Podcasts about fcp7

Did these two manufacturers do a swap with their upcoming releases? In addition to the double dose on tech, we're talking about the what/where/why/who and how of a very strange kind of industry cyberbullying situation. How careful do you have to be about what you put on the web if you're an aspiring creative? There are a lot of questions to discuss. There is also the excitement over the currently open for submissions Sundance Ignite Program. Why should you be interested in this and does it apply to you? Plus Charles helps out a reader with a unique Final Cut Pro 7 problem.

Neste episódio entrevistamos Thiago Taboada e conversamos sobre a história do Final Cut Pro, a descontinuação da versão 7 e todo o impacto da chegada ao Brasil do software de edição de vídeos da Apple.Apresentadores:Rafa Costa: instagram.com/rafacostaeditorMarcelo Ferraz: instagram.com/marcelofrodo/Convidados:Thiago Taboada: instagram.com/thiagotaboada
Sala VIP: https://bit.ly/2YtvIskSeja você também um apoiador do Sala VIP, participe do nosso grupo no Telegram e ganhe outros benefícios exclusivos.Canal no Telegram: https://t.me/saladeedicaoSiga o nosso canal no Telegram e fique por dentro das promoções, descontos dos patrocinadores, pesquisas e novidades sobre o podcast.Contato:Site: saladeedicao.com.brEmail: contato@saladeedicao.com.brFacebook: facebook.com/saladeedicaoInstagram: instagram.com/saladeedicaoTwitter: twitter.com/saladeedicaoLinkedin: linkedin.com/company/saladeedicao/Youtube: https://bit.ly/2Eqjp8aTelegram: t.me/saladeedicao

Neste episódio entrevistamos Thiago Taboada e conversamos sobre a história do Final Cut Pro, a descontinuação da versão 7 e todo o impacto da chegada ao Brasil do software de edição de vídeos da Apple.Apresentadores:Rafa Costa: instagram.com/rafacosta83Marcelo Ferraz: instagram.com/marcelofrodo/Convidados:Thiago Taboada: instagram.com/thiagotaboada
Sala VIP: https://bit.ly/2YtvIskSeja você também um apoiador do Sala VIP, participe do nosso grupo no Telegram e ganhe outros benefícios exclusivos.Canal no Telegram: https://t.me/saladeedicaoSiga o nosso canal no Telegram e fique por dentro das promoções, descontos dos patrocinadores, pesquisas e novidades sobre o podcast.Contato:Site: saladeedicao.com.brEmail: contato@saladeedicao.com.brFacebook: facebook.com/saladeedicaoInstagram: instagram.com/saladeedicaoTwitter: twitter.com/saladeedicaoLinkedin: linkedin.com/company/saladeedicao/Youtube: https://bit.ly/2Eqjp8aTelegram: t.me/saladeedicao

You often organize the clutter around your desk or office, but what about the e-clutter? All of those projects that need archiving, assets that need managing and all of those loose files on your computer that need a home (or the trash). We invited Rhonda Thain (assistant editor Brothers Take New Orleans, Tiny Home) to chat about being a digital hoarder at work, never throwing away any old projects or media files in the off chance that one day they will be needed. If you've ever said to yourself "You never know!" while transferring that FCP7 project from 2003 onto a hard drive to add to the growing stack on your shelves, then this episode is for you. --- Follow us on Twitter: www.twitter.com/CommandEdit Join our Facebook Group: https://www.facebook.com/groups/CommandEdit/ Get more of the podcast at http://www.CommandEditPodcast.com

On the Final Cut Pro Radio Show 008 we talk with FCPX Editor Ben Consoli CEO of BC Media Productions. We discuss more FCPX users than FCP7 users, Final Cut Pro Ombudsman, Garageband for FCPX editors, transfer libraries, possible new FCPX features, favorites as subclips, a FCPX House Band, FCPX used for 3 Major Hollywood films and much more Final Cut Pro conversation. on Twitter @fcpradio1 website www.FCPRadio.com Facebook www.facebook.com/groups/FinalCutProRadio/

On the Final Cut Pro Radio Show #7 we talk with Nuno Bernardo CEO of beActive Media. We discuss his journey from FCP7 to FCPX, from short form to long form, The Stand Ups comedy TV show, improving the proxy workflow, the value of keywording, what makes FCPX a fast NLE and other FCPX odds and ends. on Twitter @fcpradio1 website www.FCPRadio.com Facebook www.facebook.com/groups/FinalCutProRadio/

In this Episode of the ColorCast, the Coloristos discuss round trip workflows. How to get from FCP7, Avid and Premiere into your color session? What are the potential pitfalls? The Coloristos all share tips on geting from app A to app B, and back; and when a one way ticket is your best option.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In yet another user requested episode, Colin takes you back to 1994 and shows you all the things your missing if you’ve been flattening, and rasterizing your complex Photoshop layers just to get them to work in FinaCut Pro 7. You might be amazed to see that lots has changed since 1994, including Layer Styles that instantly update and give you complete creative freedom! For more helpful Adobe tutorials, visit Adobe TV,

This week show was recorded in the midst of what is probably one of the best NAB shows on record. Chris Fenwick, planetMitch, and I only scratch the surface in talking about all the exciting announcements coming out of NAB 2012. We talk about the $999 Avid Symphony crossgrade from FCP7. We talk about Black Magic Design's Cinema Camera - touted to be a 2.5K camera for $3000 - shipping in July (so they say). Black Magic was spewing out product after product at this year's NAB, but one that stands out to us is the new Davinci Resolve 9.0 with it's sleek new user interface. Speaking of color grading and correction tools, Adobe CS6 now includes SpeedGrade - so we talk a bit about that. We go on a few, um, friendly rants about anti-FCP X snobs (OK, it was me that went on the rant), and also Vimeo's stuttering problem.

Listening to this show and trying to reach from what I know to what the least informed person knows is very difficult. It's hard to record a session of me talking off the cuff, just using notes, because I end up using a lot of shorthand without explain things. I need a glossary.I don't have one, but I have included some brief explanations of some of the video codewords I've mentioned in passing, in this show. If you follow the links you'll find more thorough descriptions. It can get pretty thick, but it really helps to know these things.This episode begins with a recent revelation about my goals and future direction as a filmmaking professional. I've also included details I've gleaned from blogs, podcasts and presentations at a recent meeting of the Boston FCP User's Group.This has been a busy summer of media events. I've attended Podcamp Boston 4, Podcaster's Across Borders in Kingston Ontario, the Boston Media Makers get together which meets in Jamaica Plains the first Sunday of every month and the annual Avid Summer BBQ.I wanted to attend Podcamp Montreal, which takes place in a couple weeks, but I think I need to stay at home. There is also a Podcamp New Hampshire, taking place in Portsmouth in November.It was at the Boston Final Cut Pro User's group that took place in August that I saw Philip Hodgetts present an overview of new features for FCP7. I've also included information I've gleaned from Apple's FCS site and the Digital Production Buzz. You can also find video tutorials online that demonstrate what the new features are in all applications within the suite.One of the warm up presentations that I thought was particularly noteworthy was for Mocha for FCP from Imagineer Systems. Check out the link above for videos that explain image tracking and rotoscoping in a way that will quickly make sense. Here's my abbreviated version:Imagine you're seeing a movie and there's a scene at a football stadium. There's a huge video screen that shows instant replays and and short commercials. The people who made that movie didn't record the information on that screen when they shot the footage of the stadium, they inserted their own footage on the screen in the editing suite. Maybe an advertisement for a product that they're getting paid to place in the movie.In a still image you can select the space inside the frame of the jumbotron and remove it and insert what ever image you choose. In a moving image, the shape of the screen and position of the screen in the frame is changing in every frame if the camera is moving.You accomplish this difficult task by marking places in the frame that are always visible (bright white points usually) and then making sure they remain in place as the camera pans across or zooms out. Now that you've got the location of the anchor points, you create a mask that fits inside the screen area of the jumbotron and then make sure that mask is linked to those anchor points that are being tracked. That is called rotoscoping. Then you drop in your video and make it look like it was always there.For sure, that's a gross simplification, but I hope it gets the idea across.The new version of the Final Cut Suite (no number, should be #3 tho) include new feature updates for all the produces (except for DVD Studio Pro), but Philip was there to cover just Final Cut Pro 7.Because I clumsily referred to ProRez 422 in passing, give me a moment to explain what an intermediate codec is and what 422 color space and 4444 refers to.A color space is the limited range of color that can be viewed from the entire spectrum of color. Humans can see a wide swath of color between ultra violet and infra red (violet to red). Some insects and animals can see beyond that range. Mechanical devices, like monitors and cameras and capture and display color in a variety color spaces depending on type of color space. HSB (Hue Saturation and Brightness) is one space, RGB (Red, Green and Blue) is another.Video cameras generally use a color space called YCC, which is roughly RGB. The Y is the luma quality and the two Cs are the chroma, or color qualities. Those are the three values in a camera that shoots 4.2.2.Our eyes are more sensitive to luma than chroma, so in a 4.2.2 color space there's twice as much luma, or light, as there is color. Web and DVD video use a 4.2.0 space and the DV standard uses 4.1.1.Think of the 3 areas of information captured by a 4.2.2 camera as distinct channels of light or color. Like channels in photoshop. There is 4th channel of visual information which cameras won't capture because it is created in post production, the alpha channel.Alpha channels are used in Photoshop, After Effects and Final Cut Pro are an additional layer of information that can be used to remove areas of the frame so that something else can be seen through it. Or it can act as a selection area of a moving object in the frame so an effect or filter can be applied to it.Hold that thought for a moment and let me move on to a codec. Among other things, it's a software program that compresses a moving digital image. There are a variety of codecs that compress video as a camera records it, and decompresses it as a DVD player plays it. It's a lossy process, which means digital information is lost when it's compressed. The greater compression, the more minutes of video can be shushed into a gigabyte of storage space.Still with me?There are a lot of codecs out there and the variety is necessary because of how you're using them. Camera codecs need to compress data a certain way to retain the most information to fit on the storage medium, tape, drive or solid state card. Cameras are capturing video for one purpose only, to store it. You aren't using it, cutting it into pieces, so it can squeeze it really tight.Cutting video in a codec designed for camera capture, particularly HDV, is not a pleasure to cut. It's doable, but has problems that I'm not going to get into. If you're producing a feature length movie or TV video you want to work in a codec that will give you more freedom to edit. That's what an intermediate codec is.One codec for capture, another for playback (sometimes the same one) and one in-between for the edit. Prorez is an intermediate codec.You capture the video from the camera as you do normally, then select the footage in FCP and then convert it to a Prorez codec.Hang in there, I'm coming to the end.When you convert footage captured by a camera using a codec using the 4.1.1 or 4.2.0 color space to, say, Prorez 4.2.2, does that mean you're getting a better quality out of the footage you shot?No!Footage captured in every DV or HDV camera is being compressed on the fly using whatever color space the camera uses. That compress, being lossy discards anything that doesn't fit. So when you convert it to a high resolution color space, it's got a bunch space it isn't using. When you shake it, you can hear it rattle.So why would you convert it to the 4.2.2 space, or for that matter, 4.4.4?One reason is these other codecs have other characters that make it more efficient for your editing software to edit, render and export the video. More importantly though, and this IS the reason you would use Prorez 4x4 (4.4.4.4) is that anything else you add, a still image, motions graphics from After Effects or Motion, or 3D animation from Maya or 3D Studio Max will be added at their full, mostly likely higher color and image resolution.These additional elements, even something as simple as title text have to be massaged by various filters and often moved in and out of other programs to make them feel like they're as real as the realness of the video footage. Have a space that allows you to work with the maximum amount of resolution of color and pixel depth offers the kind of control the people with the big bucks are looking for.You and I are just lucky that we don't have to have big bucks to get into this party.As hard as that was to read, and I congratulate you if you got this far, it was no picnic figuring how to say it. And be careful, don't use this in your research paper.I'm not going to put links to all this stuff. I've put out the bare bones. If you need to know more you can look it up for yourself.I hope it's been useful.You can find pricing for educational software at Journey Ed and Academic Superstore. I've used them both and they're fast.Mike Jones at Digital Basin has a good review of the suite upgrade, including what's missing. And check out the Film School Drinking game which I found in the same article. It's an education in itself.Finally, if you're on the fence about getting the Snow Leopard update, Leo Laporte and his gang of usual suspects provide a definitve thrashing of the pros and cons in #156 of Macbreak Weekly.