
www.peachpit.com/videomac in order to download sample files.

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Organizing Images with Aperture


In this video you’ll learn to rank and sort images in Aperture. You’ll also learn about contact sheets and Web galleries for client review.
This a sample of the 6 hours of video included with the book Video Made on a Mac.

You can also visit the website www.peachpit.com/videomac in order to download sample files.

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Essential Questions to Ask at the Start of a Project


Through the years, we’ve learned a lot of lessons the hard way. While every project is unique, it often seems that the problems remain the same. Here are a few questions we always encourage asking at the start of a project:

  • Who is our customer? Projects often have many parties involved. Know who you are responsible to keep happy.
  • What is the purpose? You need to know what the video is trying to accomplish.
  • How will we measure success? Determine which factors will be used to judge the success of the project.
  • What do we want to say? Identify the goal of the piece and the message that the audience should walk away with.
  • What resources do we have? Decide who will be assigned to the project. Establish if there are any assets or resources available to the project that should be utilized.
  • What is the budget? Never discuss approach without having an idea of your financial constraints. Creative types often get swept up into big ideas without knowing what the project can support.
  • What are the deadlines? Equally as important as budget is schedule. You need to understand any major milestones so you can schedule work and adjust your approach to match the available time.
  • Are there any customer requirements? Never make assumptions. It’s always a good idea to ask the clients if they have any specific needs or requirements for the end product. You’ll often be surprised how important details can go unspoken until the very end of the project.

This article is excerpted from the Pre-Production chapter in the book
Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite.

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Color Grading with After Effects



This a sample of the 6 hours of video included with the book Video Made on a Mac.

Check out this video to see a few color correction effects in After Effects in action. You can also visit the website www.peachpit.com/videomac in order to download sample files.
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Budgeting by Averages


I've posted this before, but people keep asking... so here it is again:

There is an easy formula used by many experienced project managers to estimate the amount of time to be spent on each budget item task. The formula looks like this:

(1O + 4M +1P) ÷ 6


It means one optimistic + four most likely + one pessimistic divided by six.
What does that mean? It’s pretty simple: You create a time estimate based on averaging the information you gather. For example, you can approach a graphic designer and ask, "How long would this take?” The answer is not the most likely number. It’s the optimistic number, because if you ask any creative person how long something will take, the answer is an exaggerated number. Let’s say the number is eight hours.
Then you say, “Well, if it was anybody else, how long would it take?” And that’s the most likely number. For our formula, let’s use 12 hours.
Then ask, "If something goes wrong that you really didn’t count on, what is the worst case scenario?" In this example, use 22 hours.
You then plug these values into the formula to get your result: ((1*8) + (4*12) + (1*22) ÷ 6 = 13 hours for the task.
This budgeting formula works well when no historical data is available for review. It’s also more accurate if you are able to ask more than one person for time estimates. You can then average multiple answers.


This article is excerpted from the Pre-Production chapter in the book Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite.

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Shooting and Capturing Great Video Assets

I found a pretty good list of tips for shooting better video. This list is excerpted from a new book (one I didn't write).

  • Get a closing shot.
  • Get an establishing shot.
  • Shoot plenty of video.
  • Adhere to the rule of thirds.
  • Keep your shots steady.
  • Follow the action.
  • Use trucking shots.
  • Find unusual angles.
  • Lean forward or backward.
  • Get wide and tight shots.
  • Shoot matched action.
  • Get sequences.
  • Avoid fast pans and snap zooms.
  • Shoot cutaways.
  • Use lights.
  • Grab good sound bites.
  • Get plenty of natural sound.
  • Plan your shoot.

You'll find details for each point in the list in the online article... I just post the list because it's a good checklist for those just getting started (or getting forgetful).

Check the article out here –
http://www.peachpit.com/articles/article.aspx?p=1625679&ns=20263&WT.mc_id=2010-10-14_NL_DigitalVideo

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HDSLR and Adobe Workflow Slides


As promised... Here are my slides from yesterday's conference in New York city about Adobe and DSLR Video workflow.

Hope they help.

Be sure to check out
From Still to Motion as well as the Facebook page and Creative COW forum.

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Calculations - Photoshop for Video 102



Instructor Richard Harrington revisits Photoshop's calculations command, and shows you how to generate an alpha channel or selection matte based on the color values of an image.
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Talent Release Form

A piece of essential production paperwork is the talent release form. It is generally considered a good idea to obtain a release from each person who appears on camera. The form is your way of proving that the person appeared willingly and does not require additional compensation.

To make this form truly binding, you should check with a local lawyer to assist you. Laws will vary based on country and state, so this form is merely provided as a suggestion. Once you have your forms locked in, be sure to print out enough and load them onto a clipboard for your shoot.

If you are taping at a large event, you’ll likely want to explore integrating a general release into the event registration or ticket purchase process. This way you don’t need to worry about capturing releases from all the people who appear on camera. However, you should still get the more detailed release signed for on-camera interviews.

Get more useful forms (and a whole lot more) by reading
Video Made on a Mac


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Premiere Pro 5.0.2 Should be called 5.2

There's a ton of new features in the Premiere Pro update that was recently released. I asked Adobe for a complete list.


Improved Mercury Playback Engine support: Provides support for additional NVIDIA cards: GTX470, Quadro 4000 and Quadro 5000 (all Windows only) 

RED Workflow improvements:
  • Red Rocket support in Adobe Premiere Pro and After Effects: The RED Rocket handles the decoding of RED media on playback, which allows editors to free up the CPU and results in faster decoding. RED media playback also is faster and more responsive, and the CPU is free to handle other processes such as effects.
  • Support for Mysterium X and the latest Color ScienceFixes firmware updates from RED.
  • Easily edit color-graded footage from REDCine-X tools: With its support of RMD files, Adobe Premiere Pro allows you to save video footage color graded in REDCine-X as a RMD file and import directly into Premiere Pro thereby creating a tighter color workflow from camera to edit and making collaboration with others even smoother. 

Native Sony XDCam support:
  • Inclusion of XDCAM 4:2:2 timecode: Allows Adobe Premiere Pro users to see and work with source timecode from XDCAM 422 media.
  • XDCAM-HD Export support: Adds support that makes possible exports to the XDCAM-HD format thereby increasing users’ abilities to export for various uses and target devices.

Native JVC QuickTime support: 
  • Native support for JVC QuickTime movies: Increases support of the QuickTime format by adding the popular JVC tapeless cameras to the list of supported devices.

Enhanced native DPX format support: 
  • Import and export DPX files with timecode: Adobe Premiere Pro users can see and work with timecode data embedded within a DPX frame sequence that allows for even more control when working with the DPX format.

Improved color grading
  • 10-bit Display Port support for Mercury GPU Quadro Cards (Windows only):  Support for 10-bit color output via Mercury GPU Quadro Cards offers users the ability to output and view (with 10-bit capable monitor) full 10-bit color without the requirement for separate video playback hardware. 

Improved audio support
  • Broadcast WAV support: Support for the industry-standard Broadcast WAV audio file format improves Adobe Premiere Pro audio workflows where audio source timecode is of importance. This is of particular use in OMF export where source timecode is often used by the host DAW to sync multiple takes. 

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Be sure to Check Out New Motion Graphics Book

My new motion graphics book is off to the presses!

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects. With 4-color artwork from real-life productions sprinkled throughout, this inspiring and practical guide will show intermediate to advanced readers what they need to know to incorporate CS5 in their own work. In the first half of the book, readers learn about design essentials as related to motion graphics, including typography, logo animation, repairing and retiming footage, stylizing footage, background design, 3D objects and cameras, audio design, and vector design. The second half of the book focuses on real-world design explorations including chapters on broadcast package design, title sequences, DVD menu design, motion control 3D, character animation techniques, and panoramic images.The accompanying DVD brings it all together by providing source footage and project files, allowing readers to experiment on their own.

Get it here – http://www.amazon.com/exec/obidos/ASIN/0321719697/richardharrin-20/
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Effective Business – Budgeting by Averages


There is an easy formula used by many experienced project managers to estimate the amount of time to be spent on each budget item task. The formula looks like this:

(1O + 4M +1P) ÷ 6

It means one optimistic + four most likely + one pessimistic divided by six. What does that mean? It’s pretty simple: You create a time estimate based on averaging the information you gather. For example, you can approach a graphic designer and ask, "How long would this take?” The answer is not the most likely number. It’s the optimistic number, because if you ask any creative person how long something will take, the answer is an exaggerated number. Let’s say the number is eight hours.Then you say, “Well, if it was anybody else, how long would it take?” And that’s the most likely number. For our formula, let’s use 12 hours.Then ask, "If something goes wrong that you really didn’t count on, what is the worst case scenario?" In this example, use 22 hours.You then plug these values into the formula to get your result: ((1*8) + (4*12) + (1*22) ÷ 6 = 13 hours for the task.This budgeting formula works well when no historical data is available for review. It’s also more accurate if you are able to ask more than one person for time estimates. You can then average multiple answers.



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Red Scarlet – First Look 2008



So... Where is it now? Two and a half years and counting... Maybe IBC?
SIGH.

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Essential Animation Principles in After Effects

When animating object's in After Effects, you need to understand the essential animation properties.

  • Anchor Point (A) – This is the point at which the object rotates or scales. You will often need to adjust the anchor point of the object and move it to a more “natural” rotation point (such as the waist, a joint, a hinge, etc.). The easiest way to adjust Anchor Point is with the Pan Behind tool.
  • Position (P) – This is where the object is located along the X, Y, or Z-axis.
  • Scale (S) – This is the size of the object on the screen. Remember, scaling an object larger than 100 percent will create pixelization in raster objects. If you want to simulate a zoom, press S for Scale to access the scaling controls. To scale all the layers in unison, add a new Null Object to the composition. All the layers can be parented to the Null Object (via the parent Column). Then scale the null to affect all the dependent layers.
  • Rotation (R) – An object can be rotated around its anchor point. It can also be rotated along its X, Y, or Z-axis.
  • Opacity (T) – The lower an object’s opacity the more you can see through it.
  • Animation Assistants – Use your animation assistants to add Ease on the rotation and anchor point keyframes. Click on the word Scale to highlight both scale keyframes. Then choose Keyframe Assistant > Exponential Scale. This powerful assistant will accurately simulate the ballistics of a camera zoom.

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Free Passes to PhotoCine Expo in LA



Want to attend the PhotoCine Expo? I've got 50 free passes to the exhibit floor where you can learn all about the DSLR video revolution that's underway. I'll be there with
Creative COW and teaching a class on creating Timelapse video. The conference is at the Los Angeles Film School on September 25th and 26th 2010.

To get your free pass visit here–
http://photocinenews.com/expo/registration.php
Enter the code
RichardsTix at the bottom of the page and save $15.

Also... check out my class.

Creative Timelapse
Learn how to turn your HDSLR into a timelapse machine.  With the addition of a few simple pieces of equipment, you can capture dynamic action over time.  Even more importantly, you'll learn how to use Adobe Photoshop to develop your files and then assemble them in After Effects.  Richard Harrington is the author of Photoshop for Video and the co-author of From Still to Motion: A photographers guide to creating video with your DSLR.



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The Risks of a One-Man Band for Video Crews

If you try to run with a “one-man-band” approach, you’ll likely miss critical action. Be sure to staff appropriately for your shoots.

Thanks to shrinking budgets, we are asked to send out one-person crews all the time. Believe us, we’ve tried it (after all, you can’t say you don’t like Brussels Sprouts if you’ve never eaten them). What we’ve found out is that it’s a terrible idea to shoot alone. So many things can go wrong that if you're by yourself it is impossible to get the job done.

Consider the issues a single-person crew would face:
  • Who will watch the gear if you have to unload and then park?
  • If you do have to fly somewhere for a shoot, excess baggage charges are often more than a second ticket.
  • During the course of a shoot, how will you handle basic biological needs like food and restroom breaks? Walk away and leave your gear unattended and it will likely not be in the same condition when you come back.
  • If you blow a circuit breaker or have talent go missing, the second crew person can resolve the issue.
  • With a one-person crew, if that person gets sick or injured, the shoot is over.

So even if it just means hiring a warm body that’s not going to steal from you, do so. We’ll contact local grip houses, universities, or in a pinch use Craigslist. Spend the $125 and get somebody to be a babysitter of your gear and a gopher for the many needs that arise on set.

Our standard approach is this: We try to use a three-person crew. We send two people from our office and hire one person locally. The local person will usually show up with things like lights and grip gear (which are affordable to rent locally). Our crew shows up with audio and camera equipment, which we know works and we’re familiar with.

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Free Digital Video E-books

  • Adobe offers some great primers on video technology. be sure to check these free e-books out.
  • Adobe Digital Video Primer (PDF: 9.8M) Whether you want to understand the differences between analog and digital, how to choose and set up a system that's right for you, or how to prepare and edit your content for delivery in virtually any format, the Adobe Digital Video Primer is a resource you'll use often.
  • Adobe HD Primer (PDF: 1.6M) This primer will help you understand what's involved in making the transition to authoring and distributing high-definition content and how to get the best results out of that transition.
  • Adobe Digital Audio Primer (PDF: 84k) In this primer, we'll introduce the basics of sound so you can work more effectively with Adobe® Audition™ and the rest of your digital audio or video toolkit.
  • Adobe DVD Primer (PDF: 6.3M) This in-depth primer will get you acquainted with DVD technology and teach you how to make your DVD content more dynamic. If you're already creating video productions, it will introduce you to state-of-the-art technologies you can use to repurpose your content for DVD distribution. If you're a beginner you'll find out how you can easily develop and author your own DVDs.
  • Adobe Professional DVD Production with Adobe Encore DVD Primer (PDF: 2.2M) This primer provides background information on the DVD-Video format and explains what makes Adobe Encore® DVD such a powerful application for professional DVD creation.
  • Adobe Streaming Media Primer (PDF: 1019k) The Adobe Streaming Media Primer offers a single comprehensive source for learning everything you ever wanted to know about streaming media — including pitfalls, costs, how-tos, and the basics.
  • Adobe DV Primer for Creative Professionals (PDF: 392k) Thinking about adding video to your repertoire? If you're a graphic designer, web professional, photographer, or other creative professional and you want to start working with video, this Primer is the place to start. You'll learn how video can expand your creative reach, the basics of the technology, and what you'll need to get started.

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Great Article on DSLR Video Revolution



  • Just read a great article over at Creative COW called DSLRs A Time Exposure by Robert Primes. It is a great look at why even Hollywood is in love with HDSLR cameras.
THE INCITING INCIDENT

At some point in the evolution of today's DSLR, digital replaced film, and low light level photography became astonishingly clear. We saw our world in a whole new way. And then a seemingly innocent event occurred that for some would be the beginning of a whole new style, and for others, would be another nail in the coffin of quality cinematography.

Rather than schlep a real movie camera or camcorder around with your still outfit, wouldn't it be convenient if you could just lock the mirror up and shoot motion synced to audio? Canon added the feature to their marvelous 5D Mark II still camera, almost as an afterthought.

Their normally astute marketers calculated that no more than 3 or 4 percent of users would ever use the feature -- perhaps a few wedding photographers and single-person reporting teams.

Read the whole article herehttp://magazine.creativecow.net/article/dslrs-a-time-exposure
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How Everyone Can Create Better Video



An Interview with me.

"Author and video expert Richard Harrington discusses his efforts to bring superior video techniques to the rest of us. Rich discusses getting it right from the ground up, from camera set-up to final production, why so many users want to use greenscreen, and why the tools you have on the desktop are more than adequate."
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Master Photoshop Transparency

One of Photoshop’s greatest powers lies in its ability to preserve complex transparency. By employing masks, both in layers and embedded into the saved files as alpha channels, this transparency data can travel seamlessly into the nonlinear editing (NLE) or motion-graphics environment.

Want a free excerpt from the new edition of Photoshop for Video?

Learn about layer masks, alpha channels, and selections —
http://www.peachpit.com/articles/article.aspx?p=1617518




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Free Music for Video Projects

A nice source to find royalty free or public domain licensed music you might want to check out http://freemusicarchive.org/

"The Free Music Archive is an interactive library of high-quality, legal audio downloads. The Free Music Archive is directed by WFMU, the most renowned freeform radio station in America. Radio has always offered the public free access to new music. The Free Music Archive is a continuation of that purpose, designed for the age of the internet.
Every mp3 you discover on The Free Music Archive is pre-cleared for certain types of uses that would otherwise be prohibited by copyright laws that were not designed for the digital era. Are you a podcaster looking for pod-safe audio? A radio or video producer searching for instrumental bed music that won't put your audience to sleep? A remix artist looking for pre-cleared samples? Or are you simply looking for some new sounds to add to your next playlist? The Free Music Archive is a resource for all that and more, and unlike other websites, all of the audio has been hand-picked by established audio curators."
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I'll be at the IBC Conference


For all the European geeks... I'll be teaching at the IBC conference in Amsterdam September 11 & 12.

  • Producing HDSLR Video Shoots - Essential Planning for Successful Productions
  • Motion Control 3D: Adding Perspective and Movement to Photos
  • Photoshop for Video Professionals
  • Motion Graphics Workflow with Adobe Creative Suite
  • Transcoding and Editing Strategies for HDSLR Post Production

Hope to see you there!

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A Great Article on Filmmaking Apps for the iOS

Here's a great article on cool application for the iPhone and iPad. Twenty-two apps that help video pros and filmmakers.

"The iPad and iPhone have taken the world by storm. Only very recently have filmmakers started to see their potential in a production environment. The iPad has only been out a few months and we are already seeing it used in some very creative ways.

For this feature we have rounded up some of the best and most useful Filmmaking Apps that our Deal Leader Steve Jobs has approved for the App Store. As more filmmakers explore the possibilities with these powerful mobile devices, we are sure this list will continue to grow"

Get the whole article here – http://filmmakeriq.com/2010/07/22-filmmaking-apps-for-the-ipad-iphone/

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On-Camera Interview Tips

  • Have talent/interviewee bring an alternate set of clothing.
  • Herringbone, stripes, or small patterns do not look good on camera.
  • Keep jewelry simple.
  • Do not allow interviewees to wear bright white. Cream, eggshell, or light gray are preferred.
  • Utilize a make-up artist. People give a better interview when they look good. Decision-makers favor approval copies when their people look professional.
  • Maintain eye contact throughout the interview.
  • “Edit in the Camera.” Encourage short answers and come back to topics again. Better to focus on good, tight answers, than trying to cobble together six takes to make your point.
  • Avoid enumeration or the phrase “Like I said before.” It is highly likely that you may use step three, without steps one and two. You also wouldn’t be asking the question again, if you were happy with what the answer was “before.”
  • Don’t be afraid to stop and start over. Do not let an answer ramble on. Smiles and nods encourage subjects that they are ‘on-target.’
  • Relax.



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How we use Drobos at RHED Pixel

We've been using storage systems from Drobo in our shop for quite some time now. We've got the entire office wired so we can share HD video projects to any workstation. We've also been backing up files from our HD shoots with Drobo Pros. We've been quite happy with the arrangement and Drobo asked us to explain our workflow.

You can check it out here –
http://drobo.com/resources/vm_video-storage.php



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Free Windows Media Encoder


Windows Media Encoder is dead... In it's place is the Expression Encoder 4. There's a ton of new features, but the biggest for me is that it finally recognizes QuickTime files. If you are on a Mac, you'll need to run it under VMWare or BootCamp. But it's a free application (with a more advanced version for free). Be sure to check it out —
http://www.microsoft.com/expression/products/Encoder4_Overview.aspx

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Video and Audio Codec Guides



Looking for a good comparison of audio and video codecs. We've found a great comparison of digital video, audio, and graphic formats. They've also got some great shortcut guides posted for Avid and Final Cut Studio applications.
http://worldwide-studios.com/Worldwide_Studios/Resources.html

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Free Online Crash Course on Photoshop CS5

My presentation on Photoshop CS5 from Adobe's booth at NAB. A highly condensed presentation with lots of info.

'

You can see it here too –
http://tv.adobe.com/watch/adobe-at-nab-2010/adobe-photoshop-cs5-for-video/

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Two New Photoshop Books



Both of my Photoshop books are fully updated (and released!)

Amazon has a combo deal.. get both books for $67

That's a ton of training, hundreds of hands-on files. 72 training videos and more.

See this page here – http://www.amazon.com/Understanding-Adobe-Photoshop-CS5-Professionals/dp/0321714261/ref=ntt_at_ep_dpt_3

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I'm Coming to Europe to Teach!


I'll be speaking at this year's IBC conference in Amsterdam in September. – http://www.ibc.org/page.cfm/link=299

"A 2-day training event in multiple tracks geared for production and post-production professionals in TV, video, film, motion graphics and new media. The conference features the latest advanced tips and techniques in producing, editing and delivering digital content.

Sessions are geared for intermediate to advanced TV, video, film and motion graphics attendees and are focused on digital video production techniques as well as post production using Apple, Avid and Adobe creative software tools.

Sessions are objective and are taught by FMC's world renowned team of Certified Instructors, power users and authors."


Here's the schedule – http://www.fmceurope.com/schedule.htm
Sign up here – http://www.ibc.org/page.cfm/Link=276/t=m/goSection=3

Hope to see some of you there.

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Color Grading Footage In Adobe Photoshop Extended



Learn how to adjust the color and exposure of video clips using Adobe Photoshop Extended.

From the book From Still to Motion
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Creating Timelapse Movies with a DSLR and After Effects

Creating Timelapse Movies with a DSLR and After Effects from Richard Harrington on Vimeo.



Learn how to create Timelapse movies with your DSLR camera and Adobe After Effects. Join Richard Harrington as he shows you how to create pans and zooms while controlling the speed of the shot as well.

From the book and DVD "From Still to Motion: A photographers guide to creating video with your DSLR."

Photos by Jim Ball

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New Final Cut Pro Training DVD

Join Apple certified trainer Richard Harrington as he takes you through the color correction features of Final Cut Pro. As a leading author, trainer and presenter, Rich cuts to the chase, giving you access to the most important information fast.

Final Cut Pro's Color Corrector is the first wave of color tools. Whether its because of time of budget, you'll often need to get your project right inside of Final Cut Pro. Addiitionally, most of the work you can do in Final Cut Pro will translate to Apple Color if needed. Being able to improve your footage in a fast and efficient manner improves your rough cuts, and helps speed client approval!

Richard is an expert at motion graphic design and digital video. Since 2003, he has been the manager for conferences for the National Association of Broadcasters. His book, Photoshop for Video, was the first to focus on the use of the masterful Photoshop within the world of video production. He is also a contributing editor for Final Cut Pro on the Spot, Video Made on a Mac, and From Still to Motion.

The master series DVD includes hands-on practice files. So instead of watching, you can actually get real practice. There is also extra footage with which you can practice. The movies are also in an iPad/iPod compatible format so you can carry your lessons around easily!

Richard Harrington's Final Cut Pro Color Correction by Richard Harrington
SALE! PRE-ORDER NOW! Ships July 1st.

List Price: $49.95 COW Price: $39.95

Get it here –
http://store.creativecow.net/p/80/richard_harringtons_final_cut_pro_color_correction

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Adobe DSLR Class Archive Online

If you missed the free e-seminar on using Adobe Creative Suite for DSLR video, you can check it out here. We cover Premiere Pro, After Effects, Photoshop, and Bridge. Be sure to check out the part on using Photoshop to color grade video files nondestructively.
I'm also amazed at Premiere Pro's ability to handle native DSLR video with no transcoding or rendering (good stuff!).

We focus a lot on DSLR video, but all video pros and photographers will learn something. You can watch the class here online (give it a minute to load).

Working with DSLR Video with Adobe CS5 Production Premium

https://admin.adobe.acrobat.com/_a561260173/p57397558/

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New Video Actions for Photoshop


I've updated the Video Actions for Photoshop.

I've added the following new actions

  • BD 720p – Size images for a slideshow for Blu-ray or 720p
  • BD 1080p – Size images for a slideshow for Blu-ray or 720p
  • Encore Blank Button – Creates a new menu button for use in Encore
  • Encore Button Highlight – Creates a Highlight layer for use in Encore

Download the actions here.

  1. Unzip the actions. The extension should be .atn
  2. Locate your Photoshop application folder
  3. Place the file in Presets > Actions folder
  4. Launch Photoshop
  5. Choose Window > Actions to open the Actions panel
  6. Click the small triangle in the upper-right corner and choose Video Actions V2
  7. Run the action as needed



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White Balancing in Final Cut Pro




Richard Harrington, a trainer for FMC, shows how to use white balancing in FCP to make up for improper white balancing on the camera.


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Motion Control 3D Samples



Sample motion graphic created for The Johnson Group's documentary, Bedford: The Town They Left Behind. The film went into limited release in theatres across the country.

I am working up some new tutorials on the techniques... leave comments about what you want to see.

You can see it in HD here.

Here's a short free tutorial here.



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Free Final Cut Pro/Motion/AE Plug-ins



I always like free stuff... especially
good free stuff.

Here's the link –
http://www.idustrialrevolution.com/idrplugins/freebiepack1/index.html

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Creating Prints from Video Frames

How do you take a great still photo with your video-enabled DSLR camera? That's easy, shoot in photo mode. You'll get the best quality and even the option of using a raw format. But what happens if you've got the perfect shot, except you're in the middle of recording a video clip? The good news is that you can export stills directly from a piece of video. There's just a few limitations.

Resolution limitations of video

You might be thinking to yourself “Isn't video really low resolution?” Yes, when compared to the native size of photos taken with your DSLR, video pales in comparison. But for many uses, such as web or newspaper, you can get enough pixels out.
Currently the highest resolution you’ll get exporting a still from a piece of video that originated on a DSLR is 1920 x 1080 or approx 2.1 megapixels. While you aren’t going to make any panoramic prints of those frames you can still find a lot of great uses for them. If printing at 300 ppi, you can extract a frame that is about 6.5 X3.5 inches – in fact a lot of the figures that you’ve see in this book are from video clips.
Read More...
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A great book on green screen

If you've been looking for a comprehensive guide on greenscreen this is it. Jeff covers everything from preproduction through shooting and post. Jeff's a great teacher who's passionate about his subject.

You can get a few samples of the book
here for free, but be sure to check out the whole thing.

  • See how to plan, set up, and execute your shots to reduce fixes in post
  • Choose the right keying process for your project
  • Master basic shooting setups and live broadcast keying
  • Understand proper lighting and how to match subjects to the background
  • Create a working storyboard and learn how to select and direct talent
  • Composite your footage and fix problem shots
  • Work creatively with virtual sets, motion tracking, and match moving
  • Master techniques that apply to all compositing software and plug-ins


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The Share Menu in Final Cut Pro

FMC trainer Richard Harrington demonstrates how to share and publish projects in a variety of formats.


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Using Blending Modes in Final Cut Pro



FMC trainer Richard Harrington discusses how the Blending Modes feature can be used to lighten a dark shot, or impart various stylistic changes.

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Free Training on DSLR Video

Did you miss the Peachpit Photo Club Webcast? We tackled the topic – Creating Video with your DSLR. If so, here's 90 minutes of free training https://pearsonevent.webex.com/pearsonevent/lsr.php?AT=pb&SP=EC&rID=56125797&rKey=0d4828c7a9b746e3

Be sure to check out other training on
their site.

Scott Kelby has an archived lesson

Trey Ratcliff has a session June 15


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Google Chrome Speed Tests

Google did some pretty cool speed tests with High Speed photography.