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	COW Tags : Cameras


	Re: Sony Vegas Pro 10 - 3D Basics by Kevin Brooks on May 7, 2012 at 7:32:41 am in the COW - Tutorials Forum I am following this tutorial, trying to recreate each of the steps performed. However, when I try to use "Stereoscopic 3D Adjust", I drag the Horizontal offset to the left and right, but the anaglyph preview does not change. The red "ghosting" in the


	Stereoscopic 3D Adjust problems by Kevin Brooks on May 7, 2012 at 7:28:01 am in the Sony Vegas Forum I am following this tutorial http://library.creativecow.net/hurwicz_michael/3D-Basics-Vegas-10/1 ...trying to recreate each of the steps performed. However, when I try to use "Stereoscopic 3D Adjust", I drag the Horizontal offset to the left and ri


	Re: EXPORT FROM FCP7 to a DVD... by Alex Petrovitch on May 7, 2012 at 4:27:39 am in the Apple Final Cut Pro Forum Jerry, Thank you so much for your response. I will try the CBR/8mbps advice that you have laid out. And I am very excited to see the results! However, let me give you a little more info. I shot a feature on a Canon 7D. You are right, it is not


	Re: advanced audio by Greg Andonian on May 7, 2012 at 3:07:46 am in the Apple FCPX or Not: The Debate Forum Aindreas Gallagher "don't you miss proper waveforms at all in FCPX? I detest those small, vector style interpretations of the waveform." I agree 100%. I much prefer the standard way where all the audio is in one part of the timeline, and all the


	Re: Any of you kids see any cameras at NAB? by Jeremy Garchow on May 6, 2012 at 11:28:14 pm in the Apple FCPX or Not: The Debate Forum [Michael Gissing] "Not nearly as powerful as being able to dig into ISO and temp settings in RED footage but for broadcast doco and drama the F3 sLog is FAB. " Yes, Log footage is lots of fun. It's my favorite part of workflow technology that has


	Re: What Plug-in would achieve this? by John Rofrano on May 6, 2012 at 8:22:24 pm in the Sony Vegas Forum [Marlen Mathers] "My question now is can Graffiti 6 accomplish a similar treatment of text as the video I linked to above, or would I be better off upgrading to SVP11 with New Blue Titler? or neither and do something else?"Boris Graffiti 6 can probab


	Re: Where has the red gamut gone on ULTRASCOPE?! by Dmitry Kitsov on May 6, 2012 at 6:45:36 pm in the Blackmagic Design Forum I also have now gamut display in Waveform. Running 1.5.9


	Re: vegas corrupts frames-memory issue? by Paul Belter on May 6, 2012 at 6:18:45 pm in the Sony Vegas Forum thank you for the try. no, it is not quantizing, i can see unquantized stuff in red. does it mean that nobody else have this issue??? masking issue remains uncertain as i got myself into several projects and i temporarily run out of time for fu


	Re: Pink / magenta blinking by stig olsen on May 6, 2012 at 5:07:28 pm in the DaVinci Resolve Forum Hi, The setup is the same as before, declink, a couple of graphic cards and a red rocket in the recommended slots. The only difference is that I did upgrade to Lion and the latest davinci patch with the latest drivers. Really noone that have e


	Service: Txema Vega / Underwater Film Service by Txema Vega on May 6, 2012 at 5:06:08 pm in the COW - Services Forum Underwater Film Service company based in Barcelona . Available anywhere . Equipment : Gates Deep Red Housing , Gates for Panasonic HVX200, Scubacam for 35 & 16 mm film cameras , communication systems with surface,underwater lights . More information


	Re: Magic Bullet and Premiere Pro CS5.5.2 by Jimm Fox on May 6, 2012 at 3:34:53 pm in the Magic Bullet Suite Forum I have the same issue - it's a bug. The simple solution is to turn the rendered version off rendered status by throwing an effect onto that clip - you don't actually have to do anything to the clip, just throwing an effect on the clip will cause the


	Re: Why I will probably choose the Red Scarlet over the Sony FS700. by Travis Wine on May 6, 2012 at 3:09:46 pm in the Sony NXCAM Forum First of all, my wife and I saw the Avengers in 3-D last night. It's now on my top 10 ten list of best films ever watched by me. My favorite part is when Loki looked at the Hulk talking how he was a God, then Hulk picked him up and smashed him around


	Re: Work Flow Questions by Dave Simpson on May 6, 2012 at 1:16:06 pm in the Media 100 Forum Hi Marcus, I have a lot more experience with AE than Boris Red, so I guess I'm much more comfortable working with it. I keep meaning to use Boris more though.


	Re: DVDA and Nero by John Rofrano on May 6, 2012 at 12:44:29 pm in the Sony Vegas Forum I agree with Steve. Nero is an intrusive piece of software that takes over your PC and should NEVER be installed on a video editing workstation. I had problems with Nero back around version 7 or 8. It took over my DV filters and caused Boris RED n


	Txema Vega / Underwater Film Service by Txema Vega on May 6, 2012 at 10:06:08 am in the Forum Underwater Film Service company based in Barcelona . Available anywhere . Equipment : Gates Deep Red Housing , Gates for Panasonic HVX200, Scubacam for 35 & 16 mm film cameras , communication systems with surface,underwater lights . More information


	Re: Why I will probably choose the Red Scarlet over the Sony FS700. by Bruce Allen on May 6, 2012 at 9:28:30 am in the Sony NXCAM Forum Thanks man! RE: Scarlet... you do know that its high speed modes are cropped, right? I mean, the promised 300fps 1K mode would basically be a 1024x512 tiny window in the middle of the sensor. Plus it's a Bayer sensor, so it really wouldn't be supe


	Re: Blackmagic camera Workflow by Margus Voll on May 6, 2012 at 7:19:23 am in the Blackmagic Design Forum We do our edits also like this. I just take a ton of red stuff and make 720p proxys out of them and we do offline with them. Sometimes director has those tiny prorez files in he's laptop and he can do offline where ever he likes. Later we gr


	Re: Any of you kids see any cameras at NAB? by Ed Stahr on May 6, 2012 at 3:41:27 am in the Apple FCPX or Not: The Debate Forum I want to get my hands on the GoPro firmware update with ProTune. Having a Technicolor approve Cinestyle at 35Mbps really changes what can be done with those cameras. The FS700 was impressive and looked great in the 4k theater (that 4k projector


	Re: Any of you kids see any cameras at NAB? by Michael Gissing on May 5, 2012 at 11:45:58 pm in the Apple FCPX or Not: The Debate Forum I'm grading an F3 sLog job next week. It was SDI out to PIX 240 recorder and DNxHD as it was an AVID edit. Preliminary testing in da Vinci is that the sLog grades magnificently. Clean manipulable black detail is excellent and a bit more highlight


	Re: Pick My Camera For Me by Angelo Lorenzo on May 5, 2012 at 10:24:04 pm in the Cinematography Forum I would probably stick to ENG for the time being. Why? If you're a one-man-band, consider these advantages: -Better mic preamp and audio controls on-camera, with full sized XLR inputs on most ENG cameras. -Better form factor without the need to


	Re: RED Epic - One SDI signal to rule them all! Is this setup possible? (schematic attached) by Eric Mousel on May 5, 2012 at 10:19:20 pm in the RED Camera Forum Thanks, Curt! Acquiring this equipment is predicated on landing a production my company has bid on. If we secure the work (fingers crossed!) I'll let you know how it goes.


	Re: Why I will probably choose the Red Scarlet over the Sony FS700. by Travis Wine on May 5, 2012 at 9:58:22 pm in the Sony NXCAM Forum Thanks Bruce - After seeing your resume on your site, Ill listen to what you have to say. So I hope they come out with a compressed raw, considering this will be cheaper. Given your experience is there a to the eye difference when you edit with the


	Re: Why I will probably choose the Red Scarlet over the Sony FS700. by Bruce Allen on May 5, 2012 at 9:35:54 pm in the Sony NXCAM Forum Um, the main question is whether FS700 will output compressed RAW or uncompressed RAW. And what frame rates you shoot. This will affect your choice of media and make it either more or less expensive than RED. We don't know the answer to this ye


	Pink / magenta blinking by stig olsen on May 5, 2012 at 9:25:43 pm in the DaVinci Resolve Forum Hi, Im working on a commercial shot on Red Epic. Suddenly out of nowhere the clips on the timeline started blinking pink/magenta. I can see it when I play the clips, but also on the thumbnails. I have never experienced this before on any red foot


	Re: Any of you kids see any cameras at NAB? by Jeremy Garchow on May 5, 2012 at 9:07:32 pm in the Apple FCPX or Not: The Debate Forum Haven't used an f3 yet, but would love to. We have EOS lenses in house so we would need a third party mount. Not a deal breaker by any stretch of the imagination. We use KiPros, but again, we cant use them on every shoot. It's awesome when we


	Re: Any of you kids see any cameras at NAB? by Jeremy Garchow on May 5, 2012 at 8:50:08 pm in the Apple FCPX or Not: The Debate Forum Ooooo. Another juicy topic. If you think it's difficult to choose an NLE/OS platform, cameras have it beat by an order of magnitude. I, personally do not hold a camera, but I go to a lot of shoots, talk with a healthy stable of freelance DPs t


	Re: MB Looks 2 - Image Preview does not update when adding effects. by Brenton House on May 5, 2012 at 7:35:35 pm in the Magic Bullet Suite Forum I am also having preview related issues with FCPX and After Effects. It seems the preview is not working correctly in Looks Builder. Has anyone found a way to fix this? I know that they are having trouble recreating this over in support at Re


	Re: Any of you kids see any cameras at NAB? by Lance Bachelder on May 5, 2012 at 6:29:41 pm in the Apple FCPX or Not: The Debate Forum It was a great NAB for cameras! Blackmagic looks intriguing and great price/specs but built-in 90 min. battery and lack of demo footage leaves lots of questions marks... Saw the Sony FS700 in Sony 4K Theater - 240fps looks fantastic and $8,000 pr


	Re: Color Space of Epic Files by David Battistella on May 5, 2012 at 6:10:00 am in the RED Camera Forum It's raw. The color space and bit depth is determined by the file you extract from the raw. A DPX file will be different from a progress 422 or Prores 444. Red has there own coloR space selections Redcolor Red color 2 Red color 3 And


	Re: Red Drive Serial Number by David Battistella on May 5, 2012 at 6:05:24 am in the RED Camera Forum Maybe while the drive is attached you can run the apple system profiler. Perhaps there is a serial number there? David


	Re: Advice on DSLR for film making! by Paul Pap on May 5, 2012 at 1:21:37 am in the Canon EOS DSLR Forum “Paul, most major TV stations do not accept 7D footage out of hand. Check out the "Red Books" at PBS or the BBC standards. You may find that you want to look into the Canon xf300, Panny AF100, Sony Camcorders, or some other "broadcast accepted" camer


	Re: RED Epic - One SDI signal to rule them all! Is this setup possible? (schematic attached) by Curt Pair on May 4, 2012 at 10:38:15 pm in the RED Camera Forum Eric, I see no reason why this wouldn't work! I've actually used similar setups! I came out of the Epic to a Cinedeck, looped that to a Convergent Designs Gemini, looped that to a Pix 240, looped that to a convergent design nanoFlash, looped tha


	Re: wildlife shooting with Epic by Curt Pair on May 4, 2012 at 10:34:46 pm in the RED Camera Forum Charles, I agree with David on several of the points. However, a few questions must be asked, because I feel David made some assumptions. Are you shooting in 5K (or 4K) "originally" at 24P and then switching to say 300 fps? If so, then Davi


	A DIT question: to RAID or not to RAID by Angelo Lorenzo on May 4, 2012 at 10:33:03 pm in the Cinematography Forum This didn't get any love in the field production forum, but since the DIT is part of the camera department and we all have to work through data storage, I figured it was worth the double post When I perform DIT work, I usually purchase pairs of


	Unwievable footage by Adam Gronne on May 4, 2012 at 10:32:48 pm in the Apple Final Cut Pro Forum Why are there some footage that turn red and I can not see them after I have delited some other footage that has nothing to do with the first one? Adam


	Re: Apple Color Quits on Open by Zachary Silver on May 4, 2012 at 9:43:00 pm in the Apple Color Forum Hi Joseph, I removed all the title clips and it worked out fine. But now I have an even bigger issue, which maybe should be a new thread, but you seem very knowledgable on the topic so I thought I'd ask you... I color graded my entire project yester


	Recursive relinking when conforming in Premiere Pro by José Luis Martínez Díaz on May 4, 2012 at 7:54:24 pm in the Adobe Premiere Pro Forum Hi, I'm trying to relink an AVID EDL into Premiere. Things seem to work, but when I select all offline clips and try to relink, premiere ask me for the location of EVERY clip. This is a RED timeline, so all R3D files are exactly in the same locati


	Re: 3D Anagylph CS5 by Ryan Hill on May 4, 2012 at 7:23:39 pm in the Adobe After Effects Forum It is inherently tricky for it to handle an alpha channel combined with the Anaglyph image. A pixel that would be transparent to the left eye might be solid to the right eye and vice versa. You see what I'm saying? If 5.5 handles it, good to know.


	Re: ANY reports on CS6? Mac, PC? by Erik Mickelson on May 4, 2012 at 6:37:11 pm in the Adobe Premiere Pro Forum Walter, you are on a PC, enough said. I already own and have been trying to sell my Boris Red. It is not a solution and is very cumbersome to implement into a workflow. I also own Continuum and find it much better, it allows you to stay inside the


	Re: ANY reports on CS6? Mac, PC? by Walter Soyka on May 4, 2012 at 6:21:57 pm in the Adobe Premiere Pro Forum Erik, for context, what sort of work is it that you're doing? [Erik Mickelson] " On the Mac side, I see no compelling reason to upgrade just yet. " Really? I had a early look at CS6, and I would not go back to CS5.5. Like you, I don't find th


	Re: wildlife shooting with Epic by David Battistella on May 4, 2012 at 6:15:24 pm in the RED Camera Forum [Charles Binn] "As there is no pre-recording" This is true and too bad. The RED ONE has this functionality so perhaps you can use a RED ONE? [Charles Binn] "Is it possible to set a marker while recording to find back the event in the endle


	Re: AIC or Pro Res for gfx heavy workflow by Dave LaRonde on May 4, 2012 at 4:42:46 pm in the Apple Final Cut Pro Forum Whether your work goes to Macs to to Windows boxes, the laterst version of QT 7 (not X, which is toxic) allows you to READ ProRes codecs. It also allows the user to set the gamma correctly. They shouldn't have any problems after that. Even though


	Article: NAB 2012: Anton/Bauer by Debra Kaufman on May 4, 2012 at 4:34:52 pm in the COW - Tutorials Forum Cinematography NAB 2012: Anton/Bauer At NAB 2012, Anton/Bauer, a part of Vitec Videocom, a Vitec Group company, debuted its QRC-CA940 Gold Mount solution for the new Canon EOS C300 digital cinema camera and also showcased the MATRIX Cheese Plate, a


	Re: Advice on DSLR for film making! by Al Bergstein on May 4, 2012 at 4:24:30 pm in the Canon EOS DSLR Forum Paul, most major TV stations do not accept 7D footage out of hand. Check out the "Red Books" at PBS or the BBC standards. You may find that you want to look into the Canon xf300, Panny AF100, Sony Camcorders, or some other "broadcast accepted" came


	Re: Prelude: no markers or In/Out points on MTS footage by Chris Borjis on May 4, 2012 at 4:14:59 pm in the Adobe Premiere Pro Forum On the RED forum an Adobe tester stated the latest build they have is CS 6.01 (someone scolded him as he was under NDA) It would appear the first release of CS 6 will be 6.01. hopefully that will be taken care of, I use .MTS on most projects n


	Re: RED file not rendering properly by Chris Martin on May 4, 2012 at 3:57:23 pm in the DaVinci Resolve Forum Yes probably a limitation of working with the live R3D. I know you can't do render cache with R3D either. Try rendering it out at 1:1 speed. Then recreate speed effect back in your NLE. Better workflow anyway to color at 1:1 speed in Resolve anyw


	Re: Punching in on vocal track by Jeff Hudson on May 4, 2012 at 2:38:32 pm in the Apple Garage Band Forum I haven't used this myself but GB calls their punch in feature "Cycle". Here is how to use it according to the Help menu - "Click the Cycle button (with the curved arrows) in the transport controls to turn on the cycle region. A yellow ruler ap


	Re: 3D Anagylph CS5 by Ron Weaver on May 4, 2012 at 2:33:29 pm in the Adobe After Effects Forum Im sorry but in CS5 this does not work. After adding the 3D Glasses effect and changeing the Symetrical dropdown menu to the last option: symetrical color red/blue..the alpha channel goes black! PreComping does not work in CS5...maybe you have


	Red Drive Serial Number by Allan Cordero on May 4, 2012 at 2:04:12 pm in the RED Camera Forum Hi everyone - just wondering if there was a way to get the serial number off of a red drive? Any help is appreciated. Thanks.


	3D Anagylph CS5 by Ron Weaver on May 4, 2012 at 1:58:44 pm in the Adobe After Effects Forum HI, I am producing a 3D Stereo film and have come across a project stopping problem. I have a quicktime video that has an alpha channel. When I use this footage together with the 3D Glasses effect in AE, everything that was an alpha channel will

Podcasts


	boris fx tutorials podcast Custom Title Animations using Boris RED 5 Learn how to create custom title animations using Boris RED 5 and Sony Vegas Pro 10.


	boris fx tutorials podcast Title Effect Animations with Boris RED Learn how to create some really cool titling effects with Boris RED 5 and Sony Vegas Pro 10 with Paul Ezzy in this installment of his Boris RED video tutorial set created exclusively for Creative COW.


	boris fx tutorials podcast From Business Card to 3D Extruded Logo with Boris RED If your client is asking for a 3D extruded logo animation in his video and all he has for company graphics is his business card, then you'd better dig deep into your toolbox.


	creative cow podcast The Vampire Diaries : Creative COW Magazine Nancy Forner ACE, one of the editors of the popular CW series The Vampire Diaries, takes readers inside the show's editing choices, pacing and style. Also featured, is Yuri Neyman ASC and his exploration of the roots of cinematography in art.


	adobe after effects podcast Panning Large Scenes Using Target Layers in 3D In this follow-on tutorial to his short series on working in 3D space, Andrew Devis shows how to use this simple technique to quickly and accurately pan around large layers/compositions to zoom in to the exact point required each time.

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