I switched from Final Cut Pro to Adobe Premiere Pro CS5.5 last summer, and three projects later, I'm still happy. But when I wrote my original article, there was one thing I never considered - losing my existing plug-ins I used in FCP. Every editor has plug-ins, some we use daily, others we only need to pull out once in a great while. After Effects and Premiere come with some pretty useful ones, but once in a while I need something a little more specialized.
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ASSIMILATE announced support within SCRATCH Six and SCRATCH Lab for the latest release of THX cineSpace color management software for 64-bit operating systems. THX cineSpace plug-ins are used by SCRATCH colorists at major DI post-production, visual effects and animation facilities worldwide, to apply looks using THX cineSpace LUTs, and to establish end-to-end color pipelines.
MAXON has retooled its online learning site, CINEVERSITY. The site was been offering tutorials, project files, and C4D discussion for a few years, but the newest version features better ways to learn and engage with the MAXON CINEMA 4D community.
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I switched from Final Cut Pro to Adobe Premiere Pro CS5.5 last summer, and three projects later, I'm still happy. But when I wrote my original article, there was one thing I never considered - losing my existing plug-ins I used in FCP. Every editor has plug-ins, some we use daily, others we only need to pull out once in a great while. After Effects and Premiere come with some pretty useful ones, but once in a while I need something a little more specialized.
This technology, in the hands of camera operators in motion picture, television, sports, and Electronic News Gathering (ENG) organizations is ideal for the placement of digital video cameras in remote locations up to 500 meters from the receiver without wires and without concern for interference.
Clients and projects vary by extremes. A day of work at Unichrome could involve a promotional video for a high tech gadget, or perhaps a 60 second television commercial for baby food. Add a music video for a reggae band to the mix and even then, the possibilities are still endless. Having worked with household brands such as L'Oreal, San Pellegrino, Nescafe and Hasbro, the company knows what it means to deliver high quality, creative work that meets demands and exceeds expectations. In fact, they've earned a reputation for it.
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Whatever the hindsight, or occasion, what's a summertime get together without cold beers and quality food? The commercial was filmed in HD on-site at ElBulli in Catalonia, and in the region of Costa Brava. Artola and Coixel's team of 70 people utilized two RED One cameras, an ARRI Alexa and a Canon 5D Mark II at 25 and 100 frames per second. The footage was cut over the course of 22 days using Final Cut Pro. To effectively construct the cinematic tone for "La Campana del Verano," Moncho applied DaVinci Resolve's secondary color correction controls for curve grading, leveraging the tools to change luminance value and adjust the associated saturation.
Mocha Pro allows for more computer graphics workflows
Ko Maruyama
Imagineer Systems is Hollywood's favorite planar tracker. At this year's SIGGRAPH convention in Hong Kong, Imagineer Systems brought their Mocha Pro workflow to demo for the strong visual effect communities that attend the asian conference.
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Scripps required a new online advertising platform for WCPO and its other properties to add some variety and dynamic content for its demanding advertisers.
It's addictive watching this; a bit like the webcam that was put next to the broken pipeline of the ruptured BP oil platform in the Atlantic Except this is all naturally made footage; and it has been doing this since the earth began millions, perhaps BILLIONS of years ago.
Vegas Pro 10 Available Now
