Sometimes, all you need is a printer – and the Brother HL-L2370dw laser printer precisely meets that need with great speed and quality.
An explanation of things to consider when purchasing your next computer for media editing. Written for the non-technical person who is deeply confused about what all these tech talk means.
A quick look at DVD Creator from Wondershare, and a conversation with Wondershare about the specific features in the software for filmmakers.
Marker, from XMiL Workflow Tools, is a free, easy-to-use utility that displays, tags and exports lists of used or unused files in a video editing project created by Adobe Premiere Pro, Avid Media Composer or Apple Final Cut Pro X (and 7).
An illustrated tutorial on how, and why, to import or export markers from Adobe Audition CC.
An explanation of when to use, or not use, “Maximum Bit Depth” and “Maximum Render Quality” in Adobe Premiere Pro CC.
An illustrated “First Look” at Filmora9 – “Video Editing Simplified” – software designed for the amateur editor who needs simplicity, a wealth of effects and easy access to social media.
An explanation of when and why media is copied during import, plus a discussion of Premiere’s new Ingest option.
An illustrated tutorial on how to display Nit values for HDR projects in Apple Final Cut Pro X.
A detailed, illustrated look at MediaInfo, from MediaArea. This utility puts all the technical information about audio and video media at your fingertips.
An illustrated tutorial on what HDR Tools is and how it converts HDR media for a variety of different color spaces. This effect is available in Apple Final Cut Pro X only.
A corrected look at how video file size changes as color bit depth increases.
Here’s how to fix a problem when Apple Final Cut Pro X takes too long to display images – or displays too many images – in the Media Import window.
An unpublished HDR compression guide from Adobe on how to export HDR media from Adobe Premiere Pro CC.
Raw files give us the most control over the color and gray-scale values in our image, but they create massively large files and require significant time spent color grading. Log files allow us to retain highlight detail. And LUTs allow us to quickly convert an image or clip from one look to another. This article explains what each of these are and how they relate to video editing.
This provides an overview of what High Dynamic Range (HDR) media is, where we are now, where we are going, how it works in video editing systems and links to learn more. Written for a video editor, not an engineer.
A very cool technique to create unique looks for your video using LUTs. This requires Photoshop and can be used in Adobe Premiere Pro, Apple Final Cut Pro X, or Davinci Resolve. You’ll like this.
With all these different high-end video formats, it’s easy to get confused. In this short video excerpt, watch as Larry Jordan defines and illustrates color spaces and LUTs; and how they apply to video media.
High Dynamic Range (HDR), RAW, sLog, vLog, HDR, 10-bit, 12-bit… In this short video excerpt, watch as Larry Jordan illustrates how to create custom LUTs for media in Adobe Premiere Pro using Adobe Photoshop. This is a VERY cool technique!
High Dynamic Range (HDR), RAW, sLog, vLog, HDR, 10-bit, 12-bit… In this short video excerpt, watch as Larry Jordan illustrates how to optimize preference settings in Adobe Premiere Pro to work with HDR media.