» Posts Tagged ‘nle’

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Resolve 11 EditingBlackmagic Design is on a roll at this year’s NAB! In addition to the major announcement of two new camera systems – the URSA and the Studio Camera - Blackmagic also unveiled version 11 of their world-renowned color correction software, DaVinci Resolve. The new version contains a plethora of exciting new features, but most notably, and somewhat unsurprisingly, Resolve 11 has over 70 new editing features and is now a full-fledged editing solution! Check out the details below. More »

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LightworksIt has been almost a year to the day when Editshare shared that their award-winner NLE Lightworks was going through alpha/beta testing for Mac OS X, and since then the question on the minds of its supporters has been, “When will the public beta of the mac version be available?” Well, it looks like they’re much closer to completing the platform trifecta (Windows, Linux, and Mac), because Editshare has announced that they indeed have a date nailed down, as well as a few other pertinent pieces of information about Lightworks that you might want to know. More »

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SpielbergAs he is arguably the most successful Hollywood director of all time, it should surprise no one that, even as a teenager, Steven Spielberg was a prodigy. Like many kids of his generation, he used a Super 8 camera to make short films; unlike most of them, he had a preternatural knack for filmmaking, and, at the age of 17, wrote and directed a 135-minute sci-fi epic, Firelight. Click below to read the story of Spielberg’s first (and extremely indie) foray into feature filmmaking, and watch the surviving footage! More »

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WipsterKeeping up to date with what’s currently happening in the cinematic world is certainly an important part of being a filmmaker, as is being able to recognize and anticipate changes. We’ve heard many thoughts on where the future of cinema and filmmaking is headed, from the transmediatic, multi-celled film to the end of TV as we know it. Adding to the discourse through their new series of (very) short SXSW video interviews is Wipster, who asked industry professionals, like reps from Blackmagic, Adobe, and Vimeo, what they saw in the future of video. Continue on to find out what they said. More »

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Final Cut Pro X Logo with WordsSince its release almost three years ago, Apple’s Final Cut Pro X has been heavily criticized by higher-end productions who might have previously worked on Final Cut 7, including people like Academy Award-winning editor Walter Murch. The newest version of FCP X is quite a bit more mature, and includes many of the missing features editors complained about initially. It also has improved project management, making it much easier to share projects among a group. Now we have word that the first major Hollywood film is editing on FCP X. More »

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DaVinci resolveWe got our first look at DaVinci Resolve 10 at NAB 2013, and at that moment it was clear that Resolve was taking aim at NLEs with the new “Edit” tab in the application. However, until version 10 was officially released, it was unclear just how the editing features of the program would function, and more importantly, whether or not they would allow Resolve to become a one-stop post production solution. In that first iteration, the editing features were solid, but not enough to unseat any NLEs. However, in version 10.1, Blackmagic has added a few new sophisticated editing features, as well as other enhancements. Read on to see what’s new. More »

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Apple’s release of the Final Cut Pro X 10.1 update came with a number of new features. From more 4K software and hardware support to better project and media management, FCP X’s new capabilities are many, and here to share his first impressions of the update is a filmmaker who has had extensive experience with the powerful NLE.

This is a guest post by Austin Mace. More »

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Final Cut Pro X 04-Library-ModelA new Mac Pro wasn’t the only thing coming out of Apple yesterday. They also introduced a major new update for their NLE, Final Cut Pro X. This 10.1 update adds a number of features, including more 4K software and hardware support, optimized dual-GPU performance, native support for more camera files, and the ability to upload 4K videos directly to YouTube. Perhaps the biggest addition, however, is a change in the way FCPX organizes projects, which should make for much better project and media management. More »

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Documentary InfographicGetting started in documentary filmmaking is a lot like getting started in narrative filmmaking — most of the time you’re just picking up gear that is cheap and readily available to you. But, if you’re looking to find out what the pros are using, PBS’s POV, the longest-running showcase of documentary films on TV, asked working documentarians about the tools and equipment they used in their projects. Continue on to check out an infographic — a comprehensive equipment list of the cameras, lenses, microphones, and post-production software (and more) used by the pros. More »

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Screen shot 2013-10-20 at 2.04.10 PMAvid’s Media Composer is a powerful piece of software, especially in terms of its media management and collaborative editing capabilities. However, Media Composer also boasts a powerful palette of effects that go well beyond the effects that are included in most other NLE’s. Despite the fact that some of these effects aren’t particularly easy to use, they do give editors the ability to create temp or finalized effects without the need for a specialized compositing program. Woody from Splice Training has put together an in-depth tutorial on how to create sci-fi energy blasts directly in Media Composer. Check it out. More »

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Video thumbnail for vimeo video Watch: Light Iron's Michael Cioni Tours Media Innovations (Including Final Cut Pro X) - nofilmschoolLight Iron is a post-production company that is no stranger to innovation. The company is known for its handling of Fincher’s The Girl with the Dragon Tattoo and its end-to-end 4K production — as well as its on-set hardware and software tools. Given LI’s progressive attitude, it isn’t too surprising that CEO Michael Cioni recently sat down to present a variety of non-Light Iron production tools (with one exception) that he sees as innovations. Cioni hits upon MōVI, the Canon C500, Ki Pro Quad, LI Live Play, and FCPX, all within the context of why and how they are future-ready. To see this innovator’s thoughts on production innovations, check below. More »

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Video thumbnail for youtube video Editing 'Minority Report' Style: Editors Keys' Gesture-Based Interface for Final Cut Pro - nofilmschoolWe’ve seen a few early attempts at touch-based editing interfaces, using devices like the iPad. It may take some time for touch-based tools to mature into something better/faster than good ol’ fashioned keyboard input, if ever, but the developments are interesting to say the least. Now, Editors Keys are working on a totally gesture-based system for the Leap Motion Controller, for ‘lift of a finger’ interfacing with Apple Final Cut Pro X, Adobe Premiere & Photoshop, Avid & Pro Tools, and beyond. As always, editors will have to judge whether Minority Report-style control over their NLEs is viable. That said, it will be quite fascinating to see where technology like this goes. Read on for a demonstration by Editors Keys. More »

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Media Composer 7The 7th installment of Avid’s powerhouse NLE, Media Composer, is an impressive upgrade to previous versions. Not only is Media Composer considerably cheaper than it has ever been, but it also takes some cues from the competing NLE’s, and adds some major time-saving features that make it a better fit into many of our editing workflows. Alex Walker, an immensely talented DP, has put together a quick video showing his favorite new features in Media Composer. Check out the video and see how MC7 can save you some time: More »

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Edius Main UIThere is no perfect editing solution on the market that will fulfill every editor’s needs on a consistent basis. Premiere Pro is great, but many take issue with the lack of ownership of the software with Adobe’s subscription-based business model. FCPX is the fastest thing around, but it still scares a good many editors, many of whom are not switching back to Apple any time soon. Avid is powerful. Really powerful. But it’s also a bit clunky and the learning curve is steep and somewhat intimidating. So what’s an editor to do when none of these programs fit their needs? How about trying Edius on for size? More »

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ETERNAOne of the great boons of the digital age of filmmaking has been that everyone with a copy of non-linear editing software can download and tweak their favorite movies to their heart’s content, whether to amuse themselves, for educational purposes, or to create mind-bendingly awesome mashups. Belarusian video editor Vadzim Khudabets, 24, has really raised the bar with his 6-minute trailer for the most epic movie of all time — a compilation of trailers from other epic movies. Click below to watch this amazing viral phenomenon! More »

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Alisa LepselterWoody Allen’s films are known for many things, but editing isn’t necessarily one of them. Which isn’t to say that the cutting in a Woody Allen film isn’t excellent, it’s just not something that calls attention to itself, except for rare occasions like the beautiful black and white shots that open Manhattan. And it’s his unobtrusive cutting style that has helped subtly define his films, with simple switches from a single to an over the shoulder changing the emotional tone of a dialogue scene without the audience even noticing. Invisible editing is everywhere, of course, but Woody’s working methods are famously unique, and now Alisa Lepster, his editor for 15 years, talks about the process of this legendary writer/director and how to cut a Woody Allen movie. More »

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Media Composer 7We covered the announcement of Avid Media Composer 7 back in April at NAB 2013. Since that time, we’ve gotten new versions of all the Creative Suite applications, and Apple’s FCP-X has been gaining traction with editors around the world. Needless to say, the NLE market is more competitive than ever, and innovation is through the roof while prices are at an all-time low for professional editing solutions. Avid’s new offerings with Media Composer 7 are no exception. With some fantastic new features – alongside a drastic reduction in price – Media Composer is looking to stay competitive in the high-resolution editing future.  More »

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steenbeck editing tableI was in the last generation of filmmakers to cut their teeth on old Arriflex 16mm cameras and Steenbeck editing tables (do the math, but I’m old). Since the advent of non-linear editing hardware and software, it seems as though films have gotten — faster, but is this really the case, or an optical illusion? An exhaustive and searchable database of Average Shot Length from the birth of cinema to now is available online, and it shows the evolution of editing in cinema. Click below to see just how editors are cutting films today how they cut in the past, and what this means for you as an indie filmmaker. More »

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Screen shot 2013-06-09 at 11.26.12 PMUsing a mouse to trim might be one of the most counterintuitive and time-wasting things that we as editors do on a day-to-day basis. Since that’s how many of us learned to edit — by clicking through the buttons and dragging things around in our favorite NLEs — editing with the mouse has become one of those unfortunate behaviors inherent in our processes. However, if speed and precision are something for which you strive for with your editing, the mouse is your arch nemesis. By learning a few simple keystrokes and committing them to memory, you can take your timeline trimming to another level. More »

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Screen shot 2013-05-28 at 11.22.25 PMIt seems as if everyone’s shooting with flat or log profiles these days. While these profiles can be a tremendous tool for maintaining dynamic range and preserving chrominance detail, the amount of post work required to make this footage look its best can be overwhelming at times, especially for those of us who are shooters first and editors/colorists second. However, bringing your flat footage to life doesn’t need to be as tedious a process as it’s sometimes made out to be (with roundtrips from After Effects and your color grading tool of choice). In fact, you can get great looking filmic shots in a jiffy just by duplicating some layers and letting Adobe’s fantastic blend modes do their thing. Here’s Creative Cow’s Andrew Devis with the details: More »