Red Giant Universe 2.0: HUD, mograph, stylized damage & looks, transitions
Red Giant Universe had been a consistently-updated mix of free and subscription effects for Adobe After Effect, Premiere Pro,...
Media Composer’s Source Browser – A great new feature for every editor
When I reviewed Boris Continuum Complete 10 for AVX, I said that “Boris’ purchase and integration of Mocha in...
Let’s Edit with Media Composer – ADVANCED – What’s New in 8.6
The new 8.6 release of Avid Media Composer is here, and there’s a lot to be excited about! The...
Facebook misrepresents & underestimates its own audio/video specs
As I have covered previously, YouTube and Vimeo used to misrepresent its own published specs, and then later corrected...
Blackmagic Micro Cinema Camera Review
It’s small. It shoots raw. It’s the Blackmagic Micro Cinema. This is definitely one of the smallest cameras I’ve...
QuickTime’s Death means it’s time to Switch!
Every post production house in the world that runs Windows machines probably has a copy of QuickTime Pro for...
Branded windscreen vs mic flag: let’s compare
Back in 2014, I published the article RT and DirectTV Sports go beyond conventional mic flags by using branded...
How to upgrade your NLE software mid-project. Not that you should.
There is a rule of thumb that is a near universal standard when it comes to and upgrading a new...
Let’s Edit with Media Composer – ADVANCED – Clip & Interface Color Options
In this Let’s Edit with Media Composer lesson, Kevin P McAuliffe talks about color. The color of your bins,...
Multitrack audio for best control later, versus live mix
In field production or in the studio, ideally, we record every audio source on its own track for absolute...
