“Deadpool” is one of the biggest films to date to be edited in Premiere Pro CC. Its editor, Julian Clarke, talks shop with Art of the Cut. […]
Read More… from ART OF THE CUT with “Deadpool” editor Julian Clarke
You may be familiar with the old MGM saying that they had, “more stars than there are in heaven.” The same may be true of the number of choices you now have for picking a lens for your camera. […]
With the move to larger then HD projects, there have been some changes in Media Composer that editors need to get accustomed to, one of which is that we’ve lost the use of both the Title Tool AND the Marquee Tool. Not to worry, though, as NewBlueFX’s Titler Pro is included in your subscription or […]
Read More… from Get Started Fast with NewBlue Titler Pro for Media Composer—Episode 1
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap? Prepare yourself with my new tutorials series for Media Composer editors, that specifically focuses on editing in larger then HD projects. […]
Read More… from Get Started Fast with Media Composer for High-Res Workflows—Part 5
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap? Prepare yourself with my new tutorials series for Media Composer editors, that specifically focuses on editing in larger then HD projects. […]
Read More… from Get Started Fast with Media Composer for High-Res Workflows—Part 4
Ep. 21 getLightType Free Function Friday […]
Hello to our friends at the software development teams at ACX, Apple (GarageBand team), Audible, Bossjock, Spreaker and Wooji Juice. I am about to suggest something quite simple —that you have in your hands to fix with a minimum amount of effort— that will allow your audio world to get in sync with the video […]
Read More… from All audio production & distribution should go 48 kHz. Learn why.
In days of old, white balancing was easy. Now, like everything else, it’s gotten a lot more complex. Here’s why, with instructions to make it simple again. […]
The new Canon EOS 80D DSLR from Canon continues to use Dual Pixel AF, now faster and more reliable than the one present on the EOS 70D. But to look at the EOS 80D and fully understand it, one has to look at all the rest introduced with the camera. The previous article published here […]
This week on MacBreak Studio, I show Steve Martin from Ripple Training some options for reframing video clips in Final Cut Pro X. While you can reframe native resolution clips by scaling up perhaps 5-10% and repositioning with little loss of resolution, this technique really shines when applied to 4K clips in a 1080 timeline. […]
