• 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.

• 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

• 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.

• 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

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

• 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

• The issues addressed include:
• Corrected an issue with improper scrolling behavior.
• Resolved memory leaks for improved performance.
• Addressed layout of interface elements in certain application alert windows.

• Movie Slate
• Storyboard Composer (formerly Hitchcock)
• Blue FiRe
• Moviola Pro Video Guide
• Final Cut Pro Field Guide
• DVD Bit Budget Assistant
• Helios Sun Position Calculator
• AJA DataCalc
• PhotoAssist

• Video Made on a Mac: Greenscreen Solutions
• Creative Chromakeying handout from Photoshop World

1. Create a new Premiere Pro project and match its settings to your primary footage format.
   2 Import a folder of QuickTime movies into a Premiere Pro project. You can even import a Final Cut Pro XML file to bring a sequence in without needed to do anymore media management.
2. Edit the clips as needed into sequences.
3. After your clips are edited, just select them and press Command+C to copy them to your clipboard.
   5 Switch to an open After Effects project and press Command+V to paste the clips using Dynamic Link. The clips (with handles) will move from Premiere Pro to After Effects.

1. Launch Adobe Photoshop.
2. Press Command+K to call up your Photoshop preferences.
3. Click the Units & Rulers preference tab.
4. Click the Rulers menu and set it to pixels.

• Be humorous!
• Address a critical environmental issue
• Be an original production
• Reach a broad audience beyond just environmentalists
• Be less than 4 minutes

1. Select either the 1080 or 720 source folder.
   2 Locate the correct target format and open the template.
   3 Import a QuickTime movie of your HD source.
   4 Highlight the layer called Replace Me.
   5 Hold down the Option/Alt key and drag your replacement footage onto the solid layer to swap.
   6 Change the comps duration to match your footage layer’s length by choosing Sequence > Settings.
   7 Add to the Render Queue and render to taste.

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

"Just Released: “Editing Video Shot With Your DSLR” Online Class

For example... I saved over 1.5 GB of space in just a few minutes.

1. I used it to identify some HUGE template files for Apple Motion on my internal drive.
2. I then opened up the files with QuickTime Pro. They were Photo-JPEG and Animation codec files (both beefy).
3. I converted the Photo JPEG to Apple ProRes 422 and the Animtion to Apple ProRes 444.
4. Voila.. space saved.

I am currently on a seek and destroy mission to locate large downloads and forgotten files. If you are a little weary, back up your drive before you start the purge in case you trash a needed file.

• Megasuite from Digieffects $799
• Plug-in from Automatic Duck $495
• Plug-in Collection from CGM $199
• Adobe Premiere Pro CS4 $799
• Free Training Course from FMC $1,500
• NAB Post Production Conference Pass $895
• Music License from Free Play Music $100

• http://provideocoalition.com/index.php/adobe/story/the_future_is_64_bit/
• http://blogs.adobe.com/keyframes/

1. They are small and lightweight, easily fitting in your gear bag.
2. Relatively inexpensive and disposable, so you can use a fresh card periodically. Old cards tend to fade in the light.
3. It’s adhesive on the back so you can easily attach it to your clapboard.
4. With a white, black, and neutral grey surface, color correcting with Final Cut Pro’s three-way color corrector is a snap.
5. $7 spent per shoot is well worth hours saved on color correction. In most circumstances, just three clicks per angle will calibrate across each camera.

• Before scanning an image, ensure you have the latest software needed by your scanner. You can always check their websites or use Version Tracker. Having problems with a lack of support on the OSX side for older scanners. I recommend checking out VueScan from Hamrick Software.
• The most important thing when scanning is to be consistent. Scan all of your photos in at one time if possible.
• Ensure that the scanner is lying flat, or you may get misregistered scans.
• Use a gentle glass cleaner whenever smudges appear. Spray the cleaner on the soft cloth, and then wipe the scanner bed down.
• Make sure your photos are clean before scanning. Never write on the back of photos, instead write on a post-it note and adhere to the back.
• Place your photos on the scanner straight. Use the edges to help you maintain parallel edges on your photos. If you get crooked photos, try Photoshop CS’s newest automation tool File>Automate>Crop and Straighten Photos.
• If your scanner allows you, set the white and black points before scanning. Think of this as a white and black balance that you would do in a video camera. This will produce the best tonal range. You can then use Photoshop’s color correction tools to adjust the white and black points as well as make additional color changes.
• If you are scanning in previously printed items such as newspapers, magazines, books, inkjet prints, etc, you will likely get a moiré pattern. Photoshop scanning the small spaces between the previously printed dots causes this. Most scanners have a de-screen filter in their software. If available use it when scanning previously printed items. If this is not available, run the Median filter at a low value (Filter > Noise > Median).
• Scan at the quality you need. For video, scan so you have approximately 4,000 by 3,000 pixels. This is generally enough pixel information to perform motion control in After Effects.
• Save to uncompressed formats such as TIFF, PICT or TARGA for maximum compatibility and disk space usage. The PSD format is great for layered files, but is not as efficient for single layered files. Always save the appropriate file extension for your file type.

• New Media Boot Camp – slides
• Facebook 101– Why all the Buzz? – slides
• Podcasting and Government – slides
• Blogging to Reach an Audience – Does Anyone Care What You Have to Say – slides
• It’s all About Mobility – Reaching Audiences on the Go – slides
• Producing Video for the Web – Best Practices for Big Results – slides

• Slides
• Book
• Website
• Podcast

• Book
• Website
• DVD
• Podcast

• Slides
• Book
• Website
• Podcast

1. Shut down the computer to avoid any improper dismounting of media drives.
   2 Isolate the suspected “problem” device.
2. Be sure to reseat both ends of the cable.
   4 If that doesn’t work, try swapping out the cable.
3. Continue to add devices until the problem recurs. Then repeat this cycle.

Like this tip? It comes from the book
Final Cut Studio On the Spot from Focal Press.

bbDEMUX – Free

Recharge Your Creativity and Craft • January 28 - February 1 • Playa Del Carmen, Mexico

Now in its third 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 gather to network, exchange ideas, share tips and of course, have fun!

Past keynotes and attendees have included such names as Alan Heim, Sally Menke, Stuart Bass, Chris Franklin and David Helfand as well as Apple, Adobe and Avid experts and industry power users. Attendees have included representatives from HBO, FRONTLINE, MTV, Lockheed Martin, Harpo Productions and Telemundo.

Running for 5 days and 4 nights, the 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.

To ensure that only the best of the best attend, participation is subject to an application and screening process. Visit www.EditorsRetreat.com for the full schedule and more details.

WATCH THIS YEAR'S VIDEO

1. Inside Final Cut Pro select the sequence you want to export.
2. Choose File > Export > Using Compressor.
3. Inside Compressor select the setting you’d like to apply to the file. With the setting active, select the Inspector window and click the Filters tab.
4. Choose Timecode Generator.
5. Change the settings for the Timecode Generator as you see fit.
6. Apply the setting to the clip in the Batch window.
7. Submit the job.
   

Like this tip? It comes from the book
Final Cut Studio On the Spot from Focal Press.

It’s possible to trim on the fly. This way you can listen for an audio edit or look for a particular visual cue. Just make sure the Dynamic trimmimg checkbox is marked.

1. Enter Trim Edit mode, and press the space bar to cycle your trim. The sequence will play around your edit point and loop. The pre-roll and post-roll are set in the Editing tab of User Preferences.
2. When you reach the desired edit point, press the I key to move your In point.
3. Press the up or down arrow to move through the Timeline to your next edit point.

Like this tip? It comes from the book
Final Cut Studio On the Spot from Focal Press.

QuickTime P2 MXF/DVCProHD Decode Components for Windows
For playing P2 MXF Files and QuickTime DVCProHD Files on Windows (see Read Me)
Download BETA 1.0.0 (Build 18) for Windows
Download Read Me
Download License Agreement

• Designed for studio and field applications
• 7.9-inch low-power, lightweight monitor
• Built-in waveform monitor
• Compatible with 1080/24 psf, 1080i, 720p, 480p, and 480i

• Bring at least one alternative set of clothing.
• Herringbone, stripes, or small patterns do not look good on camera. Avoid vivid patterns, plaids, and geometric shapes.
• Please keep you’re 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.

• Optimize system performance
• Create impressive titles with Generators, Motion, LiveType, and Photoshop
• Work quickly with buttons and keyboard shortcuts
• Color correct to save vital shots, and keep them broadcast legal
• Fix and mix for professional-quality audio
• Design and import graphics seamlessly
• Integrate with other applications including Motion, Soundtrack Pro and Color
• Manage media and backup strategies
• Export and publish finished projects to tape, DVD, or the Web

• “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 will use only part of the answer (such as step three, without steps one and two).
• Ask leading, open-ended questions… being sure to ask a single question only.
• 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’ and can stop trying to talk themselves out of a corner.

• It can be patched into a soundboard easily with three different connection types
• It can be connected to a video camera's headphone port to record audio
• It has an attachable mike for quick voice records of meetings or creative sessions