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...
A digest of last week’s photo and video news – Week 8
A digest of last week’s news is a selection of some of the news from week 07 from 2016...
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...
Choosing the perfect lens
You may be familiar with the old MGM saying that they had, “more stars than there are in heaven.”...
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?...
All audio production & distribution should go 48 kHz. Learn why.
Hello to our friends at the software development teams at ACX, Apple (GarageBand team), Audible, Bossjock, Spreaker and Wooji...
The Secret Art of White Balancing
In days of old, white balancing was easy. Now, like everything else, it’s gotten a lot more complex. Here’s...
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...
