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Southeast Creative Summit

September 10, 2013 — Leave a comment

In case you hadn’t noticed, there’s a pretty exciting users group happening down in Atlanta. Atlanta Cutters has been kicking it for some time now. In a lot of ways I think that success comes down to leadership. They are led by a crack team of talent: Walter Biscardi, Dan Daube, Kris Merkel and TJ Jaglinski.

But now they are taking it to a whole ‘nother level. A major industry conference featuring over 56 presentations from many of the foremost leaders in Editorial, Post production, finishing, and yes – the production side as well. This is a really great mix in a conference, sure to pack a punch in ways I feel other conferences have been lacking.

The Southeast Creative Summit

Southeast Creative Summit

I am very excited to attend this conference where I’ll get to participate in sessions with great industry talent such as The Diamond Brothers, Scott Simmons, Robbie Carman, Patrick Inhofer, Jesse Averna, Oliver Peters, Gary Adcock and many more. I’m certain I’ll come back stuffed with knowledge and ideas, to say nothing of the tremendous networking opportunities. This humble author will be also be presenting at the Southeast Creative Summit. I will be presenting two sessions, one featuring tips, experiences and hard lessons I’ve learned by running a one-man post production business (hint: being a one man business does not equate to ‘going it alone’), the other session is on creating and integrating powerful and effective motion graphics when your time budget is slim and deadline pressures are high.

Go on…click the banner above and check out the site. I’ll wait…

Now that you are back, I have two very important things to tell you about:

Early Bird pricing

The Early Bird ticket sales will end on Sept 25th, just 15 days from now. That is $300 savings over the regular pricing. I’d love for as many folks as possible to take advantage of the savings. The discount code BMD2013 gives you all three days at $495 through Sept. 25th. It’ll be $695 starting Sept. 26th.

They are also offering bulk purchase discounts. A 5 ticket purchase is the first tier bulk discount and then 10 or more is a larger discount. Folks can contact me directly walter@atlantacutters.com for more details.

Atlanta Creative Ball

Walter came to me shortly after NAB to discuss the summit and mentioned how he really loved the vibe of the MediaMotion Ball and how he wanted to talk to me about capturing that spirit for an event he wanted to create to coincide with the summit. Several lengthy conversations later (LOL) I had sort of completed a massive brain dump on him about it. The event will feature a hybrid design: networking, dinner but will also add in presentations from sponsors. There will also be prize giveaways thanks to generous sponsors.

Note that the Atlanta Creative Ball is a separate ticket from the summit. Summit attendees get a big discount, but the event is open to everyone, whether you are attending the full summit or not.

I could go on and on, but really…just go sign up already! This is shaping up to be a major learning and networking opportunity for post professionals. See you in Atlanta!

Register Here!

 

Catching up

June 11, 2012 — Leave a comment

Just a brief update before we get back to business around here. You’ve probably been wondering if I ever made it back from Vegas, given my silence here on the blog. Yes, I’m fine. Here’s what I’ve been up to:

NAB was incredible, as always…but it seems the last several years especially, my personal NAB experience has been topping itself year over year. That is in large part driven by people and relationships. The nexus of that activity is of course the MediaMotion Ball and this was the biggest and best event ever in our 15 year history. I was interviewed by Toolfarm shortly after NAB about the event, it’s history and why we continue to do it.

So what have I been up to since NAB? Well, an interesting mix of things. Some work, and some pockets of business down-time. Work: I have been out of my office a bit in the past month, collaborating with teams on a couple of mograph-heavy projects on site at a couple of different agencies. I don’t take this kind of out-of-house work often, but sometimes it is for the best. Many of the projects I create are for private audiences and can’t be shown online (or at least not right away), but sometimes it’s okay and the companies put stuff up on their own content channels. Here’s a 2D text/messaging mograph project I recently created for an agency. This was to play as a loop in a tradeshow booth. The interesting thing is that I built that in AE onsite at an agency that was still running CS5 everything. Blast from the past! A lot has improved in the past two years.

Speaking of software, I’m running the full CS6 Creative Cloud package now, but have also left CS 5.5 installed side-by-side without issued. CS 5.5 will probably not be re-installed the next time I do a clean install. CS6 is wonderful. The absolute best release of Adobe products ever. Standouts for me of course are Premiere Pro, After Effects and Audition. I’m sure I’ll have much more to say on that subject in the future. This is the software I use in day to day production more than any others at this time. I’m doing paid work faster, and just plain better than ever before.

But, after ripping off my FCP blinders a couple of years ago (my transition off FCP began earlier than most folks and was more gradual), I’m not about to put on Adobe blinders to replace them, so I’m always looking around at what else is going on in the NLE space. Therefore, I also have a shiny new copy of Avid Symphony in-house. But due to other projects and some downtime I spent offline I have yet to really scratch the surface of it. Personally, I have not cut on Avid systems since the late 90’s when I bought Media100 setups and literally did not look back. That makes me an Avid noob. It should be very interesting tracking my experiences as a highly experienced multi-tool-using editor, approaching Avid software essentially for the first time…and finding my way. No doubt I will find things to like and things to…well…not like. But one thing is for certain, I don’t have any Avid “legacy thinking” in my head, nor muscle memory, as is the case with most of Avid’s customer base (most of whom have used Avids for many years) and that will make for a different perspective upon approaching the product as “beginner” today. We’ll just have to see how it goes! Note that I will be baby-stepping with the software and would certainly not sit down with a client to cut a project in it without getting proficient first.

I mentioned some downtime earlier. I’ve had a couple of slower pockets in my work schedule, which has afforded me the opportunity to spend time offline with my wife and kids, enjoying our first taste of glorious MN summer weather the past month or so. For me, family time suffers quite a bit during the 3 months prior to NAB due to the exceedingly high load of regular work coupled with all the volunteer time put in to the IMUG and MediaMotion Ball prep, so call this “re-balancing”. Looking back, it seems I always tend to have a post-NAB lull. The industry-wide news lull coincides nicely with this.

Bouncing off that now, I’m looking to get busy again and resume more frequent posting. A few things I’m looking forward to right now: The release of the Smoke 2013 public beta, Following Philip Hodgetts and crew on The Solar Odyssey, and what happens at WWDC. Take care and I promise not to be such a stranger around here going forward!

Looks like Adobe has essentially reinstated their switcher promo for a brief period of time (less than 3 weeks).

The skinny:
Adobe Creative Suite 5.5 Production Premium – Regularly $1699, now $849 (boxed version) through March 2, 2012.

Adobe Premiere Pro CS5.5 Regularly $799, now $399 (boxed version) through March 2, 2012.

You can get the details and purchase at Toolfarm.

Hey gang,

This is some very exciting news for the world of production that does not work in full-blown uncompressed video very often.

Blackmagic Design has had one of the most affordable SDI/HDMI recording devices available in the Hyperdeck Shuttle, which takes off-the-shelf SSDs as recording media, and costs just $345. But it had one rub that quickly harmed it’s appeal: It would only record full-rate uncompressed video which meant record times of just 9 minutes or so on a 64GB SSD. The high cost of SSDs (now dropping a bit) combined with the sheer volume of data to transfer and manage through the entire editorial and archive process made this product less desirable for many longer-form projects.

Today Blackmagic has announced that the Hyperdeck Shuttle 2 will now have the option of recording in DNxHD, writing files in industry standard MXF format. DNxHD is a codec with similar performance to Apple ProRes, but is developed and championed by Avid (Although you can work with these files in Premiere Pro). This will dramatically improve recording times (5x or more) and have the added benefit of making total project sizes far more manageable…all without reducing visual quality in a perceptible way.

 

Blackmagic Design Releases HyperDeck Shuttle 2 with Avid DNxHD Recording and Playback

Milpitas, USA – January 19, 2012 – Blackmagic Design today released a new version of it’s popular HyperDeck Shuttle Solid State Disk recorder. HyperDeck Shuttle 2 replaces the existing model and adds broadcast quality 10-bit recording and playback to the Avid DNxHD format for the same low price of $345.

You can find the rest of the press release by clicking here.

Following up on my last post about Thunderbolt technology, I continue the discussion and veer into some scary territory: Contemplating the future of the Mac Pro in video post production.

So what do you think? Is there a future for the Mac Pro? Will you be migrating to Windows for production? Maybe you already have? Maybe years ago?

Central to the discussion is at what point do you let your need for performance take precedence over your preferred operating system?

Leave a comment!

Update:

ARS Technica has just posted the following article: Why the video pros are moving away from Apple. 

While I may not agree with everything in it, that’s beside the point. It goes to show I’m not alone in mulling (and frankly dreading) dealing with this.

Update 2:

My addendum clarifying details about my wishes for Mac Pro as well as confirming my excitement for Thunderbolt technology (starts at 2:06 on this video post).

Motion details, my session and an EXCLUSIVE discount deal:

Note: The park in this video is one of my “creative spaces” I go to get out of the studio and regain focus. It’s generally very quiet and works wonders. What are some of your creative escapes? Leave a comment and let me know.

Motion 2011 and The Adobe Post Show are back-to-back conferences coming October 9-14. Both take place in Albuquerque.

Motion brings together the top creatives in the motion graphics, visual effects and animation industries to share what drives their creativity. The format is audience-interactive “TED Talks” style.

The Adobe Post Show immediately follows Motion. It features intermediate to advanced level training in the Adobe Production Premium applications. I am presenting a hands-on LAB session called “The Reel World: Final Cut Pro to Premiere Pro” amongst many other great sessions.

There is nothing else like Motion in our industry.

Exclusive Promo Codes
$100 off either Motion 2011 or The Adobe Post Show via promo code: REELmo11
$175 off the already-discounted price for both conferences via promo code: REELmoPS11

(the combo is the best deal as it nets you a $1200 value for just $874!)

To register click here

The eSeminar I presented earlier today is now live.

Ask A CS Pro: Updating Your Demo Reel with Premiere Pro

In this eSeminar, I talk about the importance of demo reels and provide an introduction to Premiere Pro, especially from the FCP editors point of view. I also demonstrate how to move FCP 7 projects to Premiere Pro via XML.

This is an Adobe Connect session. You can get to it by clicking either image below.

 

 


IMUG and MediaMotion Ball community Founder Carey Dissmore shares a bit of his perspective three weeks after the release of the polarizing Final Cut Pro X. While the noise has started to lessen, a lot of editors remain bewildered as to what lies ahead for them. Should they switch editing platforms? Should they wait?

Carey brings his unique perspective on these & other issues, self-employment and has a few words for Apple as well.

Mentioned in this post:
Adobe Production Premium 50% off for FCP users

Avid Media Composer $995 for FCP users