Boris RED’s new 3-Way Color Grade filter gives users a professional color grading process complete with three custom color wheels for pedestal/gamma/gain adjustment. The filter includes built-in masking and keying tools to isolate areas of secondary color correction. Separate color grading can be applied to the inside and outside of a mask, eliminating an extra compositing step. The 3-Way Color Grade filter is included with Boris RED v5.0.4 which is a free update for all RED v5.x users. The v5.0.4 update also includes many other important updates and enhancements. BorisFX encourages all RED v5.x users download the RED v5.0.4 update.
Media 100 Suite is a fast, full-featured video editing software for Mac OS X. Featuring an easy-to-use, responsive interface and broad support for 4K, 2K, HD, and SD standards, Media 100 Suite delivers broadcast-quality output for tape and file-based workflows.
Integration with Adobe After Effects and Apple Final Cut Studio enables users to share projects among After Effects, Color, and Final Cut Pro. Users can export projects to Final Cut Pro for further editing and revisions, import Final Cut Pro sequences into Media 100 Suite, or export a Media 100 Suite sequence to Color for advanced color grading.
Media 100 Suite supports optional video I/O interfaces from AJA, Blackmagic Design, Matrox, and RED and provides AVCHD, AVC-Intra, FireWire, Panasonic P2, and Sony XDCAM acquisition interfaces.
Boris RED is included for integrated 3D compositing, titling and effects.
Magic Bullet Suite 11 is the newest, hottest release of Red Giant’s definitive toolkit that brings professional tools to filmmakers everywhere. Designed by seasoned colorist and film director Stu Maschwitz, this Suite produces professional Hollywood-style results on an indie budget. Its nine essential tools let users capture the emotion of any subject, making footage more personal and compelling. With the addition of Looks version 2 and the new Cosmo plug-in for easy skin smoothing, MBS 11 keeps outdoing itself, giving users more expert products at an even greater savings.
Whether a user is creating a color treatment, color grading, adding a beauty pass or removing noise, Magic Bullet Suite helps create the final look that tells the story perfectly.
What’s new:
Includes new Looks 2 release and Grinder 1.5 upgrade
Introduces brand new Cosmo for beautiful cosmetic clean-up
Save time with single installer and one serial number for all products
Now supports Adobe CS 5.5, CS5, 64-bit
New releases for 2011 include new Cosmo cosmetic tool, full-featured Looks 2 upgrade, and Grinder 1.5 upgrade
Get Colorista II, Looks 2, Mojo, Cosmo, PhotoLooks, and standalone LooksBuilder for all color needs
Designed by Stu Maschwitz, a filmmaker with credits that range from Star Wars to Fantastic Four
Work flexibly and meet deadlines with software that expands the choice of host applications
Full CS5 & 64-bit compatibility provide significant performance gains
Boris FX, a developer of integrated effects technology for video and film, today announced that Boris Transfer AE is now available for Adobe After Effects running under both Windows and Macintosh operating systems. Previously known as Boris XML Transfer, Boris Transfer AE is an Adobe After Effects plug-in designed for seamless transfer of Avid and Apple Final Cut Pro program sequences to After Effects.
Boris Transfer AE preserves all aspects of an Avid Media Composer or Apple Final Cut Pro project including edits, cuts, dissolves, and treatments. In addition, Boris Transfer AE offers the unique ability to translate Boris Continuum Complete effects used in Avid or Final Cut Pro projects to corresponding Boris Continuum Complete effects in After Effects.
Boris Transfer AE feature highlights include:
Clips Remain Fully Editable. All trimmed Avid and Apple Final Cut Pro clips remain fully-editable in Adobe After Effects as stepped-up or stepped-down layers.
Boris Continuum Complete Compatibility. Continuum Complete filter effects provide the same look and keyframe values for every parameter.
Avid and Final Cut Pro Titles and Text Elements remain editable in After Effects.
Integrity of Transferred Media Elements is preserved during the transfer from Avid or Final Cut Pro, including alpha channel information and masks.
Expanded Import Options include the ability to import or ignore audio tracks and the ability to pre-compose all video and/or audio tracks during import.
Familiar Look and Feel. Translated After Effects projects will look very familiar to Final Cut Pro or Avid editors. User marks, comments and labels for clips and sequences, and all user-defined names are carried across from Final Cut Pro or Avid to After Effects.
Imation’s new RDX A8 system – a scalable networked storage device that holds up to eight removable cartridges providing up to 8 TB of data – perfect for many large data applications in film editing, content archival, asset management and data archiving and storage.
Imation announced the RDX A8 Hard Disk Storage Library, a high-performance storage system ideal for primary storage during the editing process and secondary storage and archiving applications, was showcased at Booth No. 4 during the fifth annual Creative Storage Conference in Culver City, Calif. on June 28.
The RDX A8 system is a scalable networked storage device that holds up to eight RDX cartridges of interchangeable capacities. The autoloader-like device offers iSCSI network connectivity; up to 8 terabytes of native capacity storage using eight 1TB cartridges; table-top or 2U high rackmount configuration; remote management interface; and enterprise-class throughput. Earlier in 2011, RDX technology crossed a major milestone with shipments of more than 1 million cartridges.
Andrew Little, Todd Prives, Alex Grossman, Billy Harrison, Bruce Sharpe, Patrick Inhofer, and Philip Hodgetts!
HEADLINES: The inside scoop on Final Cut Pro X. Last week, Apple released Final Cut Pro X. This week, we talk with a variety of developers to get their take on the new software. When will plug-ins be released? How hard is it to develop for? What can we expect? We get all the details this week. All this, plus answering your questions during Pick Our Brains, on this week’s show!
This week’s episode of the world’s only interactive talk radio program covering Digital Production, Post-Production and Distribution is filled with information and entertainment designed for the independent filmmaker or industry professional.
Click to listen to the current show:
Digital Production Buzz -- June 30, 2011[ 1:08:50 ]Play NowDownload
*Right click on Download and “Save Link As…”
This week, we are looking at the impact of Final Cut Pro X on the developer community… and our future. Join host Larry Jordan and co-host Michael Horton, as they talk with:
Andrew Little, President & Co-founder, Red Giant Software
Red Giant Software was one of three companies that had plugins ready for Final Cut Pro X at launch. This week, we talk with Andrew Little, president and co-founder of Red Giant, to learn about their new products, the challenges of working with Apple’s new plug-in architecture, and how effects work in FCP X.
Todd Prives, Sr. Business Development and Marketing Manager, GenArts
GenArts was the second of three companies with plugins ready for Final Cut Pro X at launch. This week, we talk with Todd Prives, senior business development and marketing manager for GenArts, to learn about their new Sapphire Edge plug-ins and who they are designed for.
Alex Grossman, president, Active Storage, Inc.
Active Storage is a high-end storage company focused on hardware solutions for media companies. This week, Alex Grossman spoke at the 2011 Creative Storage Conference and shared his thoughts for media storage in the future. However, before that, Alex was the product manager for XSAN, XServe, and other high-end products from Apple. With the release of FCP X, Apple has shifted from workgroup solutions to single-user editing. We want to learn what Alex thinks about the new release -wearing both his old and new hats – and where it fits for the future.
Billy Harrison, Product Manager, Promise Technology
When Apple launched Thunderbolt, earlier this year, one of the companies they featured was Promise Technology. This week, Promise announced Pegasus, their Thunderbolt-attached RAID. Since FCP X requires high-speed, locally-attached storage, this is the perfect time to talk with Billy Harrison, product manager for Promise Technology about this new gear.
Bruce Sharpe, Founder, Singular Software
When Final Cut Pro X was announced, one of the highlighted features was its ability to sync separate audio and video clips — something that PluralEyes from Singular Software has been doing for a while. This week, we talk with Singular Software founder, Bruce Sharpe, to see if this is the death of PluralEyes, or if there is something they can do that Final Cut Pro X can’t.
Patrick Inhofer, Colorist/Finisher/Owner, Fini.TV
With the release of FCP X, Color seems to be discontinued. However, the color tools inside Final Cut Pro X, while beefed up compared to FCP 7, are not as good as those in Color. This week, Patrick Inhofer, colorist, author, and owner of Fini.TV joins us to talk about whether Color is really dead and, if so, how we are going to make our projects look great without it.
Philip Hodgetts, CEO, Intelligent Design
FCP X extensively supports metadata, so its time to bring back our metadata expert – Philip Hodgetts, CEO of Intelligent Assistance – to explain what this means, why its good news, and how we work with it. We also want to ask him about the lack of XML support in Final Cut Pro X and what that means for people that want to get their media out of FCP and into another application.
Plus, we are working to squeeze in a couple more special folks – so consider them as last-minute surprises. This is gonna be an EXCITING show!!
Pick Our Brains
This is your chance to get your technical and creative questions answered. You can contact us three different ways:
Call 1-866-977-BUZZ (2899) (or +1-818-879-5115 for callers outside the U.S.) before the show
Join in the Live Chat during the show and ask your questions there
You can’t find people or interviews like this anywhere else! It’s another fascinating show. It’s all the information you need now to know what’s coming next!
The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!
Now that Apple has released Final Cut Pro X, Larry Jordan is ready to provide training in the new program. His newly redesigned website is the perfect interface to access his online video training, both free and paid. His Wednesday Webinar series will resume soon with a first look at FCP X. Jordan’s July 12th live FCP X training in Burbank, California, is an extension of his world-wide seminars, with companies such as Blackmagic Design, Adobe Systems, and AJA Video manning booths ready to share their products and expertise with the new software.
“In creating our new online training,” said Jordan, “we’ve prepared over eleven hours of videos, in easily digestible segments, that walk you through setup, workflow, editing, and effects within this new program.”
“I’ve been privileged to work with Final Cut Pro X over the last few months,” continued Jordan. “I’ve been able to ask Apple questions and learn the inner workings of this amazing new program. Let me tell you, there’s nothing like it in the world. Apple has redesigned video editing.”
Up until the release of Final Cut Pro X, Jordan was under a Non-Disclosure Agreement (NDA) that prevented him from sharing information about the new version of Final Cut. “After all the speculation, it’s nice to finally be able to talk about this in detail,” said Jordan.
Prior to Final Cut’s release Jordan shared what he could, which was what Apple presented at the Las Vegas FCPUG Supermeet. Now he is delighted to be able to provide real, online and live training. For example, in the July 12th live training event Jordan has outlined four subject areas: workflow and media, editing, effects, and output showcasing this designed-from-the-ground-up program. As Jordan says, “I guarantee that brains will explode by the end of the day. Send your team – they’ll have a great time.”
About Larry Jordan
Larry Jordan is an internationally-renowned consultant and digital media analyst with over 30 years experience as a television producer, director and editor with national broadcast and corporate credits. As a foremost Apple-Certified trainer in Final Cut Studio, he was among the first to see Final Cut Pro X and label it “jaw-dropping.”
His informative and entertaining teaching style provides video editors around the world with unique resources to increase productivity and enhance their skills. Based in Los Angeles, he’s a member of both the Directors Guild of America and the Producers Guild of America. Jordan writes and edits the FREE monthly ‘Larry Jordan Final Cut Studio Newsletter,’ which provides essential information to the interested user of Final Cut.
He is the author of hundreds of hours of online training and five books on Final Cut Studio, published by Peachpit Press and Focal Press. Jordan is also executive producer and host of the weekly interactive internet radio show and podcast, Digital Production BuZZ, providing everything you need to know about digital media, production, post-production and distribution. For more information about Larry Jordan, please visit the Larry Jordan website.
OConnor, a Vitec Group brand, introduces the new Ultimate 1030 D and 1030 Ds fluid heads designed especially for use with new full-format sensor, lighter weight cameras such as the RED Epic and Scarlet as well as the Sony F3.
An updated replacement of the popular Ultimate 1030HD and HDs, the new line offers a sporty industrial design and a slew of features that have been borrowed from the larger OConnors to let cinematographers seamlessly transition from heavier to lighter payload camera setups. These include the stepless, ultra-smooth pan and tilt fluid drag specifically enhanced to provide ultimate control and stability for digital cinematography shooting. The patented OConnor Sinusoidal Counterbalance system provides true, accurate balance at any point in the tilt range. Users will appreciate that the system counterbalances down to zero, a handy advantage since there is a trend to lighter weight cameras. For today’s versatile shooter, the transition from larger to smaller payloads has never been easier. And most importantly, the famous OConnor feel, remains the same regardless of payload.
This new 1030 D series features a other user-friendly improvements that were previously only available on larger heads. For example there is the new ergonomic crank-style counterbalance control that simply pulls out of the rear of the head. Plus the Action Brakes for pan and tilt unlock through a single-handed squeeze. And the trusted OConnor drag system ensures constant control.
The OConnor 1030 D supports a payload up to 30 lbs. (13.6 kg) at a 6” (15cm) center of gravity and a +/-90° tilt range. The 1030 Ds supports up to 41 lbs. (18.6 kg) at 6” (15cm) COG with a +/- 60° tilt range.
Like the rest of the OConnor Ultimate heads, the 1030D and Ds have interchangeable bases (e.g. 150mm or Mitchel for the 1030), accept the same front box mount as larger heads and offer full compatibility with other OConnor 1030 accessories. Plus OConnor’s new 30L carbon fiber tripod system offers an expanded payload range in a lighter weight package which makes it the perfect companion for the 1030D and 1030Ds.
Apple announced Final Cut Pro X, a revolutionary new version of the world’s most popular Pro video editing software which completely reinvents video editing with a Magnetic Timeline that lets you edit on a flexible, trackless canvas; Content Auto-Analysis that categorizes your content upon import by shot type, media and people; and background rendering that allows you to work without interruption. Built on a modern 64-bit architecture, Final Cut Pro X is available from the Mac App Store.
At the heart of Final Cut Pro X is the Magnetic Timeline, a trackless approach to editing your footage that lets you add and arrange clips wherever you want them, while other clips instantly slide out of the way. You can use Clip Connections to link primary story clips to other elements like titles and sound effects, so they stay in perfect sync when you move them. You can even combine related story elements into a Compound Clip that can be edited as a single clip. The groundbreaking new Auditions feature lets you swap between a collection of clips to instantly compare alternate takes.
Content Auto-Analysis scans your media on import and tags your content with useful information. Final Cut Pro X then uses that information to dynamically organize your clips into Smart Collections, so you can easily find the clips you want by close up, medium and wide shots as well as media type and the number of people in the shot. You can also tag parts of clips with Range-based keywords to add custom search criteria to your media.
Completely rebuilt from the ground up, Final Cut Pro X is a 64-bit app that takes full advantage of the latest Mac hardware and software so you never have to wait for the next edit, even if you’re working with 4K video. Final Cut Pro X uses multi-threaded processing and the GPU on your graphics card for blazing fast background rendering and superb real-time playback performance. Additionally, a ColorSync-managed color pipeline ensures color consistency from import to output.
Final Cut Pro X also includes powerful tools for audio editing and color correction, and is complemented by two companion apps, Motion 5 for professional motion graphics and Compressor 4 for advanced media encoding, available from the Mac App Store.
Click for more information about Final Cut Pro X.
http://wwww.apple.com/finalcutpro
Apple announced Final Cut Pro X, a revolutionary new version of the world’s most popular Pro video editing software which completely reinvents video editing with a Magnetic Timeline that lets you edit on a flexible, trackless canvas; Content Auto-Analysis that categorizes your content upon import by shot type, media and people; and background rendering that allows you to work without interruption. Built on a modern 64-bit architecture, Final Cut Pro X is available from the Mac App Store.
At the heart of Final Cut Pro X is the Magnetic Timeline, a trackless approach to editing your footage that lets you add and arrange clips wherever you want them, while other clips instantly slide out of the way. You can use Clip Connections to link primary story clips to other elements like titles and sound effects, so they stay in perfect sync when you move them. You can even combine related story elements into a Compound Clip that can be edited as a single clip. The groundbreaking new Auditions feature lets you swap between a collection of clips to instantly compare alternate takes.
Content Auto-Analysis scans your media on import and tags your content with useful information. Final Cut Pro X then uses that information to dynamically organize your clips into Smart Collections, so you can easily find the clips you want by close up, medium and wide shots as well as media type and the number of people in the shot. You can also tag parts of clips with Range-based keywords to add custom search criteria to your media.
Completely rebuilt from the ground up, Final Cut Pro X is a 64-bit app that takes full advantage of the latest Mac hardware and software so you never have to wait for the next edit, even if you’re working with 4K video. Final Cut Pro X uses multi-threaded processing and the GPU on your graphics card for blazing fast background rendering and superb real-time playback performance. Additionally, a ColorSync-managed color pipeline ensures color consistency from import to output.
Final Cut Pro X also includes powerful tools for audio editing and color correction, and is complemented by two companion apps, Motion 5 for professional motion graphics and Compressor 4 for advanced media encoding, available from the Mac App Store.
Click for more information about Final Cut Pro X.
Jean-Frederick Garcia, Gary Onyshko, Gregory D. Evans, Brandon Smith, and Larry Jordan
This week’s episode of the world’s only interactive talk radio program covering Digital Production, Post-Production and Distribution is filled with information and entertainment designed for the independent filmmaker or industry professional.
Click to listen to the current show:
Digital Production Buzz - June 23, 2011[ 1:08:50 ]Play NowDownload
*Right click on Download and “Save Link As…”
Join host Larry Jordan and co-host Michael Horton, as they talk with:
Jean-Frederick Garcia, Publication Manager, The Location Guide
This week, we are “going on location,” and our first interview is with Jean-Frederic Garcia. He’s the publishing director of The Location Guide – a hard-copy book and associated website filled with locations – and location information – from around the world.
Gary Onyshko, President & CEO, Real to Reel Locations
Gary Onyshko, president and CEO of Real to Reel Locations, is a casting agent for buildings — special buildings. His clients hire him to put their locations in the movies. So, this week, continuing our theme of going on location, we talk with Gary about what his clients expect from a production company and what producers need to know about renting a location. If you’ve wanted to go on location, but were afraid it is too much hassle, listen to what Gary has to say!
Gregory D. Evans, Security Consultant, Evans & Ligatt
Gregory D. Evans, internet security consultant, was first on last month talking about the importance of keeping your computer systems safe. We had such favorable response to his comments that we invited him back this week to get specific about what we can to to protect ourselves. He’s got some great suggestions.
Brandon Smith, Product Manager, DigiEffects
It is a delight welcoming back Brandon Smith, product manager for DigiEffects to talk about a recent release from DigiEffects called “Camera Mapper.” This program turns 2D images – like photographs – into 3D objects that you can wrap textures around. Some amazing stuff – wait till you hear what Brandon has to say!
Larry Jordan, Host, Digital Production Buzz
Unless you have been living off the grid the last few days, you’ve heard that Apple released Final Cut Studio X this week. Larry Jordan, Host of the Digital Production Buzz, got an early look at the program, including the ability to work with a beta version hands-on. This week, he shares his opinions – both good and bad – about the new version of the program.
Pick Our Brains
This is your chance to get your technical and creative questions answered. You can contact us three different ways:
Call 1-866-977-BUZZ (2899) (or +1-818-879-5115 for callers outside the U.S.) before the show
Join in the Live Chat during the show and ask your questions there
You can’t find people or interviews like this anywhere else! It’s another fascinating show. It’s all the information you need now to know what’s coming next!
The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!
OConnor, a Vitec Group brand, introduces the new Ultimate 1030 D and 1030 Ds fluid heads designed especially for use with new full-format sensor, lighter weight cameras such as the RED Epic and Scarlet as well as the Sony F3.
