Blog Posts For 2010
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By James Mathers
Hollywood has long been considered “The Entertainment Capitol of the World,” but with international economics and financial incentives to Producers, much of the production that was once done in my hometown of Los Angeles has moved to off shore locations, and more recently to other US states.
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By Diana Weynand
You select Avid tools by using the keyboard, pressing command buttons, or selecting an option from the Fast menu. Final Cut Pro follows the design of certain desktop graphics programs (such as Adobe Photoshop) by placing editing tools in a Tool palette.
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By Scott Simmons
Scott Simmons answer many more questions that were not answered during our DSLR Filmmaking Post Workflows webinar. He gets very detailed and in-depth. A must read for any DSLR filmmaker.
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By Diana Weynand
With over 840 FCP commands, it’s not always easy finding the one you want. But if you knew a little more about how each of these menus was organized – maybe get a ‘top down’ view of the bigger picture for each menu.
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By Scott Simmons
Red Giant Software has just dropped a new tool into the family of Magic Bullet products and it might be of great interest to the DSLR shooter. Magic Bullet Grinder.
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By James Mathers
So what are some of the pros and cons of using DSLRs for Cinematography? For the purposes of comparison, I will consider the Canon 5D Mark II, the model which has so far gotten the most traction for motion photography.
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By Diana Weynand
In the Final Cut Pro File menu, there are 5 different options you can use to either save your changes in open projects or bring a project back to life. Let’s take a closer look at these options.
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By Barry Goch
Event though Autodesk lists some heavy specs required for Smoke on Mac there are ways to run Smoke on Mac with a much less powerful machine.
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By Andy Beach
I admit it, I’ve had a love hate relationship with Compressor pretty much since day one. I love the convenience of having an app tied directly to the timeline for encoding, but have always felt a little disappointed by the options and quality of what was offered for encoding that it offered.
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By Steve Wright
One of the most stunning trends I observed at the April NAB in Las Vegas is how rapidly the whole world has gone 3D. Everywhere you looked – editing systems, compositing programs, color timing systems, display systems – the 3D production workflow was being supported.
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