A community-driven source for post-production information
August 11, 2010, 01:33 AM
Final Cut Pro’s greatest strength is also its greatest weakness, and that is its open-endedness. What I mean by that is that Media Composer has a very "rigid" way of working, and importing media means that you take a clip, and upon import, MC converts it to an MXF (or possibly an OMF) file, and once it’s in your system, the external file that it came from is essentially useless.
August 10, 2010, 04:11 PM
With the release of Premiere Pro CS5 earlier this year, the topic of native editing, and more specifically, native DSLR editing has been a big one...worldwide. From literally every country I’ve visited, people are discovering the power of DSLR video and leveraging it to it’s fullest. But the questions I’m continually asked are, "Why does Final Cut Pro/Avid Media Composer force you to transcode? Why don’t you transcode in Premiere?"
August 9, 2010, 10:20 PM
Media Composer 5 has been out for a while now... And since my initial impressions of it I’ve been thinking more about what it signals for the future of Avid in general and Media Composer specifically – about what I expect to see in the coming versions.
August 9, 2010, 12:42 PM
Well, I don’t often post press releases here for companies...I feel that I want to more share my experiences than just repost press releases. BUT...I like Matrox, I rely on their hardware for my bay and it works great for me. And not long ago Phil Hodgetts and Terry Curren were talking about how the new FCP should do away with the tape capture tool (stupid idea, sorry guys)...and how only AJA hardware...
August 9, 2010, 12:33 PM
Media Composer 5 represents a major step forward in the evolution of the AVID editing platform: key features include, AMA (Avid Media Access); full-quality 4:4:4 HD-RGB color space; monitor video externally using the Matrox MXO2 Mini; ProRes support; access low-res XDCAM proxies for offline work; use RTAS audio processing plug-ins.
August 9, 2010, 12:32 PM
When FCP hit the world back in 1999 the program was regarded as a video editing application. For those wishing to work with film, and match the negative to the edit produced from within Final Cut, this was a formidable challenge. Those at an Los Angeles based edit facility known as DigitalFilm Tree were pioneers who broke through the wall of expensive post production and made film editing using FCP possible. Ramy Katrib, Founder of DigitalFilm Tree, was instrumental in making this happen.
August 8, 2010, 11:22 PM
If one thing wow’d me when I first started editing, it was third party plug-ins that really amazed me, and one package that always seemed to be a given on any editing system was Genarts Sapphire.
August 4, 2010, 07:24 PM
One of the frequent misconceptions between Avid and Final Cut editors involves video levels. Many argue that FCP does not work within the proper video level standards, which is incorrect. This belief stems from the fact that FCP is based on QuickTime and permits a mixture of consumer and professional codecs. QuickTime Player often changes a file’s...
August 3, 2010, 07:38 PM
Today, July 28, 2010, Avid debuted its new Avid ISIS 5000, an easy-to-use, real-time, open shared-storage solution that is more affordable than the flagship ISIS 7000 (formerly Avid Unity ISIS). The Avid ISIS 5000, aimed at local and regional broadcasters and post-production facilities, is based on Avid’s ISIS technology, which is used in more than 700 major media enterprises to store, share and manage large quantities of digital media assets. The high-performance ISIS File System...
Christopher Peterson, ACE, sits down with Gordon to discuss American Crime Story: Impeachment.
Gordon Burkell sits down with Alex Amick to discuss her work on the Muppets Haunted Mansion.
Cindy Mollo sits down to discuss the editing of Ozark.
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