» Posts Tagged ‘nle’
We talked a little bit about Lightworks and their plans for the future during NAB a few weeks ago. The team over at EditShare haven’t missed a beat since then, and now they’ve released the public beta of the Linux version of Lightworks. Although most of us aren’t currently using Ubuntu, my guess is that’s due to the fact that, until now, there haven’t been any truly professional or industry-recognized NLEs on that platform. Now, however, with an NLE that is truly powerful and operating system agnostic, editors will have the choice to work with the OS that suits their needs, not the OS that fits their software solution. Hit the jump for details on the release. More »
As most post-production folks know, Avid Media Composer is not the most intuitive piece of software. Even the simplest of tasks can take far too much time if you’re unfamiliar with the Avid interface and workflow. However, once you’ve grown accustomed to the program, it becomes one of quickest and most powerful editorial tools at your disposal. Because Avid is such a prominent tool within the industry, yet one that is shied away from by many younger filmmakers, I will be starting the “Avid Tutorial” series (and a Premiere version as well). Each post will be an aggregation of the best topical video tutorials from around the web in order help people become better oriented with the key concepts and functions within the software. So without any further ado, let’s take a peak at some of the basic color correction functionality built into Avid Media Composer, and see how you can take your shots from bland to vibrant in a few easy steps. More »
Avid has been the leader in high-end film and television post-production for the past 20 years. Despite this fact, Avid’s primary competitors (Adobe and Apple) have been stealing customers left and right for the past few years with new innovations in their NLE offerings. However, Avid has slowly and steadily been bringing Media Composer up to modern standards with 64bit processing, support for modern GPU’s, AMA linking etc, but up until yesterday, the Media Composer platform was still limited to a 1920 x 1080 pipeline. Avid’s Media Composer 7 looks to change all of this and bring the platform into the 21st century, where 4k looks to be the new standard. Check out the product video below: More »
NAB Video: A Chat with Adobe Part 1 & 2
FreshDV sits down with Premiere Product Manager Al Mooney to discuss the latest from Adobe, including highlights from Premiere and their approach to providing “editing finesse” for users. They also talk about SpeedGrade integration, the Creative Cloud, the competition from Avid and Final Cut, GPU support, enhanced ProRes and DNXHD support, and the “link and locate” feature. Hit the jump for the videos: More »
It looks like Apple’s campaign for winning back professional editors is attempting to gain more traction, as today LumaForge announced a system that promises to bring an affordable workflow for capturing, processing, and delivering 4k footage. While the platform is cooperating with several companies including Adobe, Blackmagic Design, Autodesk, and RED — their workflow for editing and finishing looks like it’s based on Final Cut Pro X. Read on for more details. More »
ProCutX, an iPad Control App for Final Cut Pro X, is Now Free for a Limited Time
We’ve seen a few apps capable of controlling different programs on your computer with an iPad. A recent app that caught our eye, ProCutX, is capable of controlling Final Cut Pro X with your iPad, and replacing many of the functions normally done with a keyboard. For a limited time (possible only a few more hours), the full app, which is normally around $25, is now free on iTunes. Click through for a video walk-through of ProCutX. More »
Apple has been losing its grip on the professional editing market ever since Final Cut Pro X was launched in 2011 to much skepticism. With Avid and Adobe welcoming a lot of FCP7 refugees, Apple is now once again targeting those customers with its latest free update to FCPX. The major features include support for Sony’s new XAVC codec up to 4K resolution, and the option to display ProRes Log C files from the Arri Alexa in Rec. 709. Also included in the free update are various fixes to both Compressor and Motion. Get the full details after the jump. More »
NAB is an exciting time of year for us filmmaking folk. While there are certainly some exciting things on the horizon in terms of cameras, rigs, lenses, lights, and what have you, I’m making an educated guess that this will be another significant year for NLE development, especially from post-production giants Avid and Adobe. Avid is likely to make the jump to version 7 of its flagship Media Composer, and if they follow their previously mentioned product cycle plan, Adobe will release version 6.5 of their popular Creative Suite. With much of the editing market still undecided between the three major players in post-production, these new updates could be a crucial stepping stone into the future for these companies. More »
Your iPad is Now a Controller for Apple Final Cut Pro X with Pixel Film Studios' ProCutX
The keyboard can certainly be a powerful and efficient control surface for non-linear editing, especially with the mastery of hot-keys and short-cuts. Despite this, some editors desire a more visually intuitive way of interfacing with their NLE. There are those that prefer specialized color-coded editing keyboards or keyboard covers, while others swear by their tactile controllers. Those can go for around $80, but what about using an infinitely configurable iPad to take the place of one of these consoles? We’ve already seen one iOS app capable of controlling a wide range of video software, but with a new iPad app called ProCutX, Apple editors have yet another way to turn their tablet into a Final Cut Pro X console. Check out some images and details below. More »
Check Out This Thorough Presentation Comparing Final Cut Pro X vs. Premiere Pro CS6
In post production, I’ve always been a fan of the products from Adobe. I cut my teeth on programs like Photoshop 7, After Effects 5.5, even Image Ready (remember that?). But for editing, I never really got into Premiere Pro, and instead focused my attention on Final Cut Pro (from version 3 onwards). However, this year I finally made the decision to migrate to Premiere Pro CS6, as Final Cut Pro X has some infamous issues. Granted, Final Cut Pro X has come a long way, and it continues to be a true “pro” tool, but there are some quirks worth comparing against Premiere Pro CS6. Both suites are tools that should be compared objectively. Ric Lanciotti from The Pacific Northwest College of Art made this great video comparing the two editing suites. Though he takes the perspective of an educator looking for solutions for students, I think there are still lessons for all of us — especially those of us who only edit in one suite or the other. Check out his full 45 minute presentation after the jump: More »
You read that right boys and girls. Lightworks, the editing software that’s been an industry workhorse on multiple features for over 20 years has come out of its 18-month beta, and will be yours to download on May 28th at http://www.lwks.com (currently not live). There is no mention in the press release of what platforms the software will be available for on the release date other than stating that it will run “on a wide range of PC hardware”. However, it stands to reason that the Windows version will launch first, followed by Linux (a demo of which is being presented at NAB), and finally the OSX and 64-bit versions. Check out the list of new features after the jump: More »
No one’s denying the power of Avid’s editing systems, but they haven’t been the most accessible or open programs… until now? Today Avid announced Media Composer 6, bringing a brand new user interface, 64 bit processing power, stereoscopic 3D workflow, and new “Open I/O” architecture that interfaces with existing hardware cards from the likes of AJA and Blackmagic Design. Media Composer 6 will be $2,499, with upgrades from MC 5.5 starting at $299. Similar to how Adobe offered 50% off for Final Cut Pro 7 editors disenfranchised by the new FCPX, Avid is making a similar offer for users of Final Cut Pro 7: you can purchase MC 6, with video training included, for $1,499. Here’s a brief look at Media Composer 6 from Alex Walker: More »
I know, I know, Final Cut Pro X has been slammed by many, so what’s the point in posting yet another article about it? Well, one question I’ve been asked a lot since the release of FCP X is, “I’m a student, what NLE should I learn?” Before, the answer was easy: Final Cut Pro. Now, not so much. Should a student commit to FCP X, assuming it will become the future standard despite being woefully incomplete at present, or should they learn Adobe or Avid, assuming Apple’s role in the professional, wage-earning editing world as we know it is over? It’s a tough question, and I’m curious to hear your thoughts in the comments. In the meantime, here’s famed editor Walter Murch (The Conversation, Apocalypse Now, The Godfather II, and The English Patient among many others) talking about the X at the Boston Supermeet: More »
Robbie Carman, co-author of the just-published An Editor’s Guide to Adobe Premiere Pro, presents a tutorial perfect for those editors switching from Final Cut Pro to Premiere Pro. While I like a lot of things about Final Cut Pro X (more on that soon), the inability to open old project files is indefensible. The easiest transition path is actually to switch to Premiere Pro (50% off if you own FCP), choose FCP’s keyboard shortcuts within Premiere, and open your FCP 7 project files in Adobe’s NLE thanks to XML interchange. Here’s how to do it: More »
Most of us use both Adobe and Apple products — most commonly Adobe Photoshop and Apple Final Cut, I’m guessing. With the ongoing feud between the two companies reaching a joke T-shirt-spawning level, however, it’s nice to know that their respective NLE programs still talk to each other (thanks to standards-based XML files). Since CS4, Premiere Pro has been able to open and export Final Cut XML files (which is handy for getting FCP sequences into After Effects, an action that used to require a $500 plugin). CS5 tutorial after the jump: More »
This isn’t for anyone who works at a huge corporation or has a lot of money, but for the rest of us, I think the best guerilla solution for filmmaking in 2010 will be a PC. I’ve been a Mac guy for the past four years but I suspect things are about to change; here’s why. More »
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