Final Cut Pro 6 Essential Editing: Customizing your workflow By Larry Jordan The emphasis of this video is on the timeline and the video and audio track size as well as the multiple markers that you can have shown or not shown. It also touches on customizing the buttons in the upper right hand corners of all of the windows in Final Cut and customizing keyboard shortcuts all of which can be saved to disk in your preference files. ...Read More »
TubeMogul.com By Heath McKnight TubeMogul.com enables you to upload your video or digital film masterpiece to many different video-sharing websites, such as YouTube, MySpace and Google Video. All you need is a free account with TubeMogul and each of the sites you wish to upload your video. ...Read More »
Final Cut Pro 6 Editing fast, accurate, and effectively when adding clips By David Basulto As a new Mac and Final Cut Studio user I have immersed myself with all the programs the suite has to offer. Learning Final Cut Pro 6 has been fast and surprisingly easy. I should say the basics are easy to learn. I have found out there is a whole host of useful, time saving features that will enhance even the greatest editors workflow. ...Read More »
Whats New in Final Cut Pro 6: Renaming Clips By Diana Weynand In Final Cut Pro 6, there are two new commands that give you freedom and control in renaming your clips. The two commands allow you to either change the name of the project clip to match that of the file, or you can change the media file name to match that of the project clip. To access the rename commands you can right-click (or control-click) on a clip and choose that option from the short cut menu. ...Read More »
Using The After Effects CS3 Composition Panel By Chad Perkins In the second segment from the After Effects CS3 Essential Training series Chad demonstrates the how to get started using Adobe's After Effects CS3 Composition Panel. ...Read More »
Whats new in Final Cut Pro 6: Smooth Cam Filter By Diana Weynand Were all familiar with the ?shaky camera style of shooting used in many television shows. But if you had to hand hold your camera, or grab a shot on the fly, and didnt really mean for it to shake noticeably, now you can apply the Smooth Cam filter, new to Final Cut Pro 6. ...Read More »
Looking Good with Sony Vegas By Jeffrey P. Fisher People want to look their best on camera. Usually theyd like a little smoothing out of facial features and hiding some minor imperfections. I turn to the Sony Vegas third-party Pixelan CreativEase BlurPro plug-in which includes some great preset effects ready for tweaking. The CE effects also work with other NLEs. ...Read More »
Getting your sequence from Premiere Pro into After Effects and back By David Basulto ?Just cut and paste. Thats all I keep reading or hearing from folks when I wanted to bring my film ?Fiesta Grand from Premiere Pro 2 into After Effects 7 Pro for color correcting. And I about killed myself and my old Dell computer trying to. Sure I was able to bring a few clips in but never the whole feature. ...Read More »
Video Podcast: Adobe Premiere Pro CS3 with Jeff Schell By Jeff Schell In this inaugural video podcast in Jeff Schell's weekly podcast series, Jeff takes a look at the new features in Adobe Premiere Pro CS3. In particular, Jeff looks at what's new in the graphical user interface (GUI); he uncovers the changes made behind the scenes; he walks you through the latest "bell & whistle" features like Time Remapping, and also describes which applications you get for free when you purchase Adobe Premiere Pro CS3. ...Read More »
How to pitch your project By David Basulto As many, but not that many, may have seen there is a new reality show called ?On the Lot. Let me start off by saying I am not a reality show fan but this one intrigued me as I am a filmmaker as well. My wife and I sat down to watch an interesting episode. It happened to be about the young filmmakers on the show given a storyline to follow and turning that into a pitch. I have to say it was entertaining to see these mogul wannabees squirm a bit. ...Read More »
Things you need on set (But Forget) By Heath McKnight I was recently a gaffer on a very low budget movie. We had everything we needed, experienced crew, lights, camera, sound, grip and electric, plenty of crafts and services and more. But there were several things we didnt have, items that are usually overlooked when prepping for any kind of film or video production. My goal in this article is to help you put together a checklist of the ?forgotten items that are just as important. ...Read More »
Photoshop CS3 AutoAlign By Ko Maruyama Adobe released Photoshop CS3 in the Adobe Labs for people to check out. If you haven't already downloaded the preview software, I strongly suggest that you do. Adobe's Creative Design package is currently shipping, and you'll find all kinds of cool new features, including the new AutoAlign tool. ...Read More »
Faster Work Flow in LiveType, Motion and After Effects for Final Cut Editors By Kevin McAuliffe A few years ago, program integration was for the most part, non-existent. I've worked with Adobe After Effects for about 11 years now, and I remember that whenever I would have to leave the Avid world to delve into the After Effects world, I would cringe, as it was always a real pain, as the programs never really talked to each other. Thankfully, Automatic Duck has more or less solved that problem for all the Avid users out there working in After Effects. ...Read More »
Let's Set Up Our Project in Final Cut Pro By Kevin McAuliffe As the expression goes, "Cleanliness is next to Godliness". This couldn't be truer than when it comes to editors and their projects. I have been an editor for a long time, and have seen some outrageous organization skills from not only freelance editors, but staff editors as well. I thought I'd take a look at good and simple organization, to keep not only yourself sane, but your fellow editors sane as well. ...Read More »
Advanced Final Cut Pro Techniques: Exporting QuickTime and QuickTime Conversion Movies By Heath McKnight Whether youre exporting a QuickTime (QT) movie for archiving purposes, a less compressed file for output to HDCAM or DVCPro, or a smaller version for the Web, you need to know the settings. But you also need to know the difference between QT Movie and QT Conversion, because they arent the same. [Note: this is for users of versions 4.5 to 5.1.4.] ...Read More »
Going HD: Part 3 Paperwork and Delivery Requirements By David Basulto As I was writing my new addition to my filmmaking series, the plan was to discuss the post process. However, I wanted to address one very important yet extremely overlooked part of the filmmaking process: Delivery Requirements. You may make the greatest film in the world but if all the paperwork and delivery materials are not in order or even worse missing you are in for a world of pain. Just try to get the actor you had problems with on the set to sign an employment certificate after the film is done. ...Read More »
Final Cut Pro: Native HDV versus AIC By Heath McKnight Before Final Cut Pro 5 was introduced at NAB 2005, the only ways to cut HDV (high definition video) was to use either Lumiere HD or, as of January 2005, iMovie HD, part of iLife 2005. The technology allowed you to use the Apple Intermediate Codec (AIC) to bring the HDV footage into iMovie HD, edit, then allow iMovie HD to send it back as HDV to tape. ...Read More »
Shooting With HDV By Heath McKnight In my previous article I discussed the many different HDV camera options out there. The ultimate advice I can give is, no matter what youre shooting, any one of those cameras can handle all forms of digital videography and cinematography. I will recommend sticking with HDV cameras that give you 100% manual control. This article will give you expert, well-tested tips on getting the most out of whichever HDV camera you choose. ...Read More »
Achieving a Film Look with DV and HDV Cameras By Heath McKnight With so many budding filmmakers turning to digital video (DV) and high definition video (HDV), many are trying to emulate the look and feel of film. But there is much more to a film look than just shooting in native 24p or converting and delivering your movie in 24p. After years of practicing everything from dogme 95 (shooting with available light, stripped down sets and costumes, available sounds and music, etc.) to what I felt was standard filmmaking practices, I decided to research what goes into making a digital film look more like film. ...Read More »
HDRI With Adobe Photoshop CS2 By Stephen Schleicher For anyone doing 3D work or compositing for film, using 32-bit images for light probes and exact light interactions is vital. The ability to create HDR images has been somewhat difficult to achieve with some other software out there, but with Adobe Photoshop CS2 its as simple as 1, 2, 3. ...Read More »
HOT THREADS on DMN Forums
Content-type: text/html  Rss  Add to Google Reader or
Homepage    Add to My AOL  Add to Excite MIX  Subscribe in
NewsGator Online 
Real-Time - what users are saying - Right Now!
Windows OS
fdf • Tom.R  
@ Copyright, 2014 Digital Media Online, All Rights Reserved