Chapter: Compositing Tools and Techniques
Topic: Filters and Plug-ins
You’ve carefully applied all the filters you need to your video clips…. Why doesn’t the end result look the way you expected? In this clip from Total Premiere, instructor Brian Maffitt gives a clear demonstration of the importance of applying Premiere filters in the correct order.
http://www.creativemac.com/HTM/58Seconds/2000/12_00/premiere/adobepremiere-page1.htm
TAGS:
Chapter: 24P Film or Video
Topic: Technology
Guages, counting schemes in a comparison chart
http://24p.com/gauges.htm
TAGS:
Chapter: 24P Film or Video
Topic: Technology
There are some simple rules to follow for PAL based film and HD 24p production when it comes to the use of timecode. The choice of timecode rate of course relates directly to the frame rate chosen for the production. But in the case of double system production where picture and sound are captured on separate recording devices, the post production use of the timecode will differ based on the transfer and frame rate of the chosen post production workflow.
http://24p.com/PAL_TC.htm
TAGS:
Chapter: 24P Film or Video
Topic: Technology
There are some simple rules to follow for PAL based film and HD 24p production when it comes to the use of timecode. The choice of timecode rate of course relates directly to the frame rate chosen for the production. But in the case of double system production where picture and sound are captured on separate recording devices, the post production use of the timecode will differ based on the transfer and frame rate of the chosen post production workflow.
http://24p.com/PAL_TC.htm
TAGS:
Chapter: 24P Film or Video
Topic: Technology
There are some simple rules to follow for PAL based film and HD 24p production when it comes to the use of timecode. The choice of timecode rate of course relates directly to the frame rate chosen for the production. But in the case of double system production where picture and sound are captured on separate recording devices, the post production use of the timecode will differ based on the transfer and frame rate of the chosen post production workflow.
http://24p.com/PAL_TC.htm
TAGS:
Chapter: 24P Film or Video
Topic: 24P Editing Workflow
When using the Sony HDW-F900 camera for 24p acquisition, the production can choose to work in either a true 24 frame mode, or switch the camera to 23.976. Each of these methods has advantages and disadvantages as the production works its way through Avid editing systems for postproduction.
http://24p.com/24p_audio_workflow.htm
TAGS:
Chapter: 24P Film or Video
Topic: 24P Editing Workflow
When using the Sony HDW-F900 camera for 24p acquisition, the production can choose to work in either a true 24 frame mode, or switch the camera to 23.976. Each of these methods has advantages and disadvantages as the production works its way through Avid editing systems for postproduction.
http://24p.com/24p_audio_workflow.htm
TAGS:
Chapter: 24P Film or Video
Topic: 24P Editing Workflow
When using the Sony HDW-F900 camera for 24p acquisition, the production can choose to work in either a true 24 frame mode, or switch the camera to 23.976. Each of these methods has advantages and disadvantages as the production works its way through Avid editing systems for postproduction.
http://24p.com/24p_audio_workflow.htm
TAGS:
Chapter: 24P Film or Video
Topic: Film for Video
Television shows shot on film are shot at 24 fps and the 2:3 will exist for the EDL and negative conform. Since 24 fps does not equal 30 fps, one of the lists will always be in a match-backed state. The choice is clear: either the editor edits on 1/30th of second boundaries to create a 30 frame EDL, which is frame-for-frame accurate or the editor edits on 1/24th of a frame boundary and creates a negative cut list that is not frame-for-frame accurate.
http://24p.com/ntscmatchback.htm
TAGS:
Chapter: Distribution
Topic: Broadcast and Cable
Countries sorted into 625 PAL and 525 NTSC lists
http://24p.com/tvstandards.htm
TAGS:
