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Blog Workflows


Blog Workflows

Much like the physician who secretly hopes for someone to say “Is there a doctor in the house?”, or a pilot who longs to hear “Can anybody fly this plane?”- I await the day when I’m sitting in  a post house and someone comes running down the hall screaming “Can anyone do a split edit on an RM 450?” I see it now: I’d slowly rise from my chair, flex my shuttle wrist, spin my jog finger, and turn to them and say “Yes…Yes I can.”

Despite the fact that I should probably have a better fantasy life than that, there are an awful lot of utterly obsolete skill sets that you acquire after 20 years in post production. Using an edit controller is one of them, and the Sony RM-450 was by far the one most widely used.

Blog Editor's Wake

SgiOctaneWe live in a golden age of post-production. Equipment that used to be specialized and cost hundreds of thousands of dollars, now can be done on an off the shelf computer that costs a thousand. You don’t need $50,000 VTR’s to ingest anymore, you need a $20 card reader. The latest processors and SSD drives achieve unheard of speeds, driving software that’s 10 times more powerful, at one-tenth the price it used to be. What seemed like impossible wishful thinking in the 80’s and 90’s, we now live in a time where just about anyone can afford to have their own edit suite in their home.

Blog Rant

kismetTechnicolor. When you say the name it harkens back to the golden age studio era. It brings to mind the larger-than-life stars of the silver-screen, epic production values, and a hyper-vibrant punchy, onslaught of color that overwhelms the eye. While the complicated technological and chemical process of 3-strip Technicolor film is no longer available to filmmakers, we can approximate the signature Technicolor look digitally in DaVinci Resolve. The benefits to using Resolve instead are: you can process it on your own computer rather than at an industrial lab; you have much more control over the final image; you do not have to worry about the hassles of shooting at ASA 5; and you save yourself about a metric ton of film-stock in the process. Let’s get started…

DaVinci Resolve Tutorials

Thanks to the good folks over at LSV and Sony, I was able to spend an hour or two with the new Sony F55 CineAlta 4K digital cinema camera. Of course the big draw of this camera is it’s ability to shoot 4K raw (with the AXS-R5 recorder), its global shutter, and the ultra-wide color gamut of its big brother the F65.

I wanted to get some test footage of both the Sony RAW and XAVC flavors of 4K and drop them in Resolve and push them around a bit, to see how they held up in grading. This is not a really exhaustive test, as we only had the camera for about three hours, and it was beta firmware. It’s more of a first look and general idea of what you’d get out of the shipping model.


Avid announced to day that it’s shedding it’s consumer divisions, to focus solely on the enterprise and professional markets. It’s selling off all of the apps that it acquired from Pinnacle (Avid Studio, Pinnacle Studio, and the Avid Studio App for the Apple iPad), to Corel, and all of its M-Audio software and hardware to inMusic. This leaves them selling the Media Composer family, and ProTools, as well as their media storage systems.

Avid Blog

The Sony reps came by yesterday to let us check out the new FS700 NXCAM, and another local vendor came with a new set of Leica Summilux-C Cinema lenses, so it seemed like a great opportunity to grab some test footage!

First of all, this is not a review, as we only were able to have the camera in house for a few hours, but more of a first impressions of the Sony NEX FS700. It’s a bit larger than the FS100, but has the same basic form factor. The main handling differences are the large ring with the built in ND filters at the front, and the re-positioning of the XLR inputs to the side. The big news is of course that it is 4K “ready” and does some pretty impressive slow-motion.

Blog Production Video Cameras

It’s been a year since the release of Final Cut Pro X, and there are several retrospectives being posted around the post production blogosphere.

However, I decided to go in a different direction for this post to take a look at Final Cut Pro 7, one year later, and see how well it still holds up.

When Apple effectively killed Final Cut Pro 7 (and all it’s companion apps) last year, I immediately stopped working with it. I finished up what projects I had, and any new projects immediately went into Avid. Having been in this business long enough to become proficient in several obsolete pieces of software (see my Editor’s Wake series), I knew that any additional work in polishing my FCP skills would be time wasted.  It would benefit me more to learn how to optimize my other editing tools for what I had used FCP for, rather than hang on to an obsolete skill set. Now, that wasn’t to say I wasn’t miffed about having 10 years of FCP knowledge suddenly become useless overnight, but hey, life is change.

Apple Blog Final Cut Pro Post