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| 10|01|2008 |
Lonzell WatsonThere is no substitute for acquiring the best audio you can while in production, but the audio cleanup tools can be a lifesaver if the possibility for a re-shoot is a no-go.... »
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| 08|01|2008 |
Robert W. Walker and Mo FitzgibbonWe were hired to shoot three television commercials in one day on greenscreen. Due to the time constraints, we wanted to be able to do live greenscreen with the modeled set built in After Effects and capture all the footage seamlessly during the shoot.... »
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| 07|01|2008 |
Lonzell WatsonIn this tutorial, the objective is to remove the unwanted noise without degrading the overall sound quality of the scene. Sounds that vary wildly in pitch are the most difficult to remove. Be mindful of your shooting environment and if you anticipate that a particular background noise will give you problems in post...... »
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| 06|01|2008 |
Michael PhillipsMetaCheater lets you select one or more QuickTime movies, and through a variety of settings, you can work with any number of workflows, depending on the metadata extracted. It’s a great way, for example, to work with QuickTime files associated with a RED Camera workflow, as I explained in my previous tutorial in the April issue.... »
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| 06|01|2008 |
Ray BrooksbyGrass Valley recently updated the MediaEdge video distribution system to support delivery of mixed media content. Video, still graphics, scrolling text, animated Flash, and HTML can now be combined on a single display. I’ll show you how you can use MediaEdge to publish digital signage using the new Display Content Manager, or DCM.... »
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| 06|01|2008 |
This is just one easy way to create a transparent version of your company’s signature or logo for importing into a Final Cut Pro project. If you plan to use square pixel elements in your Glass Bug, simply drag or copy those elements into a non-square Photoshop document to customize them for use in your project.... »
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| 05|01|2008 |
Lonzell WatsonThis technique is a simplified play on color isolation made popular by such films as Pleasantville and Sin City. It is, nonetheless, a powerful tool to command the attention of an unsuspecting audience.... »
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| 04|22|2008 |
Matt ArmstrongWes Plate, founder of Automatic Duck, demonstrates the new version 4 of Pro Export FCP which allows Final Cut Pro sequences to be exported into the Avid. ... »
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| 04|04|2008 |
Matt ArmstrongAvid's Bob Russo shows how to get the Red files into the Avid while preserving the metadata.... »
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| 04|04|2008 |
Matt ArmstrongAt the AlphaDogs Editors' Lounge Red's "Leader of the Rebellion" Ted Schilowitz demonstrated the Red Camera workflow with Apple Final Cut Pro. ... »
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| 04|01|2008 |
I’ll show you how to make QuickTimes through RED ALERT!, RED’s image-processing utility that lets you load REDCODE RAW footage, adjust image exposure and color correction settings, and render out to 4K or 2K resolution DPX and TIFF file formats.... »
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| 03|20|2008 |
Watch this tutorial to see how to quickly smooth out shaky camera footage with ProDad's Mercalli plug-in. ... »
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| 03|01|2008 |
There are three ways to move footage from the Sony PMW-EX1 camcorder to Final Cut Pro. Deciding which method to use depends on your equipment and desired file format.... »
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| 03|01|2008 |
Jem SchofieldDon’t be afraid to play! The parameters in Motion are there to mess with. Give them a try; you can always undo.... »
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| 01|01|2008 |
Here’s how to add an arch to a street intersection and have a passing car or two actually drive through the modeled arch. ... »
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