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Post Production
Adobe CS6 DVi Workshop: Using Adobe Premiere Pro with SpeedGrade and Audition

This Adobe CS6 tutorial by Pete Bauer of Contrail Media shows the round-trip process of taking a video clip through Adobe SpeedGrade that was deliberately shot at the wrong color temperature (i.e., a camera’s white balance was set to daylight instead of tungsten), because color temperature is something that Premiere Pro’s built in color correctors don’t explicitly have, but SpeedGrade does. Rounding out the workshop is a demo of a simple audio noise clean-up with Adobe Audition.

Post Production
Twenty Premiere Pro CS6 Power Tips for FCP Editors

These power tips are geared toward the FCP editor and will you get up to
speed quickly with the nuances and new features in Adobe Premiere Pro CS6! Maybe you’ve come to Adobe Creative Suite Production Premium from Final Cut Pro or Avid Media Composer. If so, you’ll want to take advantage of the new features found in Adobe Premiere Pro CS6. I myself am a switcher and a former Final Cut editor. Professional editors want a powerful, reliable app that can handle various workflows, and those new to editing want an NLE app that is easy to use and intuitive. In this article I’ll share some power user tips to make you more successful and comfortable with Premiere Pro.

Audio
Choosing Kit: How to Make Sense of Audio

This article has been authored for DVi by Chris Skorrow of Lindos Electronics. George Lucas once said: “I feel that sound is half the experience. Filmmakers should focus on making sure the soundtracks are really the best they can possibly…

Stereoscopic
Pro 3D Handheld Camcorders Comparison

Tim Dashwood, pictured here with a vintage 1950’s Kodak stereo film camera in Times Square, delivers an overview of today’s affordable 3D video production camcorders. Tim: “It amazes me how far consumer technology can evolve in just a two year period. In 2010 Panasonic officially announced the AG-3DA1 stereoscopic 3D camcorder, the first of its kind. I was fortunate enough to gain early access to the prototype and use it in a few productions. Its stereoscopic use was of course limited by its interaxial separation and zoom range, but it was the first time a stereoscopic camera operator didn’t have to worry about geometric or colorimetric alignment on set. In early 2011 the consumer divisions of Sony and JVC quickly released inexpensive handheld stereoscopic 3D camcorders the HDR-TD10 and GS-TD1, respectively.” You’ll want to dive right in and read the rest of his review.

Camera Support
Review: Vinten Vision blue5 Video Support System

Another NAB, another Vinten review! Yes, it’s that time again: tinker and test, tweak and note, dust off the keyboard and set about disseminating the information. This is something of a “two for one” deal. This was necessitated by the fact that Peter Harman at Vinten kindly sent me the Vision blue5 for the review, and very nice it is too. However, it’s COG/ Mass graph quickly demonstrated that all of my Video cameras, even piled/ bolted one on top of the other, weren’t going to get the Counter Balance system to play ball in a fit. Cue: a mad scrabble to prise one of the very first prototypes of the new CB100 (more of that anon) out of my business / design partner / machine and powder coat shops in Texas. As I write this (eight days before copy deadline) it’s currently shown as “somewhere between Chicago (?) and New Zealand,” just what I really didn’t need.

Post Production
Adobe CS5.5 DVi Workshop: Dynamic Link

Pete Bauer of Contrail Media explains the basic procedures for working between Adobe CS5.5 applications such as After Effect and Premiere Pro, and then guides you through a sample Dynamic Link exercise moving sequences from one application to another. A quick review of the process is included at the end of Pete’s tutorial. In just about 15 minutes, this video tutorial covers the essential steps you’ll need to know in order to use Adobe Dynamic Link in Adobe Creative Suite 5.5. Pete has also provided a companion tutorial article to this video workshop.

Post Production
Adobe CS5.5 DVi Workshop: MultiCam Editing

Pete Bauer of Contrail Media explains the basic procedures for working within the multi-cam editing environment, and then guides you through a sample sequence involving four source video clips as they are mixed into one. A quick review of the process is included at the end of Pete’s tutorial. In less than 15 minutes, this video tutorial covers the essential steps you’ll need to know in order to use the Multi-Cam Editing tools in Adobe Premiere Pro CS5.5.

Post Production
Final Cut Pro vs. Adobe Premiere CS 5.5, That Is The Question

I asked Shane Ramirez, our editing manager here at Media Design to relate his thoughts on the new Adobe Premiere Pro platform vs. our old version of Final Cut Pro (7). I asked him which platform he would be using for his latest project, since he was trained originally on Final Cut, and his answer was Premiere Pro CS 5.5, and with his comments, we can perhaps determine why.

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