| | | | Re: 2 Aja Kona Cards can handle 2 simultaneus video stream?
by Matthew Causon on Sep 9, 2009 at 6:02:43 pm
in the AJA Kona Forum
Building For Media are claiming simultaneous ingest and playout from a single AJA Kona card.
http://www.b4m.com/
Got this in an email (though I couldn't see much on their site about the matter), might be new software showing at IBC
The App | | | | |
| | | | Create Cool 3D Text with Trapcode Form
by Tim Clapham on Sep 9, 2009 at 8:11:55 am
in the Forum
In this Episode of Red Giant TV, Hypa TV's Tim Clapham shows you how to build and animate 3D text with Trapcode Form. He's also show you techniques for animating the text on and off - and while they're deceptively simple, they deliver in a really big | | | | |
| | | | Re: Multimedia Video Manager Full-time
by Tom Sullivan on Sep 9, 2009 at 1:49:07 am
in the JOBS Offered - Higher Pay Forum
THOMAS WM SULLIVAN
toms@qis.net
PRODUCER, DIRECTOR, AND VIDEOGRAPHER
"THE ECOLOGY OF THE COTTON-TOP TAMARIN "- A video shot in the rain forest of Colombia, South America, for scientific and documentary purposes. Commissioned by the University | | | | |
| | | | Re: playback in viewer on FCP with HD
by Shane Ross on Sep 8, 2009 at 10:53:12 pm
in the Apple Final Cut Pro Forum
#2 Blurry Playback
Shane's Stock Answer #2: Blurry playback
ONLY JUDGE THE QUALITY OF YOUR MATERIAL ON AN EXTERNAL BROADCAST MONITOR, OR AT LEAST A TV.
The Canvas shows you what happens after the codec you are working with has been applied. | | | | |
| | | | Re: Field dominance problem
by Michael Costa on Sep 8, 2009 at 10:23:08 pm
in the Apple Final Cut Pro Forum
Thanks Michael, but I am using a broadcast monitor, downstream of FCP. So are you saying I should be able to see fields as I step through the timeline on FCP?
Of course I can see fields in real time but these are 8 frame fade ups and downs so it's | | | | |
| | | | Re: strange when rendered
by rob mottola on Sep 8, 2009 at 7:37:43 pm
in the Apple Final Cut Pro Forum
thru fcp sequence window on computer screen...are u thinking i need to be viewing on a broadcast monitor...
thx
rm
rob mottola
producer | director | editor
rob@east2westmediagroup.com | | | | |
| | | | Re: Field dominance problem
by Michael Gossen on Sep 8, 2009 at 5:52:21 pm
in the Apple Final Cut Pro Forum
That will only work on your broadcast monitor as it is downstream of FCP. What does help if you don't have a broadcast monitor is to set your Canvas view to 100%, even if that is too big. FCP does a poor job of resize if it is not set to an evenly | | | | |
| | | | Re: HVR-V1 24p questions
by Vince Becquiot on Sep 8, 2009 at 3:55:41 pm
in the Adobe Premiere Pro Forum
[Patrick Petersen] "1.) What settings should I use for my sequences? As far as I can tell, I should use 1080/24p if I'm going to export to DVD or files and 1080/60i if I'm going back to tape or broadcast."
You have use the settings that match your | | | | |
| | | | Blackmagic Design Buys DaVinci: Part 1
by Firstname Lastname on Sep 8, 2009 at 3:54:40 pm
in the DaVinci - NEW ! Forum
In this article, Tim Wilson begins his series on the big news already beginning to leak from IBC 2009. Blackmagic Design has acquired da Vinci Systems and yes, you read that right. BMD owns and will be developing and marketing da Vinci's award-winnin | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Shane Ross on Sep 8, 2009 at 8:49:40 am
in the Broadcast Video Forum
Well, I see that Bob as set you right. Hee! Yeah, HDTVs...I don't know what is the best. Not like i have access to everyone out there, nor is it my job to check them all. I have a Panasonic Plasma, and it is solid. A lot of people use them, and | | | | |
| | | | Re: Project sound level suggestions
by Dave Brandt on Sep 8, 2009 at 8:43:08 am
in the Sony Vegas Forum
Hi Jeff,
Your dialog levels should be around -12db to match up with broadcast standards, I would not change the master level from the default 0db. The best way that I have found to level the volume on a project is to individually adjust each sound | | | | |
| | | | HVR-V1 24p questions
by Patrick Petersen on Sep 8, 2009 at 7:51:04 am
in the Adobe Premiere Pro Forum
I'm using CS4 with a Sony HVR-V1U with the HVR-DR60 and have a BUNCH of questions. I've googled all over the place and can't find any real solid answers.
1.) What settings should I use for my sequences? As far as I can tell, I should use 1080/24 | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Brian Lehrer on Sep 7, 2009 at 11:39:06 pm
in the Broadcast Video Forum
EDIT: I think Shane did explain above that even with a broadcast quality production monitor, the video coming out of the DVI is still the wrong color space, and so the Matrox MXO would be needed between the computer and such a monitor.
Thanks for | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Brian Lehrer on Sep 7, 2009 at 10:02:16 pm
in the Broadcast Video Forum
Bob,
I didn't mean to antagonize you or anybody else...My sincerest apologies.
I'm not trying to have a professional super station at home with my macbook pro. I was a producer on a friend's 35mm short film this year and we had it edited by a | | | | |
| | | | DW Another approach
by Michael Harrington on Sep 7, 2009 at 9:22:00 pm
in the Apple Final Cut Pro Forum
FYI, didn't seem to matter if I waited for the Apple Chime or not, just got the white screen and never the Apple Logo despite several attempts. I'll check with Alsoft to see what's up with that.
Aside from the 2 Kernal Panics this past week the sy | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Bob Zelin on Sep 7, 2009 at 8:58:53 pm
in the Broadcast Video Forum
I was considering not responding to this post, but I just got back from the consumer TV stores. My mother in law needs a new 26" TV (to fit into her furniture in her bedroom). The new LCD's don't have the same type of LOUD speakers that were placed | | | | |
| | | | Re: FCP 7 Filters Require Rendering?
by roberto tyszler on Sep 7, 2009 at 8:01:20 pm
in the Apple Final Cut Pro Forum
Do you have an OUTPUT to Broadcast Video?
If yes, I had a similar problems and was just need
to change in the menu -->View --> Export Video -->> Correct Resolution.
I know that is too basic, but sometimes it is just what is in front our eyes. :- | | | | |
| | | | Re: Exported movie looks different from Canvas
by roberto tyszler on Sep 7, 2009 at 7:47:40 pm
in the Apple Final Cut Pro Forum
I did that, using the best broadcast monitor that I ever see, a sony BVM 24", with HD-SDI and SDI input 444 and 422, when I am working with the final cut, I only able to use HD-SDI single link ( 422 ), untill now it is a limitation of the FC6, I have | | | | |
| | | | Re: Repaired Permissions Report
by Michael Harrington on Sep 7, 2009 at 5:56:47 pm
in the Apple Final Cut Pro Forum
I've updated my DW per Rafael suggestion although I just realized I used a DVD instead of a CD although DW web site reported new disc is completed. After trying to boot from that disk, holding C while restarting, I still get the white screen and the | | | | |
| | | | Re: Repaired Permissions Report
by Michael Harrington on Sep 7, 2009 at 4:27:49 pm
in the Apple Final Cut Pro Forum
Yes, thank you, I edit better than I read instructions and have been blessed with trouble free system, till now. I can be very patient while editing for months at a time, but when it comes to trouble shooting I grow impatient quickly, I'll work on th | | | | |
| | | | Re: Repaired Permissions Report
by Michael Harrington on Sep 7, 2009 at 12:16:32 pm
in the Apple Final Cut Pro Forum
I noted that Disk Warrior will not allow me to rebuild the directories on my system drive so I assume I'm to rebuild the directories of each drive connected at the time of the kernal panic. Is there a way to identify which drives were involved with t | | | | |
| | | | Re: Field dominance problem
by Mikey MTC on Sep 7, 2009 at 5:49:21 am
in the Apple Final Cut Pro Forum
Thanks Andy - I'm aware of needing to view on the broadcast monitor. My field problem was only on the fade up and downs of footage and graphics so we're talking about 8 or 10 frame fades. In real time it's actually really hard to see the problem.
| | | | |
| | | | Re: Field dominance problem
by Andy Mees on Sep 7, 2009 at 5:43:15 am
in the Apple Final Cut Pro Forum
If you have an interlaced broadcast monitor attached then you should simply be able to play back directly from the timeline and thus see very clearly any interlacing issues on your interlaced display ... stepping through won't help as it is not stepp | | | | |
| | | | Re: Color 1.5 "Still Store" Bug ?
by Ben Richardson on Sep 7, 2009 at 4:04:32 am
in the Apple Color Forum
You're quite right. I've had my main main Mac monitor (not the broadcast monitor) hardware calibrated to L* for years, and the still-store shift in 1.5 was huge. Recalibrating the monitor using gamma 1.8 minimised it (not that this makes it any more | | | | |
| | | | Field dominance problem
by Mikey MTC on Sep 7, 2009 at 3:37:55 am
in the Apple Final Cut Pro Forum
Hi guys,
I recently had a TVC returned to me because it had field problems on fade up/downs of the main picture and of the graphics. I think I know what caused it and I've fixed it and we're cool. My problem is this - I couldn't detect it.
As | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Brian Lehrer on Sep 7, 2009 at 2:09:30 am
in the Broadcast Video Forum
Shane,
Thanks for your continuing help. I'm trying to figure out how to get what I want. It is my plan to acquire all three NLEs, so I should be able to figure it out with one of them, either Avid, Premiere or FCPro.
As to the DVI connection, | | | | |
| | | | Re: Black Burst Generators
by J. Tad Newberry on Sep 7, 2009 at 12:44:07 am
in the Apple Final Cut Pro Forum
Ha! Got you! No, Mr. Silly Pants, i did not say i dumped out those broadcast shows (CSI, Survivor, etc.), I simply asked if you have heard of them, and mentioned that i have heard of them. I suppose that would sound like i was implying i had dumped t | | | | |
| | | | Re: Black Burst Generators
by Bob Zelin on Sep 6, 2009 at 10:35:47 pm
in the Apple Final Cut Pro Forum
Please excuse me, Mr. Newberry, but did you say that you dumped out CSI, Survivor, and NBC Nightly Report on a Beta 1800 VTR ? CBS and NBC do not air analog Beta tapes, nor have they done so in many years.
Forcing a composite signal from the Y o | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Shane Ross on Sep 6, 2009 at 9:34:08 pm
in the Broadcast Video Forum
First things first. There is no single capture or output device that will work with all three editing applications. Avid requires Avid hardware, FCP requires harwqre designed to work with it. Premiere hardware that works with Premiere. So no single | | | | |
| | | | Repaired Permissions Report
by Michael Harrington on Sep 6, 2009 at 9:07:31 pm
in the Apple Final Cut Pro Forum
I just received my second Keranal Panic in the past week and while repairing permissions received this in the report, these were at the bottom of the report and after a very long list of "Permissions differ on..." Although the last line says Permissi | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Brian Lehrer on Sep 6, 2009 at 8:57:41 pm
in the Broadcast Video Forum
Also,
another thought:
If the combo of the monitor/HDTV and the matrox starts to get close to $2000 (and still has issues: Snow leopard, Premiere on Mac not supported?? Avid?)...wouldn't I be better off getting something like a JVC DT-V20L1DU Pro | | | | |
| | | | Kernel Panic....again
by Michael Harrington on Sep 6, 2009 at 8:57:10 pm
in the Apple Final Cut Pro Forum
FYI, my second Keranl Panic in the past week. I had just turned on the system and began to view clips when it hit. As mentioned earlier the system has been running very good with lots of HDV at ProRes and the only new addition to computer and project | | | | |
| | | | Re: General Error (34)
by Morris Davis on Sep 6, 2009 at 5:45:38 pm
in the Apple Final Cut Pro basics Forum
I got this from another FCP users.
This is great tip that was given by Geniusdv Instructor/Owner John Lynn in the GDV Support Forums to a person who was getting a General Error 34 alert while attempting to use Final Cut Pro.
"34 errors almost a | | | | |
| | | | Is the Sony EX3 worth the extra...?
by Fabio Basone on Sep 6, 2009 at 1:21:15 pm
in the Sony EX Series XDCAM Forum
Hi
~First of all, sorry if this has been covered before, but before investing a huge wedge of cash i thought i's get my own answers.
I'm planning to but a brand spanking new camera for UK broadcast work.I've narrowed it down to the Sony z5, So | | | | |
| | | | Re: VJ/Cameroperator worldwide
by Juan Felix Muniz on Sep 6, 2009 at 10:29:12 am
in the JOBS Offered - Higher Pay Forum
Name: Juan Felix
Email: juanfe_munhiz@hotmail.com
Cell: 0034 625 565 330
Address: Guadiana St. 34 3 B,
C. Viejo, 28770 Madrid.
Current residence: Spain
*********************************************************************
COVER NOTE:
I am | | | | |
| | | | Re: Is DPX for HD broadcast work overkill?
by Arnie Schlissel on Sep 6, 2009 at 2:18:59 am
in the Apple Color Forum
There is no need for you to use DPX in your workflow. If you're delivering on HDCam, digiBeta or Beta SP you don't even really need to render out in uncompressed. ProRes should be fine.
Run some tests, I doubt you'll see a difference on the moni | | | | |
| | | | Re: Black Burst Generators
by J. Tad Newberry on Sep 5, 2009 at 8:54:25 pm
in the Apple Final Cut Pro Forum
ah! i wasn't going to respond (at least, not as quickly) until i read your p.s. and Robert Johnson. AMEN, and again i say, "AMEN!" I do believe Johnson might have been resurrected in Keb Mo...but i can't be sure of it.
On to more technical stuff | | | | |
| | | | Color grading monitor for Macbook Pro
by Brian Lehrer on Sep 5, 2009 at 7:48:24 pm
in the Broadcast Video Forum
Hey Creative Cow,
I am a first time poster, but a long time reader. I could really use some help, my brain is fried. Sorry for the extensive post.
Anyways, I will be shortly buying a new 17" Macbook Pro (3.06Ghz Duo, 8GB RAM, 256GB SSD, anti-g | | | | |
| | | | removing pulldown in 1080p24 DVCProHD
by Rob Grauert on Sep 5, 2009 at 7:17:36 pm
in the Apple Final Cut Pro Forum
Someone has given me footage to edit, and of course they insisted on 24p. And of course they were not consistent with how they were recording 24p with their HVX. Since I never bother shooting or working with 24p, this is kinda new to me.
In the L | | | | |
| | | | Re: Are you cold-calling for new clients?
by Michael Hancock on Sep 5, 2009 at 7:17:19 pm
in the Business & Marketing Forum
[David Roth Weiss] "Michael,
Keep in mind that Ron can offer a certifiable and quantifiable audience to the potential new customers that he cold calls. We can't do that in the video business."
I actually never considered that Ron could use the | | | | |
| | | | Is DPX for HD broadcast work overkill?
by Robert Glanns on Sep 5, 2009 at 5:33:42 pm
in the Apple Color Forum
I've just started working with footage from the RedOne camera using FCP & Color, and I'm getting confused by the myriad different workflow options when working with this format.
Someone mentioned to me that I should be working with DPX transcodes | | | | |
| | | | MPEG 50 Vs Imx 50?
by Brett Corlett on Sep 5, 2009 at 8:38:45 am
in the AVID Editing Forum
I have a project which is SD Pal. Allot of the footage has been shot on XDCAM SD @ Imx 50. Some footage is ex digi beta and some files have come from an OB truck, Using EVS software which out puts to external hard drives in avid MXF and I believe Imx | | | | |
| | | | Re: More stuttering zoom stories....
by Rick Diamond on Sep 4, 2009 at 8:58:03 pm
in the Sony EX Series XDCAM Forum
I haven't tried it yet myself, but I would expect that if you put on a "broadcast" lens that feathers in and out smoothly and can make clean slow moves, than it should work that way on the front of the EX3. A major problem of course is that the lens | | | | |
| | | | Re: Doubling Frame Rate
by Kevin Camp on Sep 4, 2009 at 8:41:54 pm
in the Adobe After Effects Forum
normally to get 23.976 to 59.94, you'd just add a pulldown (also called telecine conversion). it's the way that films get brought up to broadcast frame rates.
to do this in after effects, you just need to drag the footage onto the make comp icon. | | | | |
| | | | HDV to Beta SP anamorphic
by Jim Fleming on Sep 4, 2009 at 8:12:35 pm
in the Apple Final Cut Pro Forum
I'm trying to lay off my HDV widescreen timeline to Beta SP. It's to be broadcast !6:9, so it's anamorphic, tall and skinny on a 4:3 monitor. But there are subtle horizontal lines on the video, making it look a bit pixellated. Field issue? De-int | | | | |
| | | | Re: Kona 6.0.3 update and Adobe Plugin
by James Dierx on Sep 4, 2009 at 6:19:46 pm
in the AJA Kona Forum
Any update to this issue? My ram previews are playing back @ 8fps and I can not get playback on my broadcast monitor. I uninstalled the adobe update and the ram previews are playing at 29.97 again but still no playback on monitor. I am also getting | | | | |
| | | | Broadcast Video | Broadcast Quality at Bargain Prices
Brand new to the market and loaded with high-end features, Flanders Scientific has introduced four high definition LCD panels specifically developed for the pro market. With the help of the COW's Walter Biscardi, Jr. and senior telecine colorist Ron Anderson, Nick Griffin offers a first look at these high definition broadcast monitors from FSI.
Review, Feature
Author: Nick Griffin |
| | | | |
| | | | Boris FX | Using Boris Continuum Complete's Cartoon Look Filter
Boris Continuum Complete's Cartoon Look filter lets you easily convert images and clips into cartoon-style roto animations. The result is a look that has been popularized in films such as Waking Life and A Scanner Darkly. The look can also be seen in broadcast TV commercials for The Charles Schwab Corporation.
Tutorial, Video Tutorial
Author: Paul Ezzy |
| | | | |
| | | | DaVinci - NEW ! | Blackmagic Design Buys DaVinci: Part 1
In this article, Tim Wilson begins his series on the big news already beginning to leak from IBC 2009. Blackmagic Design has acquired da Vinci Systems and yes, you read that right. BMD owns and will be developing and marketing da Vinci's award-winning colorgrading technology. What's in store? Here's Part One of Tim's look at the fast-breaking news...
Editorial, Feature, People / Interview
Author: Tim Wilson |
| | | | |
| | | | DaVinci - NEW ! | Blackmagic Design Buys the Power of daVinci: Part 2
In this article, Tim Wilson continues his series with his Part Two look at the big news leaking from IBC 2009. Blackmagic Design has acquired da Vinci Systems and with that acquisition comes what Tim refers to as The Power of da Vinci. And for the many that have used da Vinci over the years, they know full well the power of which Tim writes. And for those who might need an introduction to this power, Tim offers these words...
Editorial, Feature, People / Interview
Author: Tim Wilson |
| | | | |
| | | | DaVinci - NEW ! | Cinefilm's Ron Anderson: da Vinci User Since 1986
In this article, Tim Wilson talks with da Vinci user Ron Anderson in his Part Three look at Blackmagic Design's acquisition of da Vinci Systems. Ron Anderson’s relationship with da Vinci has also taken places over several decades, starting as a customer, and evolving into demo artistry even while he continues working with da Vinci systems at Atlanta’s Cinefilm.
Editorial, Feature, People / Interview
Author: Tim Wilson |
| | | | |
| | | | Adobe After Effects | AE Pro Series BROADCAST GEMS Volume 01
this article, CreativeCOW.net contributing editor Jim Harvey reviews AE Pro Series BROADCAST GEMS Volume 01 and states, ''BROADCAST GEMS is a package of Royalty Free animated backgrounds that you can import into your work. But more than just a bunch of animated backgrounds, BROADCAST GEMS is more of a compendium of elements, expressions, and comps that allow you to customize the project in an infinite number of ways. This is a lot different than just a couple of moving backdrops that you plunk into your project.''
Review
Author: Jim Harvey |
| | | | |
| | | | Business & Marketing | Heavy Iron
How can a creative business survive, much less prosper, these days? DigitalFilm Tree's Zed Saeed offers a possible solution that combines embracing new, disruptive, low-cost technologies, and investing wisely to add value.
Editorial, Business
Author: Zed Saeed |
| | | | |
| | | | Adobe Photoshop | Making Images Broadcast Safe
In the Photoshop tutorial, Richard Harrington reveals some great techniques on how to make your image broadcast safe. This can be a difficult issue when you have over saturated colors like red when it comes to being in the broadcast safe space. Richard shows you how easy it is to make your graphics broadcast safe by making a couple quick adjustments in Adobe Photoshop.
Tutorial, Video Tutorial
Author: Richard Harrington |
| | | | |
| | | | Cinematography | Pushing the Limits on Pushing Daisies
Visual Effects Supervisor William Powloski helped create one of the most eye-popping worlds ever seen on TV, as part of a feature film aesthetic on a TV budget and schedule. Although it was canceled after only two seasons, it remains one of the most beautiful and innovative programs to ever air on US television. In an extended version of the original article in The Visual Effects Issue of Creative COW Magazine, here is an exclusive look at how he and his team helped pull it off.
Feature, People / Interview
Author: William Powloski |
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| | | | Apple Final Cut Pro | Matrox MXO: Broadcast Monitoring on a Desktop Monitor
Creative Cow Leader Shane Ross wasnt convinced that the Matrox MXO could really provide the CRT-accurate monitoring through an Apple Cinema Display he demands for his HD broadcast workflows. After working with it for nearly a year, through multiple upgrades and in a variety of configurations, he tells you here why hes convinced now.
Review
Author: Shane Ross |
| | | | |
| | | | Sony Vegas | Sony Vegas Pro 9
In this article, CreativeCOW's Jim Harvey takes a look the new release of Vegas Pro 9 and determines ...This is one of the most comprehensive editing suites out there and certainly the most comprehensive version of VEGAS to be released.
Review
Author: Jim Harvey |
| | | | |
| | | | AVID Editing | Avid Liquid 7 -- a review by broadcast designer Mark Harvey
Mark Harvey, longtime leader in Creative Cow and a noted broadcast designer/editor, gives readers a look at the new Avid Liquid 7 -- acquired when Avid bought Pinnacle Systems and given many new features in this latest version now rolling out under the Avid name. Mark gives this system much praise for its powerful background rendering and wide feature set, as well as many new features like its HDV capabilities rolling out for the first time in v7.
Review
Author: Mark Harvey |
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Podcasts | | | | adobe after effects tutorials podcast
Broadcast-Safe Colors in After Effects
In this video tutorial, Creative Cow Leader Aharon Rabinowitz shows you a simple method of ensuring Broadcast-Safe Colors in your final output. | | | | |
| | | | creative cow podcast
Episode #084 - July 13, 2009
Creative Project Management with Mike Cohen, Radio Gaga and Snowtape, Nikon D-Movie Screening Room, Stretch Mesh 1.5 for Maya, Voice-O-Matic for 3ds Max, Radtech anti-glare for MacBooks and more creative news and interviews - creativecow.net | | | | |
| | | | creative cow podcast
Episode #068 - March 24, 2009
Pitching Ideas with Grinner Hester, BlackMagic does CS4, Silverlight beta 3, Pixel Sunscreeen 2.0, new Artbeats, Skype for SIP, Quark upgrade and more creative news and interviews - creativecow.net | | | | |
| | | | creative cow podcast
Episode #063 - February 17, 2009
AVCCAM with Panasonic's Robert Harris, JVC GY-HM700 ProHD camcorder, Blackmagic Decklink HD Extreme, CS4 web seminar, Panasonic color viewfinder and P2 AG-HPX300, Skype on smartphones and more creative news and interviews - creativecow.net | | | | |
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