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Re: the friend-making business by David Roth Weiss on Aug 17, 2009 at 4:07:01 pm in the Business & Marketing Forum [grinner hester] "That's what I love about doing what I do. It's about life, not a shot. " So, with that in mind, just remember, it's one hand for you, one hand for the camera, and one hand for the boat... Oops, that requires three hands doesn Re: Client asking for quote for Workcover induction on construction site by David Roth Weiss on Aug 17, 2009 at 3:51:52 pm in the Business & Marketing Forum David, If the event eats up most of an entire work day, bill them at your day rate. However, if you get the impression that doing so might put the rest of the project in jeopardy, then bill them for some portion of your day rate, such as half a da Re: Article: Apple BluRay Support by walter biscardi on Aug 17, 2009 at 11:03:50 am in the Apple Final Cut Pro Forum [Jeff Handy] "The licensing is ridiculously expensive - untouchable for small businesses for a distribution format." Not through NetBlender's DoStudio. We're a small shop (3 employees, 3 edit suites) and have been doing BluRay authoring / distrib Re: Skin by walter biscardi on Aug 17, 2009 at 10:57:24 am in the Apple Color Forum [Rafael Metz] " When sitting in telecine or tape2tape I saw often the colorist using a denoiser in the da Vinci system or on the optical way putting some SoftFX or Blackpromist in the optical line of the film scanner" You can download the Nattress reconnecting P2 in Avid by Sara Iyer on Aug 17, 2009 at 5:37:10 am in the AVID Editing Forum Hello, So I'll preface this by saying I'm very new to Avid - I've been an FCP user for over 5 years but I took an intro to avid class for school. I feel pretty comfortable with the interface, but I've had very little practical experience with th Re: Skin by Nate Weaver on Aug 17, 2009 at 1:44:14 am in the Apple Color Forum There's is some "retouching" style beauty work done in that shot, but there's also another thing going on there that bears discussion. Notice how there is no variance in the chroma for the skin...i.e., it is all one vector for the most part. No ru Article: Apple BluRay Support by David Roth Weiss on Aug 16, 2009 at 11:32:47 pm in the Apple Final Cut Pro Forum The article below from PC World says that BluRay support makes sense... At least it says it makes sense for the iMac. Notice that nowhere does it discuss the MacPro, ProApps, or burners vs. players. I can only assume the article is referring to a p Re: DVD delivery to client-What do you use? by Rick Wise on Aug 16, 2009 at 11:10:26 pm in the Event Videographers Forum Vince, the model R200 had a difficult-to-line-up tray. That's the model I used to have, and made it work until it died. The R280 has a very simple, clear slot and is a breeze to line up. You open the door, lift the drop-down tray up out of its normal Re: Shooting LED billboard by Marion Laney on Aug 16, 2009 at 10:18:47 pm in the Panasonic HVX - HPX (P2) Forum I second the LowCon filter. It should help but under exposing will probably be the way to go in any case. Marion Laney Director-DP-sometimes Editor ideaWercs, inc. Atlanta, Ga. USA Producing in HD&35mm&SD Food Network series "Good Eats" and ot Re: Shooting LED billboard by Marion Laney on Aug 16, 2009 at 10:14:23 pm in the Panasonic HVX - HPX (P2) Forum Can you link to a video still of what you see? Also, if you can do a locked off camera position, shoot the screen with several exposures (bracketing) and see if the editor can help with combining the best of the various combination's. Marion Lane Re: Difference in Levels in Two Camera Shoot by Pat Ford on Aug 16, 2009 at 10:07:21 pm in the Sony DV Forum Brian...here's some of what I wrote from the lighting pro forum. The thread has been more active there. A saying I have is that with any major shoot you learn something new. This time it's to be sure the cameras match. I have done this shoot t Re: HPX300 in AR config w/Fugi wideangle 3.5 by Marion Laney on Aug 16, 2009 at 9:54:16 pm in the Panasonic HVX - HPX (P2) Forum Yes, for what is on the market it is a nice surprise. We are getting some great atmospheric shots and great composites in Intra mode. Looking forward to a 1/3" lens conversion to cine/Nikon/Canon. Thanks for the menu tip. Marion Laney Di Re: Cheaper "Professional: Lighting Units for students by Todd Terry on Aug 16, 2009 at 9:37:05 pm in the Lighting Design Pros Forum [Rick Wise] "The Amvona green screen does not include a support system" Ahh... you are right. We just bought the muslin drop from Amvona, didn't need any supports. [Rick Wise] "Please do send me the other source for non-Arri Arri lights!" Re: DVD delivery to client-What do you use? by Rick Wise on Aug 16, 2009 at 9:11:11 pm in the Event Videographers Forum I am going to respectfully disagree with Vince. I have had problems printing DVDs with an earlier version of the Epson Photo R280, but none at all with the R280 itself. It's a breeze to use to print DVDs, once you understand the directions. Yes, you Re: DVD delivery to client-What do you use? by Rick Wise on Aug 16, 2009 at 8:08:40 pm in the Event Videographers Forum The cheapest DVD-printing Epson I can find is the Epson Artisan 50, for $100 at Amazon. The one I have, the Epson Photo R280, which I like a lot for small-batch DVD printing, is currently $133 through Amazon. Rick Wise director of photography San Re: RT Playback issue by David Roth Weiss on Aug 16, 2009 at 7:52:56 pm in the Apple Final Cut Pro Forum Glad to help get you back to speed... David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PRODUCTION WITHOUT THE USUAL INSANITY ™ A forum host of Creative COW's Apple Final Cut Pro, Business & Marketing, Flash Movie Clip Problem by Phillip Crook on Aug 16, 2009 at 7:50:54 pm in the Adobe Flash Forum I have a movie clip with an animation in it that is about 15 seconds. I need the movie clip to start on frame 10 in a seperate Scene/Timeline. When I drag the movie clip onto the timeline in frame "1" the animation plays fine. But when I move it to s Re: Color grading Red Camera footage VS Raw data from still camera? by Nate Weaver on Aug 16, 2009 at 6:57:09 pm in the RED Camera Forum [Nic Cross] "Surely they'd be some around for 'testing' purposes..." Not really. When a camera is that expensive, you don't just find footage "laying around" for people to do what they please with. Chances are, somebody paid a lot of money for eit Re: Panasonic AJHD1200A sound capture by walter biscardi on Aug 16, 2009 at 6:52:56 pm in the Apple Final Cut Pro Forum [Carly DeLora] "I herd through the grape vine that there is a way to use the devise to add the sound without having to re-capture. Is this true? If so, How?" I have never heard of this. I owned that deck for 2 years and then traded it in for the Re: Cheaper "Professional: Lighting Units for students by Rick Wise on Aug 16, 2009 at 6:41:02 pm in the Lighting Design Pros Forum [Craig Alan] "Are you planning on the kit being daylight temp? What type of open face lamps?" Craig, because of cost, the kit must be tungsten, so it must have enough wattage that by adding 1/2 CTB students can shoot interiors with lots of dayligh Re: Cheaper "Professional: Lighting Units for students by Rick Wise on Aug 16, 2009 at 6:13:31 pm in the Lighting Design Pros Forum Todd, The Amvona green screen does not include a support system. With theirs, the total is much more. Please do send me the other source for non-Arri Arri lights! Rick Wise director of photography San Francisco Bay Area and part-time in Re: fcp-creating a funky footage shape... by David Roth Weiss on Aug 16, 2009 at 4:01:39 pm in the Apple Final Cut Pro Forum See Walter Biscardi's tutorial on "Travel Mattes at http://library.creativecow.net/articles/biscardi_walter/FCPTravelMat1/video-tutorial.php David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PRODUCTION WITHOUT THE Re: RT Playback issue by David Roth Weiss on Aug 16, 2009 at 3:48:26 pm in the Apple Final Cut Pro Forum Tracy, without knowing the full capacity of both I am unable to help, as the answer is determined by calculating the ratio of free space to overall capacity. David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PROD Re: Whats the best way to edit 1024x768 footage? by David Roth Weiss on Aug 16, 2009 at 3:41:12 pm in the Apple Final Cut Pro Forum [Milton Hockman] "Every setting i try is super slow on export. a QT ref is taking 20 mins for a 7 min rendered video. " Milton, It certainly sounds as if your timeline isn't fully rendered before export, which does take longer because FCP is Re: Resolution for HD in PAL format by walter biscardi on Aug 16, 2009 at 12:21:21 pm in the Apple Final Cut Pro Forum Those specs depend wholly on what your deliverable will be. Generally PAL is 50i or 25p for HD. Either 720 or 1080. What does the network / client request? SD Widescreen is generally not acceptable as HD because it's not HD. Walter Biscard Re: Resolution for HD in PAL format by Ben Holmes on Aug 16, 2009 at 9:37:18 am in the Apple Final Cut Pro Forum Your first question should be to ask what the delivery specs are. That said, in PAL land, HD almost always means 1080i50. So that's 1080x1920 at 25fps interlaced. I would suggest you read and learn more about HD before you attempt to cut anythi Re: Whats the best way to edit 1024x768 footage? by Ben Holmes on Aug 16, 2009 at 9:34:41 am in the Apple Final Cut Pro Forum Animation codec is a heavy duty high bitrate lossless codec used for exporting graphics elements with an alpha channel - it's very hard to play it back on any system without rendering it out, and having it at 15fps is also a bit bizarre. If you ju Re: arrow keys to simulate Powerpoint presentation by Elaine Shields on Aug 16, 2009 at 9:00:42 am in the Adobe Director Forum Hi, can anybody PLEASE help me urgently, I'm doing a director mx presentation & I want to click on a button & it must launch a Powerpoint presentation. I've never done this & I'm not famuliar with coding, & what I get from the net is just confusing m Re: Lighting Difference in Two Cameras? by Pat Ford on Aug 16, 2009 at 7:38:30 am in the Lighting Design Pros Forum Craig, Thanks so much for taking the time answer my post; you all have been generous with your time. A saying I have is that with any major shoot you learn something new. This time it's to be sure the cameras match. I have done this shoot Re: Insight on setting up interviews with celebrities? Whom to contact, how to present? by Tim Wilson on Aug 16, 2009 at 7:05:35 am in the Indie Film & Documentary Forum [Andrew Kimery] "...or a chance to talk about something they feel strongly about"... Absolutely worth pursuing. In addition to the examples you mention above, Barbara Sumner Burstyn wrote an article for us about a documentary she made, where she g Re: Lighting Difference in Two Cameras? by Craig Alan on Aug 16, 2009 at 6:08:54 am in the Lighting Design Pros Forum Hi Pat, I'm not a lighting pro, but I have shot quite a few stage shows with pd170s (basically an updated 150). This line of cameras is very sensitive to light. When they light the stage for live affect, it often overexposes the Sony. These sho Re: FCP Run Slow using External Drive by David Roth Weiss on Aug 16, 2009 at 5:10:20 am in the Apple Final Cut Pro Forum [John Pale] "Use a codec there are easy setups for, such as uncompressed or ProRes." John, He won't be able to playback uncompressed off a firewire 400 drive without dropping frames either. David Roth Weiss Director/Editor David Weiss Produc Re: Cheaper "Professional: Lighting Units for students by Todd Terry on Aug 16, 2009 at 4:55:36 am in the Lighting Design Pros Forum Hey Rick... I have not personally used those Chinese blue Arri clones exactly (at least not "as is")... but I do have a 1200w HMI that was I believe was constructed out of the exact same housing as the Blue 2K tungsten fresnel (I'm guessing it was Re: Ligh streaking with 3ccd camera. by Todd Terry on Aug 16, 2009 at 4:39:57 am in the Cinematography Forum FWIW... even with very high-end CCD cameras you can see this issue crop up, espcially with very bright point light sources in very dark scenes. It's one of those annoyances that may be hard to eliminate completely when using a CCD camera in a very p Re: RT Playback issue by David Roth Weiss on Aug 16, 2009 at 2:33:10 am in the Apple Final Cut Pro Forum [Tracy Tragos] "with 37 GB of hardrive space currently available. My footage is on a CalDigit Raid Array... " If you only have 37Gb of hard drive space left on your CalDigit array then you are almost certainly over the proper capacity of the raid. Re: My MBP Specs by David Roth Weiss on Aug 16, 2009 at 1:37:52 am in the Apple Final Cut Pro Forum By older, I meant the generations before the latest release, which except for the new 17" MBP, no longer has the express card slot. David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PRODUCTION WITHOUT THE USUAL I Re: AJA iO HD > FCP > FW400 Drive? by David Roth Weiss on Aug 15, 2009 at 10:40:14 pm in the Apple Final Cut Pro Forum The very first page of the IOHD manual specifically states that "no" firewire devices can be used at the same time as the IOHD because it requires the full bandwidth of the firewire bus. On an older MBP with an express card slot you have the option o Re: xporting uncompressed 10 bit QT - quality loss by David Roth Weiss on Aug 15, 2009 at 10:24:58 pm in the Apple Final Cut Pro Forum That is very strange. Definitely not normal FCP behavior. David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PRODUCTION WITHOUT THE USUAL INSANITY ™ A forum host of Creative COW's Apple Final Cut Pro, Bu Type of Mic for Nepal Documentary by Chris Parkhurst on Aug 15, 2009 at 10:24:00 pm in the Audio Professionals Forum In less than two weeks time, I am headed to Nepal to shoot my documentary 'Journey to Kathmandu'. I am going to be in many situations where having a boom operator is not going to be possible (ie shooting in the Himalayas). What this means is that I Re: reducing size of picture on a white screen by David Roth Weiss on Aug 15, 2009 at 10:04:48 pm in the Apple Final Cut Pro Forum Are you rendering after the resize? You need to. And, make certain that "Full" is checked in the Render All dropdown menu before rendering. It is not checked by default as it comes form the factory. David Roth Weiss Director/Editor David Weiss Re: xporting uncompressed 10 bit QT - quality loss by David Roth Weiss on Aug 15, 2009 at 9:50:12 pm in the Apple Final Cut Pro Forum Export>Quicktime Movie using current settings creates a file identical to your timeline. How are you exporting? You told us everything except what you were using to do the export, which leads me to believe you're using QT Conversion. David Roth Wei Re: AJA iO HD > FCP > FW400 Drive? by walter biscardi on Aug 15, 2009 at 8:32:50 pm in the Apple Final Cut Pro Forum [T. John Wise] "Approximately how much storage space is needed for 100 minutes of HD Prores content? " what size? What frame rate? What resolution of ProRes? All that factors into the equation. Digital heaven has a free widget for doing thes Re: Beach Ball... Hierarchy? or ProResHQ? by walter biscardi on Aug 15, 2009 at 8:31:31 pm in the Apple Final Cut Pro Forum [Charles Breiner] "I suspect one of two things either, the ProRes HQ is too high a resolution for FCP to handle, or I have all the media stored in a single folder and that the system needs more of a hierarchy with the media broken up better in order Re: Cheaper "Professional: Lighting Units for students by Rick Wise on Aug 15, 2009 at 7:55:03 pm in the Lighting Design Pros Forum Craig, The University has plenty of lights, up to 5Ks. But the issue is, I am required to design an on-line 100% digital lighting class that shoots only video (no film) and also involves equipment that on-line students from all over the US and the Re: Color grading Red Camera footage VS Raw data from still camera? by Nate Weaver on Aug 15, 2009 at 7:37:24 pm in the RED Camera Forum [Nic Cross] "Is there anywhere I can obtain some red camera footage to grade and play around with? Preferably something royalty free so I can eventually put it on a showreel. " Wha-wha-wha? Nate Weaver Director/D.P., Los Angeles http://www.nate Re: looking for Gary Adcock's paper on Pro Res by walter biscardi on Aug 15, 2009 at 6:55:21 pm in the Apple Final Cut Pro Forum [Phil Yunker] "I'm trying to figure out if exporting to pro res HQ is worth it. I'm working with footage that was shot in HDV(JVC) and captured to DVCPRO720p final output will be to 1080i HDCAM SR for Broadcast. " Short answer is no. ProRes HQ is Re: DVD delivery to client-What do you use? by Rick Wise on Aug 15, 2009 at 5:08:32 pm in the Event Videographers Forum I'll second that: NEVER use stick-ons for DVDs. For the small runs you speak of, the cheap Epson Photo R280 is a terrific, economical solution, combined with those white, printable Taiyo Yuden's, which are extremely reliable. Let your Google fingers Re: Cheaper "Professional: Lighting Units for students by Rick Wise on Aug 15, 2009 at 5:03:44 pm in the Lighting Design Pros Forum Mark, that's an interesting idea. However, I took a quick look at Blender. Does not appear to be an easy app to learn. I don't think I want to teach software on top of everything else I will be teaching. But still, most intriguing. Thanks for the sug Re: Question: Laws with using motion presets by walter biscardi on Aug 15, 2009 at 12:19:00 pm in the Apple Motion Forum You mean you want to change part of a preset for a television show? Absolutely you can do that, you can use it straight up as is if you want. Those are there for you to use as you see fit. Walter Biscardi, Jr. Editor, Colorist, Director, Writer, Re: Render Cancelled RED footage by walter biscardi on Aug 15, 2009 at 12:18:17 pm in the Apple Color Forum First thought would be to split your project into two projects. Keep the first half that rendered just fine, but save off a second project with only the second half of the project that doesn't render and see if Color will render that. The new col Red Giant plug-ins Creating a Summer Blockbuster Film Look In this action packed episode of Red Giant TV, Sin City's Visual Effects Supervisor - and the new Creative Director of Red Giant Software - Stu Maschwitz, shows you how to get the Summer Blockbuster look seen in Transformers 2, Terminator: Salvation, and The Taking of Pelham 123. Stu shares valuable techniques for enhancing your footage with Magic Bullet Looks and Colorista - the technologies he invented for his own use on feature films. Tutorial, Video Tutorial Author: Stu Maschwitz 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 Stereoscopic 3D - NEW ! FotoKem: 3D DI FotoKem opened as a film lab in 1963, and has continued to evolve and expand. Here are some of the tools they're using as the industry, and their business, now adds another dimension. Tutorial, Feature, People / Interview Author: John Daro Stereoscopic 3D - NEW ! Perception and The Art of 3D Storytelling By working in the area between what you see, and what you can see, Brian Gardner is helping re-write the rules of 3D filmmaking - right before your very eyes. In this article, he tells how some of these new rules played out in his work on the amazing movie, Coraline. Tutorial, Feature, People / Interview Author: Brian Gardner Adobe After Effects Nosferatu becomes Orlok the Vampire in 3D! Nosferatu, the first vampire movie, and some say still the best, rises again in 3D! Chris Heuer used desktop tools including AE and Mocha to breathe new life into this classic of world cinema. Feature Author: Chris Heuer Indie Film & Documentary Running the Sahara Running 4300 miles across the world's largest desert sounds impossible. But once Academy Award-winning director James Moll heard that three guys were going to try, he knew he had to hear - and tell - their story. In this Creative COW Magazine expanded interview, James talks about the incredible journey of both the runners and the filmmakers, while also offering insights into filmmaking, storytelling, and the frame. Feature Author: James Moll Stereoscopic 3D - NEW ! The 3D Zone: Its Past & Its Future The world expert in the history of 3D imaging looks at its past to see into its future. Along the way, he looks at the role of comics in the evolution of 3D storytelling, the importance of anaglyph even today, and why 3D is going to stick around this time. Feature Author: Ray Zone Cinematography Rick Gerard reviews Cinematography: Image Making for Cinematographers, Directors, and Videographers Rick Gerard takes a close look at Cinematography Theory and Practice by Blain Brown. This is his third book and for the aspiring or experienced cinematographer the best reference book Rick has ever seen. Review Author: Rick Gerard Motion Graphics Media Management Nightmares? Game On! Here's how one team turns 14 hours of raw footage on the latest games into a 30-minute TV show every week, 40 times a season. In this Creative COW Magazine article Dustin Lau discusses some tricks for high end digital media management. Editorial Author: Dustin Lau COWmunications feedback Introducing the all new www.CreativeCowMagazine.net website In this article, Ron Lindeboom, one of the co-founders of CreativeCOW.net and company architect and head of business development, says of the new magazine site interface: ''I have never seen a magazine interface that makes as much sense and gives as much access to so much content, in so few steps.'' Those that helped test the new site while it was in development, agreed, stating that they didn't need any instructions to use it -- but we offer some here, anyway. Editorial, Tutorial, Feature Author: Ron Lindeboom Business & Marketing Client Management and The 5 Stages of Grief - Video Game Development Everything is fine, until the client gets involved! Now there's a long list of changes to make, on the same schedule and budget. In this article from The Creative COW Magazine, video game producer, William Dwyer discusses the game development process and how it aligns with the five stages of grief. People / Interview, Business Author: William Dwyer RED Camera Exposing the RED: Perfect Exposure, Every Time Director DP, REDtrepreneur, early adopter and obsessed student of the RED camera system David Battistella takes a closer look at how to hit the sweet spot on the RED sensor. David shows how understanding REDs inner workings will help you expose your scene just right, every time. Feature Author: David Battistella Motion Graphics Creating Interactive Games - Cine Bingo The team at Psychic Bunny worked on whatever interested them - perfect preparation for a job that even the client couldn't describe. In this Creative COW Magazine article Rick Castañeda gives you a behind the scenes tour of how they made cine bingo and teaches a few tips on interactive game making. Editorial, Feature Author: Rick Castañeda Art of the Edit The Importance of Invisible Effects Steve is a Senior Compositor and 2D Technical Director with over 20 years of production experience. His credits include over 60 films including as Traffic, Blade: Trinity,Ray, Batman & Robin, U-571, Air Force One, TV shows including Deadwood, and over 70 commercial spots. In this Creative Cow Magazine Extra from the Visual Effects issue, Steve talks about invisible effects in projects he has worked on, with ideas you can use for your own projects. Feature Author: Steve Wright CalDigit CalDigit HDOne Los Angeles Director and Editor David Roth Weiss finally takes the plunge and tests CalDigits new HDOne, an affordable turnkey RAID-5 protected video storage system. Review Author: David Roth Weiss Art of the Edit Alan Levi: From Columbo to E.R. and Beyond Tim Kolb explores the career of legendary director, Alan J. Levi. Spanning a career that began in the 1960's and still continues today, Tim discusses the life, work and accomplishments of a talented man whose body of work includes many of the most memorable shows in television history. He is also the inventor of ''video assist'' and is not only hands-on in the artistic side but in the technical side as well. Alan discusses the way that the new technology has changed the face of broadcast production and his own use of nonlinear editing tools. It's a great story and our thanks to Alan J. Levi for granting the interview and Tim Kolb for a great job in writing it. People / Interview Author: Tim Kolb Windows Hardware & Software Adobe Production Studio Comes to the Mac Adobe's Simon Hayhurst, Director of Product Management for Dynamic Media, takes Creative COW inside the Production Studio's journey across platforms. How much of it? Premiere Pro? Encore DVD? Yes, ALL of it! The Adobe Production Studio software bundle finally comes to the Mac. Feature Author: Tim Wilson Cinema 4D Digital Texturing & Painting by Owen Demers CreativeCOW Technical Director, Curtis Thompson examines Digital Texturing & Painting by Owen Demers from New Riders. Review Author: Curtis Thompson Adobe After Effects Creating Motion Graphics CreativeCOW Technical Director, Curtis Thompson examines Creating Motion Graphics Vol. 1: The Essentials (2nd Edition, Version 5.5) byTrish & Chris Meyer. This book is in the DV Expert Series from CMP Books. Review Author: Curtis Thompson Indie Film & Documentary Making Atomic City: Major Production Values on an Indie Budget A talk with Markus Rothkranz: producer, director, filmmaker, storyteller, effects artist, model maker, matte painter - well, let's just say that he does most everything... People / Interview Author: Markus Rothkranz Test Post Forum Embedding Images and Movies into Your Posts at Creative Cow So many people have asked how to embed graphics and movie files into their posts at Creative Cow. Kathlyn Lindeboom, the CreativeCOW's director, demonstrates how to use standard html tags to allow you to embed and call images and movies into your posts. Tutorial Author: Kathlyn Lindeboom Podcasts creative cow podcast Episode #085 - July 20, 2009 Producing Documentaries with Walter Biscardi, Panasonic AG-HPX300 update, LinkOptimizer for Adobe InDesign, Amazon ironically deletes 1984 from Kindle, Astroscope DSLR night vision, Microsoft Silverlight 3, Expression 3 and more creative news. creative cow podcast Episode #083 - July 06, 2009 10 Steps To Keeping Clients with Grinner Hester, Vegas 9 Pro goes to school, Olympus E-P1 DSLR point and shoot, Online ads up, AgfaPhoto underwater camera, SlideShowPro update and more creative news and interviews - creativecow.net creative cow podcast Episode #075 - May 12, 2009 Getting More Clients with Andy Stinton, Kindle DX, Adobe Clean, Aquafadas SnapFlow, Pantone lampshades, Nik Sharpener Pro 3 and more creative news and interviews - creativecow.net creative cow podcast Episode #069 - March 31, 2009 Audio Mastering Part 1 with Charlie Grover, Skype for iPhone and Blackberry, 3ds Max 2010, Adobe Director 11.5, RE:Vision Effects ReelSmart Blur, Fusion SWAT training, Wirecast 3.5 and more creative news and interviews - creativecow.net creative cow podcast Episode #070 - April 07, 2009 Producing Narrative Series with Kate Kaminski and Betsy Carson, Cineform FirstLight, Canon Digital Rebel T1i DSLR shoots HD video, YouTube and Sony team up, Dimension 3 2009 Expo, Tascam DR-100 update and more creative news and interviews- creativecow.net

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