Q and A with Wipster about the Vimeo + Wipster Partnership
I’ve long been a big fan of proper Review and Approcal services. My Review and Approval Options for Video Pros is...
ART OF THE CUT with “Deadpool” editor Julian Clarke
“Deadpool” is one of the biggest films to date to be edited in Premiere Pro CC. Its editor, Julian...
Get Started Fast with NewBlue Titler Pro for Media Composer—Episode 1
With the move to larger then HD projects, there have been some changes in Media Composer that editors need...
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?...
Get Started Fast with Media Composer for High-Res Workflows—Part 4
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap?...
Easy Split-Screens in Final Cut Pro X
This week on MacBreak Studio, I show Steve Martin from Ripple Training some options for reframing video clips in...
Review: Red Giant PluralEyes 4
Those of us who have been around the film and video post-production biz for awhile will remember a day...
ART OF THE CUT with Steve Mirkovich, ACE, editor of “RISEN”
Steven Mirkovich, ACE has edited over 40 pictures that include “Big Trouble in Little China” and “Con Air.” Steven...
ART OF THE CUT on cutting “DEADPOOL” with Premiere Pro CC
Vashi Nedomansky trained a team of Avid editors and assistants for their switch to Premiere Pro for “Deadpool” and...
First Look: Red Giant PluralEyes 4
PluralEyes 4 automates audio/video synchronization in seconds instead of days, giving videographers and filmmakers edit-ready footage without clappers or timecode....
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