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November 24, 2012, 5:54 pm
In this article, we will look at improving footage with two new features in Premiere Pro CS6: Warp Stabilizer and Adjustment Layers. Instead of just going over the new features, I thought we would look at practical ways that you can use them, and any issues and workflows when using them.
November 24, 2012, 5:48 pm
Set up CS6 Production Premium for speed and efficiency. Join partners HP, AJA, and G-Tech to learn how to extend the capabilities of Adobe Premiere Pro CS6 and After Effects CS6 with powerful hardware add-ons.
November 24, 2012, 9:48 am
Which is better? FCPX or Premiere? No Film School posted a write up about this 45 minute presentation from Ric Lanciotti of the The Pacific Northwest College of Art. Its an in depth video with point by point comparisons of...
November 21, 2012, 5:05 pm
After Effects' use of sub-pixel interpolation is helpful most of the time but can be a problem when working with layers that you want to remain sharp including Shape Layers and type. I often find myself moving and scaling these layers, resulting in soft edges when the layers aren't positioned on or scaled to whole pixels.
November 21, 2012, 12:42 pm
MONTREAL -- Matrox Video Products Group has released a unified driver on the PC that provides support for the latest software releases for the Avid Media Composer family of products and Adobe CS6 Production Premium on the Matrox MXO2 and Matrox MXO2 Max families of I/O devices, and the Matrox Mojito Max I/O card.
November 21, 2012, 7:22 am
In post production, I've always been a fan of the products from Adobe. I cut my teeth on programs like Photoshop 7, After Effects 5.5, even Image Ready (remember that?). But for editing, I never really got into Premiere Pro, and instead focused my attention on Final Cut Pro (from version 3 onwards). However, this year I finally made the decision to migrate to Premiere Pro CS6, as Final Cut Pro X has some infamous issues.
November 21, 2012, 7:12 am
AE Basics - A Creative COW series for new users of Adobe After Effects. Lesson 57: In this tutorial looking at getting your production out of After Effects, Andrew Devis goes through the render settings dialogue box and explains why you would choose to export through After Effects and how to save a template of your choices.
Gordon Burkell sits down to discuss Selina MacArthur's Emmy nominated work on Black Mirror's USS Callister.
Gordon Burkell sits down with Beth Morgan to discuss the costume design for GLOW.
Gordon Burkell sits down with Tanya Swerling to discuss her work on the show GLOW.
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