Get Started Fast with Media Composer for Adobe Editors — Part 1
This tutorial series is designed for Premiere Editors to get a quick look at the important, fundamental differences in...
Max and Mini Max: shooting in tight spaces
Placing a backlight where no other stand would reach, and then being able to move everything quickly again, were...
Why Final Cut Pro X? A Preditor’s POV
I tell people straight up that FCP X is the best NLE I have ever used: Sean Lander –...
Using the Align To behavior in Motion 5.3
This week on MacBreak Studio, I show Ripple Training’s Steve Martin a new feature in Motion 5.3. The Motion...
ON1 Photo RAW: the family editor
With a price of $119.99 for the program, one aspect of ON1 Photo RAW that is sure to appeal...
2 Chromebooks reviewed: CTL J4 Plus laptop & Chromebit stick
In the past few months, I have purchased two quite different Chromebook models, and used them to write, produce...
What is “Correct” Color?
Sometimes you set out to answer an easy query and wind up questioning fundamental assumptions. Playing with test charts...
Shot on RED: the Collective
Through some 40 minutes of video and photos, RED users share their secrets, passions and goals. Sit down with...
Color-grading Underwater in real time
When recently Cognition completed VR post for “Underwater” they did more than that: they allowed senior colorist Mike Eaves...
The Wireless Camera: Color and Control
As production advances faster and faster towards the future, maintaining control and continuity of your image on set and...
