Here’s another video from an Adobe Evangelist explaining transcoding and why it’s not neccessary in Adobe Premiere CS5. I’ve explained transcoding in layman’s terms here on PCN in the past but it’s nice to see it done in context with bringing DSLR footage into an editing timeline. … Continue Reading
The idea of not having to transcode DSLR video footage really appeals to me so I have set aside my Final Cut Pro books and tutorials and started really giving CS5 a once over. This video tutorial from Adobe is a really good overview for getting started and setting up a sequence optimized for DSLR footage. … Continue Reading
While researching H.264 hardware encoders for our upcoming book I came across this video from Richard Harrington about the Elgato Turbo.264 USB encoding stick for use with Final Cut Pro. … Continue Reading
PCN has covered Jason Levine’s videos before but somehow missed this one showing how easy it is to work with Canon 5D and 7D footage in the new Adobe Premiere CS5. The big benefit is native editing with no transcoding.
The key to all of this: NATIVE DSLR EDITING. That’s right. Straight from the camera to the timeline. No transcoding; no proxies. Full frame-size, mixed frame rates, all living together, harmoniously, in the Premiere Pro CS5 timeline. And what makes it all possible? The incredible new 64-bit Mercury Playback Engine. Oh, and Premiere Pro CS5 is a native 64-bit app as well now.
The Post Production Training Hall at the PhotoCine Expo is excited to announce the addition of Bob Silga. Bob is a professional colorist with 30 years experience who teaches color correction at Columbia College and DePaul University. Bob’s career spans both commecial and film projects, and he was the Director of Training for Silicon Color’s FinalTouch software. After Apple purchased Silicon Color, Bob was hired to be the lead QA for Apple’s Color application where he was instrumental in helping design the application and created all of the Color FX Room signature looks. Bob recently created Scone Looks™ (a collection of presets) for Apple Color. … Continue Reading
There’s a lot of feedback on the intertubes about my article They shoot horses JPGs don’t they. I knew it would be controversial going against the tide and I appreciate that the commentary has been framed intelligently by bloggers that I respect. Thanks. This allows us all to have a rational discourse and honest debate about this issue which I hope to respectfully continue here.
Now, let me take a moment to clarify my position. I am not advocating that in every instance, everyone shooting HDSLR footage should burn in the look and bypass grading in post. What I am saying, is that the project should determine the workflow and that color grading in post is not the only option – especially for photographer filmmakers who are new to post production and working on minuscule budgets with quick turn arounds.
In a controlled environment like in a studio or on a set, you have the opportunity to burn in the look and limit your post workflow – which incidentally could give you a cleaner end product. … Continue Reading
