CREATING YOUR OWN DCP’S – MEDIA COMPOSER SETUP

In our introductory article, I tried to get you thinking about the journey you’re about to go on, when it comes to creating DCP’s for Cinemas/Theatres.  There’s almost as much work in the setup as there is in the actual creation itself.  Now that we’ve covered all the important things you need to know about creating DCP’s, let’s get more specific, and talk about the process of getting your footage in the right resolution and color space, so we can then talk about the conversion to JPEG 2000.  We’re starting things off with Media Composer in this article, so
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Pare Lorentz Documentary Fund: applications close soon

Pare Lorentz Documentary Fund: applications close soon The appropriate use of the natural environment, justice for all or the illumination of pressing social problems, themes cherished by documentary filmmaker Pare Lorentz, are the guidelines for this fund. Applications are accepted until July 31, 2017. The Pare Lorentz Documentary Fund supports full-length documentary films that reflect the spirit and nature of Pare Lorentz’s work, exhibiting objective research, artful storytelling, strong visual style, high production values, artistic writing, and outstanding music composition, as well as skillful direction, camerawork and editing. A program of the International Documentary Association, the Pare Lorentz Documentary Fund is made possible by The New York Continue reading "Pare Lorentz Documentary Fund: applications close soon"

Stop Using Clarity Like This In Post-Processing and How to Do It Better

Stop Using Clarity Like This In Post-Processing and How to Do It Better The times of oversaturating and selective coloring might be over, but clarity is here to pick up where those post-processing horrors left of. Now don’t get me wrong, I think that clarity is an amazing effect that can do wonders on your images… just not if you use it on the whole image and crank it to the max. I realize, that seeing this sudden increase in drama and grittiness might feel satisfying to some but too often has it used in attempts to turn uninteresting photos into something that they are not. [ Read More ]

Creating Moveable Markers in Final Cut Pro X

This week on MacBreak Studio, Steve Martin from Ripple Training continues he discussion about markers in Final Cut Pro X by showing us a way to make markers moveable. If you missed last week’s episode on turning frame.io comments into markers in FCP X, you may want to check that out here. This week focuses on moving chapter markers in Final Cut Pro X. Steve starts by demonstrating the normal workflow for creating chapter markers: navigating to the frame where he wants the marker, pressing the “m” twice in quick succession to both add the marker and open the Continue reading "Creating Moveable Markers in Final Cut Pro X"

A quick guide to choose your next monitor

A quick guide to choose your next monitor When it comes to monitors, Philips has a word to say. MMD, brand license partner for Philips monitors worldwide, offers some advice for photographers and graphic artists looking for their next monitor. The few pointers put together by MMD also apply to graphic artists looking for a monitor, and videographers would not go wrong reading through the advice. With some extra notes I added to the information provided by MMD, this is a quick guide to help you choose the right monitor. The first element to look for in a monitor, suggests the document, is color. According to MMD, “in
A quick guide to choose your next monitor
A quick guide to choose your next monitor
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Review: DreamColor Z24x G2 “junior” monitor has come a long way

Earlier this week, I received the second-generation (MSRP US$559) DreamColor Z24x G2 “junior” review unit. I am ecstatic to tell you that it is much better than I expected. Better than what? Better than its predecessor, the very first entry-level DreamColor Z24x. In fact, the second generation model is even better than HP’s official response to my initial questions at the private press conference before NAB in April. Ahead I will tell you all the great things that I discovered, together with the very few gotchas that are currently the norm at this price point, from any manufacturer. I also
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Alex Lindsay: Live Streaming in a Nutshell

Live streaming is easy, right? You can whip out a phone, open either YouTube or Facebook and be off to the races! So how do you take advantage of that for your company, your new cooking show, or sports events? Alex Lindsay from Pixelcorps has been doing live streaming for years. He started out by live streaming educational events for Visual Effects Artists. Being that Alex worked at Lucasfilm, he was very qualified and excite to share his knowledge. In the process of putting on the events, they found that their live stream was great. They shifted focus and have Continue reading "Alex Lindsay: Live Streaming in a Nutshell"

Scan audio in realtime with the Cintel Audio and KeyKode reader

Scan audio in realtime with the Cintel Audio and KeyKode reader The most popular film scanners in the world are bound to be even more popular, with the new accessory, to capture high quality audio directly from the film as it is scanned. The new Cintel Audio and KeyKode reader accessory, which is available for $3,495 from Blackmagic Design resellers worldwide, is an invaluable addition to Blackmagic Design’s Cintel Film Scanner. The reader features a magnetic audio head or deep red LED illumination supporting 16/35mm cyan, high magenta dye, silver optical or 16mm magnetic audio tracks, with advanced optics, electro formed slits, and precision mechanical adjustments for azimuth to deliver the
Scan audio in realtime with the Cintel Audio and KeyKode reader
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Global Migration Film Festival wants your film

Migration Film Festival wants your film Last year the Global Migration Film Festival took place in 89 countries and this year organizers, the UN Migration Agency, anticipate over 100. If you’re a filmmaker, this can be a place to show your film. The invitation from the UN Migration Agency (IOM) is for professional and emerging filmmakers: submit perception-changing films about the migrant experience for the second annual Global Migration Film Festival (5–18 December). The festival aims to showcase films that capture the promise and challenges of migration for those who leave their homes in search of a better life and the unique contributions migrants make to Continue reading "Global Migration Film Festival wants your film"

How to Edit a Video from Start to Finish with DaVinci Resolve 14

How to Edit a Video from Start to Finish with DaVinci Resolve 14 Blackmagic's DaVinci Resolve is widely known for its color grading tools. It’s what many would call an industry standard thanks to its powerful features. With the Beta 4 of Resolve 14 that was released a little while ago, the software saw its editing and audio capabilities improving quite a bit as well. However, many forget or don't know about them and stick to working with Premiere or Final Cut Pro. Discover in this video how Resolve editing and audio features work. Perhaps you’ll see they are exactly what you needed. [ Read More ]

Let’s Edit with Media Composer – Quick Title Changes in BCC Title Studio

In this Let’s Edit with Media Composer lesson, Kevin P McAuliffe talks about a great “under the hood” feature of BCC’s Title Studio that will let you update your titles faster than you ever had before! As a Media Composer editor, one of the more annoying aspects of titling is that every time we want to make a change to a title in our timelines, we have to wait for the Title Tool to launch, before we can make our changes.  This can be an especially annoying task if you need to adjust 20 titles in a credit sequence.  BCC’s Continue reading "Let’s Edit with Media Composer – Quick Title Changes in BCC Title Studio"

ART OF THE CUT with Paul Machliss on Baby Driver

Paul Machliss is a UK-based editor who has been in TV and film post since the late 1990s. Machliss was an obvious choice to edit the musically driven Baby Driver because of his long-time collaboration with director Edgar Wright – going back to their years in TV – and his numerous projects as an editor on music projects like Diana Krall: Live in Paris, The Led Zeppelin DVD, and New Order: 5 11 Live in Finsbury Park. Machliss also cut Man Up (2015), The World’s End (2013) and Edgar Wright’s previous film as director, Scott Pilgrim vs.
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ART OF THE CUT with Paul Machliss on Baby Driver

Paul Machliss is a UK-based editor who has been in TV and film post since the late 1990s. Machliss was an obvious choice to edit the musically driven Baby Driver because of his long-time collaboration with director Edgar Wright – going back to their years in TV – and his numerous projects as an editor on music projects like Diana Krall: Live in Paris, The Led Zeppelin DVD, and New Order: 5 11 Live in Finsbury Park. Machliss also cut Man Up (2015), The World’s End (2013) and Edgar Wright’s previous film as director, Scott Pilgrim vs.
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CREATING YOUR OWN DCP’S – GETTING STARTED

One question that I get asked a lot is, “How do I create my own DCP’s for delivery to a Festival, or to theatres in general?”, and to be honest, it’s not an easy question to answer.  There is a lot of setup involved, no matter which NLE you’re using, so I thought the easiest way to go about doing this is to dedicate an article to the setup in each of the three main NLE’s, Media Composer, Premiere Pro and then FCPX, and then an article to the actual creation of the DCP itself.  In this article, we’re
Continue reading "CREATING YOUR OWN DCP’S – GETTING STARTED"

CREATING YOUR OWN DCP’S – GETTING STARTED

One question that I get asked a lot is, “How do I create my own DCP’s for delivery to a Festival, or to theatres in general?”, and to be honest, it’s not an easy question to answer.  There is a lot of setup involved, no matter which NLE you’re using, so I thought the easiest way to go about doing this is to dedicate an article to the setup in each of the three main NLE’s, Media Composer, Premiere Pro and then FCPX, and then an article to the actual creation of the DCP itself.  In this article, we’re
Continue reading "CREATING YOUR OWN DCP’S – GETTING STARTED"

CREATING YOUR OWN DCP’S – GETTING STARTED

One question that I get asked a lot is, “How do I create my own DCP’s for delivery to a Festival, or to theatres in general?”, and to be honest, it’s not an easy question to answer.  There is a lot of setup involved, no matter which NLE you’re using, so I thought the easiest way to go about doing this is to dedicate an article to the setup in each of the three main NLE’s, Media Composer, Premiere Pro and then FCPX, and then an article to the actual creation of the DCP itself.  In this article, we’re
Continue reading "CREATING YOUR OWN DCP’S – GETTING STARTED"