With all the system-intensive tasks involved in video projects, it’s rather common to see video editors working with some of the most powerful computer workstations available out there. From top-tier […]
I attended my first Adobe Max 2018 last week in Los Angeles. This huge conference takes over the LA convention center and overflows into the surrounding venues. It began on Monday morning with a two-and-a-half-hour keynote outlining the developments and features being released in the newest updates to Adobe’s Creative Cloud. This was followed by all sorts of smaller sessions and training labs for attendees to dig deeper into the new capabilities of the various tools and applications.
Avid is pleased to announce that the October release of the Media Composer Family (2018.10) was made available on Wednesday, October 24th at 12 PM EDT. Updates to Media Composer | First, Media Composer (subscription and perpetual), and Media Composer | Ultimate were released at the same time, and were made available from Avid Master Accounts, Application Manager, and the Avid Download Center (login and password required).
f you’ve been walking around Hall 12 at IBC 2018 you’ve probably noticed a new Netflix logo that a few manufacturers have placed around their booth proudly announcing they are part of a new initiative. I saw the new Netflix Post Technology Alliance logo at the Canon booth around the C700 cameras and C300 II cameras they had on display, and the Panasonic stand around their Varicam LT/35 and EVA1 cameras.
In this video I attempt to show why I like shooting with ProRes Raw. There seems to be a lot of confusion as to what ProRes raw brings to the Sony PXW-FS5. It isn’t more dynamic range, more colour or better low light performance. What you get is more tonal values, more data, so your skin tones and other textures look more true to life and grade better.
State-of-the-art cameras can capture 8K video (which contains four times the pixels of 4K), but those pixels can create a massive computational logjam when editing footage.
Consider: an 8K camera captures at 8192×4320, or more than 35 million pixels per processed frame. So, just five minutes of that video at 24 frames per second is 250 billion pixels. Figure that a typical shoot involves hours of content, and you get past 100 trillion pretty quickly. To handle that oceanic volume, post-production professionals rely on powerful, expensive workstations, high-end custom hardware and time-consuming preprocessing. But that’s all about to change with Turing.
Mason Carden knows every stage of the storytelling process, whether as a videographer recording wildlife off the coast of Cape Cod, to producing the dedication of the Provincetown AIDS Memorial, to editing and delivering polished episodes for AXS TV’s Real Money. He has spent his career in video creation, developing mastery of Avid Media Composer, and building skills for timing and composition that transfer to other parts of the production flow
On this week’s Broadfield Live Webinar, features AVID MediaCentral | Editorial Management is the foundational component of the larger MediaCentral for Post solution, designed specifically for the needs of smaller post-production and broadcast teams working with Avid NEXIS. Through Avid’s new and unique HyperBin architecture, it delivers enhanced collaborative capabilities, enabling teams to stay in complete sync, have greater control over their media assets, and turn around their best work faster than ever before.
Video editing is an invisible art and often goes unnoticed. It’s a tough art to learn and even harder to master. The links in this article aim to make it a little easier.
Rachel Schreibman is known for her work as an assistant editor on Once Upon a Time (2014), Almost Human (2013), and Psych (2013). Most recently she was an assistant editor on the live action remake of The Jungle Book.