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Color Correction Basics V: Matching Two Shots Part 2

In this episode, we’ll continue matching one shot to another. We’ll do it manually, and we’ll use Avid’s curves.

Watch the video.

Avid Media Composer: Color Correction Basics V: Matching Two Shots Part 2

Chapter: Color Correction

Topic: Matching Cameras

In this episode, we’ll continue matching one shot to another. We’ll do it manually, and we’ll use Avid’s curves.

http://avidscreencast.com/2010/04/27-color-correction-basics-vi-matching-two-shots-part-ii/

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Atlona Technologies Introduces the AT-HD620 to the AV Market

Atlona announced the AT-HD620, an HDMI to Mini DisplayPort Converter capable of up-converting incoming video signals to dual-link resolutions up to 2560×1440. This revolutionary new converter solves compatibility issues that have been plaguing HDMI users looking to take advantage of the technologies offered in new Mini DisplayPort displays, such as the Apple iMac 27 and Apple 24” LED. The new AT-HD620 will scale any HDMI input to match native resolution of either display.

Much like the AT-DP200, the AT-HD620 aligns itself perfectly with Atlona’s mission of providing solutions for AV issues typically missing in the AV market. With the AT-HD620, a host of new image enhancing technologies are available to users looking to connect an HDMI source to an MDP display. The unit features an HDCP compliant HDMI input, as well as a Mini DisplayPort input that functions as a pass through for Mini DisplayPort sources. This unit can switch between the two inputs, allowing users to use both a connected Mini DisplayPort computer such as a MacBook Pro, MacPro, MacMini or any others as well as an HDMI source such as a PS3, AppleTV, Xbox 360, etc. The AT-HD620 will scale, or up-convert any resolution, including 1080P, to Dual-link resolutions up to 2560×1440. This converter supports 3-D motion video adaptive and 3-D de-interlacing to provide the best converted image possible while providing less than a single frame delay.

For more information click here.

BuZZ Show and Podcast April 29

This week’s episode of the world’s only interactive talk radio for Digital Production, Post Production and Distribution is filled with great information and entertainment designed for the independent filmmaker or industry professional.

Click to listen to the show:

*Right click on Download and “Save Link As…”

Join host Larry Jordan and co-host Michael Horton as they talk with:

Lon Bender, Co-founder and CEO of fuzeit, has created a combination of cloud computing and social media website to allow producers to connect with their audience, improve the quality of their video, and create personalized video channels without being a programmer. Very cool – if it’s all true.

Michael Kammes, Editor and Trainer for KeyCode Media, was part of our team of reporters covering the 2010 NAB Show. We invited him back this week for his perspective, a week later, on the key news from the show.

Adam Bedford, Editor and Motion Graphic Artist, was part of our editorial team at the 2010 NAB Show and returns to share his thoughts on what it takes to become a successful editor.

Cassie Lord, General Manager of 5 Alarm Music, runs a successful music licensing and creation business; which isn’t easy these days. We spoke with her at NAB about her company, the challenges in the industry, licensing music, and the latest news from her company.

You can’t find people or interviews like this anywhere else! It’s another fascinating show – all the information you need now to know what’s coming next!

Creative Planet’s Digital Production BuZZ is live 6-7 pm Pacific Time. Join the Show Live, listen to,or download an episode from the archives or subscribe to the podcast through iTunes or off the website

Intelligent Assistance Solves Final Cut Pro Media Management Problems with Release of Matchback Magic

Intelligent Assistance, Inc. has released software – Matchback Magic – that adds vital matchback information to Final Cut Pro media files to make them very robust through many postproduction workflows.

Matchback Magic adds metadata into the media file that is carried with the file, regardless of what happens inside Final Cut Pro or to the file. At the end of the editorial process, Matchback Magic extracts that information and provides either a fully conformed (to the original high quality media) Final Cut Pro Sequence, or an ALE file for conforming a Cinema Tools database, or even an Excel Spreadsheet for manual conforming.

The Matchback Magic demonstration version, freely downloadable, includes the capability to protect media. Should postproduction proceed smoothly, there’s no need to ever buy the software, while the option is there if the worst case scenario should ever happen. Matchback Magic is faster and simpler than using Final Cut Pro’s Media Manager for these workflows.

For more information click here.

Previsualization Society Announces May 8th Inaugural Event, Previs 2010

The Previsualization Society, a non-profit trade organization dedicated to the advancement and development of previsualization or “previs,” today announced “Previs 2010,” the organization’s inaugural event in Los Angeles scheduled for May 8. The one-day gathering will bring together a wide spectrum of professionals who use and interact with previs for an exploration of current previs approaches, workflows and new work. The event is open to Previsualization Society members as well as non-members.

The program will highlight recent motion picture previs, as well as feature a Round Table Forum that promotes interdisciplinary group discussions. The Forum will encourage conversation and input from all vantage points of pre-production, production and post production with an emphasis on previs in relationship to the creative process.

Previs 2010 will take place Saturday, May 8, 2010, from 2:00-7:00 pm at the Sofitel Hotel, 8555 Beverly Blvd. in Los Angeles. Tickets are $40 for Previsualization Society members and $100 for non members. Event admission includes a dinner-and-drinks reception from 7:00-9:00 pm. The Society encourages attendees to reserve tickets in advance.

For more information click here.

Noise Industries Development Partner, Luca Visual FX, Releases Light Box 1.0

Noise Industries, developer of visual effects tools for the post-production and broadcast markets, announced that new development partner, Luca Visual FX, has released Light Box 1.0 for the FxFactory platform. Light Box 1.0 is a generous new collection of light and image enhancement tools designed to work inside Adobe After Effects CS3 / CS4 / CS5, Apple Final Cut Pro, Apple Motion and Apple Final Cut Express applications. Luca Visual FX was founded by award-winning videographer and editor, Luca Bonomo, and is already well known within Final Cut Community for developing stunning visual effects. Enhancing its growing industry reputation with Light Box 1.0, the new release includes 9 customizable GPU-accelerated plug-ins and transitions that allow users to explore tasteful new ways of manipulating light and stylizing image colors to effectively breathe life into any project.

Light Box 1.0 includes 9 plug-ins, giving users the ability to create powerful light effects, as well as stylize images and colors. Highlights include:

  • Light Flicker: Simulates TV ambient, vintage projector flickering and disco strobe lights. Can be used in a variety of projects and contains a number of customizable controls and presets.
  • Light Pulse: Provides a fast and easy way of creating automated pulsing lights of any speed, color and style. An effect like “Red light Alarm” or constantly shifting ambient lights requires only a couple of seconds to choose from the presets and customize the effect.
  • Multicolor Gradient: A customizable plug-in that allows the user to overlay a variety of color gradients of modifiable tonality, size, and intensity over images.
  • Multicolor Vignette: Provides the unique ability to apply a smooth, multicolored vignette onto the image. Like Multicolor Gradient, this plug-in helps add a gentle touch of color while grading.
  • Regional Light: A stylish plug-in that replicates localized light effects, with or without flicker. Underexposed, dull images can be brightened up and improved with the use of one or more Regional Lights.
  • Stylizer: A video stylization plug-in. From abstract image manipulation to surreal looks, this plug-in offers a variety of options, including built-in presets.
  • Vivid Touch: Sharply enhances both image light and colors. Vivid Touch helps users combine contrasting effects, like glow and sharpness, to achieve either more vivid images or dream-like atmospherics.
  • Burn Wipe: Creates dynamic light and burnout wipe transitions of any intensity, thickness and color. The wipe can be vertical, horizontal and any rotation degree. Unlike any other wipe plug-in, the movement and rotation of the effect can also be randomized to achieve dramatic results.
  • Flash: A transition that creates various intermittent flash/lightning effects in-between clips and is most effective when a dramatic and/or sudden change requires emphasis.
  • For more information click here.

    DVFilm Releases Raylight for Mac 3.0

    Raylight for Mac 3.0 introduced AVC-Intra capability, automatic import into the Final Cut Pro bin, and metadata import into the bin.

    Raylight for Mac, first available in 2008, was the first tool to make direct import of Panasonic P2 MXF files into Final Cut Pro. Raylight works by creating “reference” or quicktime links to the original DVCPROHD data, which can then be edited like ordinary quicktime files, but are created in just a few seconds after connecting a P2 card or hard drive with P2 MXF files.

    Raylight for Mac files work just like Apple Log and Transfer files. They play back using the Apple built-in DVCPROHD and AVC-Intra codecs, not the Panasonic codecs, for maximum quality and playback speed. Except the Raylight files are created instantly, and take up only a few thousand bytes per clip.

    After the P2 MXF files are “scanned” by Raylight, with version 3.0 they can now appear automatically into a user’s project media bin in Final Cut Pro, sorted automatically into folders based on metadata, and with human-readable file names like “Scene 23 Take 5” also based on metadata. Also, the metadata appears in the Final Cut Pro project media bin, and the mapping of P2 metadata to the columns in the Final Cut Pro bin is fully customizable.

    Raylight can also allow a user to author P2 MXF files from Final Cut Pro. A user can export a P2-format quicktime file into a special folder, and that file is automatically converted by Raylight into a full P2 Card image, suitable for playback on a P2 Camera or for import into other editing or broadcast systems.

    For more information click here.

    Revised Edition of Film and Video Budgets by Deke Simon Now Available

    Deke Simon announced the release of the 5th edition of his book, “Film & Video Budgets.”  The newly revised edition includes: a guide to project budgeting, basics of HD, narrative and documentary prep, and more. The author welcomes reviews to be posted on the Amazon site.

     
    For more information click here.

    MusicRevolution LLC Announces Launch of MusicRevolution

    MusicRevolution LLC launched MusicRevolution.com (www.musicrevolution.com), an online innovative new online marketplace for production, or stock music.

    MusicRevolution.com offers an extensive library of high-quality royalty-free production music. MusicRevolution offers four purchase options for customers, including single tracks, CDs, subscriptions and an innovative Internet music stream. With advanced search technology and automated cue sheet filing, MusicRevolution makes it easy, convenient and affordable for customers to buy the production music they need. As an online marketplace, MusicRevolution provides professional and aspiring musicians with the opportunity to license their music while
    learning from and collaborating with the best in the music community.

    For more information click here.