nofilmschool » workflow

Will the Google-Supported WebM Open-Source V9 Video Codec Surpass H.265?

Micah Van Hove — Tue, 21 May 2013 21:41:02 +0000

Let the next-gen online video compression wars begin. H.265, the codec that was approved earlier this year as an ITU-T standard and claims to be 50% more efficient than its predecessor H.264, now looks to have some competition in the Google-partnered WebM open-source V9 format, a step up from the highly adopted V8. Read on to watch some side by side comparisons and find out what this codec might do for you. (more…)

NAB Video: Avid & Lightworks

Micah Van Hove — Thu, 11 Apr 2013 07:00:26 +0000

Here’s more for editors and post-production professionals from Avid, talking about the new Media Composer 7, the Symphony upgrade, AMA linking, working with 4K footage in the HD timeline with Frame Flex. FreshDV also talks with EditShare about Lightworks and their new price-point to compete with the other NLE giants: (more…)

Media Composer 7: Avid Brings Their Flagship NLE into the High Resolution Future and Lowers Price

Robert Hardy — Tue, 09 Apr 2013 22:30:00 +0000

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: Imagineer/CoreMelt, Digital Anarchy, and NewBlueFX

Micah Van Hove — Tue, 09 Apr 2013 10:00:54 +0000

Coverage of NAB with FreshDV continues with new possibilities in the post-production environment, including Imagineer/CoreMelt’s planar tracking Plugin SliceX, Digital Anarchy’s digital makeup plugin Beauty Box, and NewBlueFX’s 3D titling software Titler Pro. Watch the video below for information on some of most exciting post-production tools at this year’s conference: (more…)

NAB Video: Davinci Resolve 10 and Scopes

Micah Van Hove — Tue, 09 Apr 2013 06:00:35 +0000

Blackmagic keeps pressing forward with version 10 of Davinci Resolve and Scopes to support the evolving market for 4K and beyond. Watch the video from FreshDV‘s coverage to hear about the new features Open Effects, the Online Editor, and Resolve Live: (more…)

LumaForge Introduces 4kFLOW, an Affordable 'End-to-End' 4k Platform Based Around FCPX

Micah Van Hove — Sun, 07 Apr 2013 20:00:22 +0000

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…)

Red Giant Introduces BulletProof: a Complete Offload, Prep, and Delivery Solution for Camera Footage

Joe Marine — Mon, 01 Apr 2013 20:05:19 +0000

You might hear us talk a lot of about workflows and post-production pipelines, but really what we are talking about is organizing the camera files you get on-set, backing them up, organizing, transcoding, and applying basic color correction. Red Giant, who makes the Magic Bullet suite of programs, is introducing a brand new program called BulletProof that “bridges the gap between camera and editor.” Click through for more details. (more…)

Digital Bolex's Lab-Style RAW Software Will Be Your CinemaDNG Workflow Workhorse

Dave Kendricken — Thu, 17 Jan 2013 20:09:02 +0000

By coincidence or not, it seems like each camera announced to use CinemaDNG as its RAW shooting format is poised to change the world in its own way. The Blackmagic Cinema Camera and the ~$3K Digital Bolex D16 seek to put quality acquisition tools in nearly anyone’s hands, while the future-bound Aaton Penelope Delta and open source Apertus Axiom bear their own technical notabilities (and nobilities). Clearly it’s time to really start wondering about CinemaDNG. As of now, the license-free format is being adopted by way more cameras than NLEs, and workflow questions, concerns, and schools of thought and technique abound. There’s hope and then some, though — just over the horizon the RAW processing software shipping with the Digital Bolex D16 just might change the world in its own way, too. (more…)

Brief Tutorial on Working with RED Files in Adobe Premiere Pro CS6

Joe Marine — Sat, 17 Nov 2012 04:07:39 +0000

If you just got in on a RED camera for a tremendous price, and you aren’t familiar to the RED workflow, it can be a little confusing at first, especially since RAW files offer a tremendous amount of flexbility. If you’ve got Adobe Premiere Pro CS6, RED has put together a little video showing exactly what you need to do to get started working with RED RAW files and manipulating them within the program. Check out the video below: (more…)

RED Workflow: How to Get REDCINE-X and Premiere Pro Working Together Seamlessly

Ryan Koo — Wed, 18 Jan 2012 21:35:52 +0000

One thing I’ve been wondering about since getting a RED was what I was going to do about workflow. REDCINE-X Pro is a really nice (and free) color grading application. But you’re not going to do secondary color correction or really complicated masking/keying in it (yet). So how does one use it in conjunction with a NLE? Do you render out files, take them and edit them in Premiere Pro, and then color correct files that you’ve already rendered? Don’t you sort of lose the whole idea of a RAW workflow by doing that? Turns out there’s a better way. (more…)

Fincher Reframes in Post! The 4K Release of 'The Girl With the Dragon Tattoo'

Ryan Koo — Wed, 28 Dec 2011 16:33:13 +0000

With all the hype surrounding 4K acquisition, I was surprised to hear that David Fincher’s The Girl with the Dragon Tattoo would be the first large-scale end-to-end 4K digital cinema release. Previous films captured at 4K were posted and distributed at 2K… which kind of defeats the purpose. In my quest to find a 4K theater to see GWTDT, I got a response from Sony’s Digital Cinema Twitter account, yet because I’ve been catching holiday films with my family (including young ones) I haven’t yet had a chance to see the film yet (it seems I’m not the only one in this situation). Regardless, I wanted to share a very interesting article about the film’s 4K workflow by Light Iron’s Michael Cioni, which includes this interesting nugget on Fincher’s approach to reframing in post (his framing chart is pictured): (more…)

Vincent Laforet's Hour-long RED and HDSLR Premiere Pro Workflow Video

Ryan Koo — Fri, 29 Jul 2011 18:55:07 +0000

Vincent Laforet has been up to great things lately with his blog, from shooting with RED EPIC to covering roundtrip editing between FCP 7 and Premiere. Along with Richard Harrington, Vincent has posted an hour-long tutorial on his complete RED and HDSLR workflow in Premiere Pro: (more…)