What’s new in EDIUS 8.5
By Jim Bask
Get a look at the new features of Grass Valley’s EDIUS 8.5 in these videos from DVCTraining.co.uk.
Tag: nle
Edius Pro 8.3 Features Demo by Edit Zone
By Jim Bask
In Rajasthan Edit Zone is the authorised distributor for Edius pro 8
They put together this excellent video which really shows off how optimized Edius is for Wedding and Event videographers looking to quickly turn around top notch video for their most demanding clients. Great job Edit Zone http://editzone.in/
Watch: Here’s How NAB 2017 Changed Post-Production
By Jim Bask
The Staff at No Film School, created a great video of NAB 2017 focusing on the changes in post production.
EDIUS Pro 8 and EDIUS Workgroup 8 FAQ25 Years of Adobe Premiere Pro
By Jim Bask
Premiere Pro has come a long way since its debut 25 years ago. Today, it’s the industry’s leading editing software, empowering filmmakers and all types of video creators to bring their stories to life in film, on television, and on the web.
REVIEW – TITLER PRO 5 FROM NEWBLUEFX
By Jim Bask
A few hiccups doesn’t stop this from being an awesome titling app!
As a Media Composer editor, I’ve been exposed to Titler Pro for a while now. When Avid added the ability to work in larger than HD projects, they licensed Titler Pro 2/2.5 to perpetual/subscription editors, as the Title Tool and Marquee Tool are not supported in larger than HD projects. At the time that Titler Pro 2 was released, it was a cool tool to use to create animated 2D and 3D titles inside of Media Composer.
Tips on Switching Editing Software
By Jim Bask
The process of switching from one NLE to another is not often an easy one. All that muscle memory needs to be re-learned, the tool set is different and in some cases even the conceptual paradigm on which the software operates!
Church Editing Software. Apple Avid or Adobe?
By Jim Bask
There are arguably three top players in the realm of editing software. Who is right for your church’s video projects? Will you choose Apple, Avid or Adobe? Decisions, decisions.
Why FCPX 10.3 is the NLE of the future
By Jim Bask
Opinion: Final Cut Pro X might have driven swarms of editors into the arms of Apple’s rivals, but with FCPX 10.3 Apple finally delivered on the promise of the software and, if you edit, you owe it to yourself to leave your preconceptions at the door and check it out. By Khaled Spiewak.
Deluxe Speaks Dolby Vision on the Ins and Outs of HDR
By Jim Bask
Bryant Frazer of Studio Daily stuck around for a great interview from Deluxe VP of Editorial Services Jay Tilin and colorist Martin Zeichner about using HDR Deluxe Talks Dolby Vision, Daredevil and the Ins and Outs of HDR Editorial Services VP Jay Tilin & Colorist Martin Zeichner on Doing Research, Making Metadata, and Setting DPs at Ease Earlier this fall, Netflix summoned an array of technology journalists to New York to teach them about high dynamic range (HDR) technology, using the OTT operator’s range of Marvel superhero shows as a guide. The still-forthcoming Iron Fist is Netflix’s first Dolby Vision original show — that is, cinematographer Manuel Billeter is conceiving it for HDR from square one, rather than having it regraded after the SDR version has already been completed. But the case study for post-production was Daredevil, which was regraded for HDR by colorist Tony D’Amore at Deluxe’s L.A. facility. With reporters assembled in a grading suite at Deluxe in New York, D’Amore called in via telephone and oversaw a remote-grading session, controlling the New York office’s Da Vinci Resolve software from the other coast and explaining the Dolby Vision process.
