ArtBistro

Among certain circles Avid doesn't have the best rep right now; they've been lacking in both user and hardware support as well as really allowing their product to be out-sold by FCP to a much younger generation (read: the next generation) of editors. BUT they're still kicking, check out their new feature in the Media Composer that could help save you ...

An imortant heads up on the Avid Media Composer front. If you're working on a PC/Windows based Adrenaline system do no repeat DO NOT attach / mount a firewire based drive to your system, even if it is on a separate bus. Over the last few weeks we have experienced (at random mind you) any one of these results: 1) Software ...

Don't have the money to shoot film or to rent a fancy-smancy variable frame rater camera?  Here's a little post-production secret on how to use Final Cut Pro, Cinema Tools and Compressor to make amazing looking slow-mo footage straight from your DV/DVCAM camera!

In a world... where many post production houses are finding themselves not only having to face the big expensive question of upgrading their NLE systems but also the debate of whether or not, as Apple so soothingly states, "to make the switch." I've seen it happen both ways, a large multi-avid-workstation facility goes FCP to save some bucks. A small independent ...

The Adobe Media Encoder is a flexible tool that can export your video project to a range of formats, including MPEG-1, MPEG-2, Macromedia Flash Video (FLV), QuickTime, RealMedia, and Windows Media. Though each format has its own peculiarities, the basic workflow is the same for all of them, which is what is covered here. You can export either a work area ...

+*PROJECT: Music Video*+ *Steps* p(. 1. Crew Up: All crewmembers choose new jobs. p(. 2. Working as a group, choose an appropriate song for your new video by a local band. You can also create your own song using GarageBand. p(. 3. Get song approved by CEO. p(. 4. Complete preproduction notebook. Get notebook approval. p(. 5. Shoot your video. Remember ...

"Continued from, What the Fast Color Corrector Tools Do":http://artbistro.monster.com/training/articles/236-adobe-premiere-what-the-fast-color-corrector-tools-do- If the Auto Color effect doesn’t resolve color problems in your video, try white balancing your clip using the Fast Color Corrector effect. Here’s how: *1.* Double-click the target clip on the timeline. *2.* Click the Effect Controls tab to open that panel. *3.* In the Effects panel, click and drag the ...

Problems often arise when you shoot video with a bright light in the background, which is often called a backlight. When in automatic exposure mode, the camcorder assumes that the bright light is too bright, and darkens the entire video to compensate. When your subject is in the foreground, this often results in your subject being too dark. Clearly, the best ...

"...Continued from previous article.":http://artbistro.monster.com/training/articles/248-working-with-the-adobe-media-encoder-part-two *7.* Click the Audio tab to review the Audio settings. p(. Review the Audio Settings. When producing MPEG-2 files for DVD, choose PCM in the Audio Format drop-down menu (as shown) and then encode to Dolby Digital Format in Encore. p(. When producing streaming formats, adjust both Audio Codec and Bitrate here. Note that whatever Bitrate you ...

Most video acquisition formats like DV and the 1080i HDV codec used by the Sony and Canon HDV cameras are interlaced formats that contain two fields for every frame, usually shot 1/60th of a second apart (1/50th for PAL). In contrast, most streaming formats are frame-based. To produce frame-based video from interlaced sources involves combining the two fields into a single ...

"...Continued from previous article.":http://artbistro.monster.com/training/articles/246-working-with-the-adobe-media-encoder-part-one *5.* Click the Filters tab to open the Noise Reduction option (not shown). Avoid applying this filter unless your video is extremely noisy. *6.* Click the Video tab to open the Video settings. Also be sure to review the Basic Video Settings to ensure that they are correct. h4. Tip: OutPutting MPEG-2 Files -- When and Where: ...

There are several tools within the Fast Color Corrector to help you fine-tune your video. Top to bottom, here’s what they do: h4. Hue Angle Controls the outer ring of the color wheel; rotating left shifts the colors toward green; rotating right shifts them toward red. h4. Balance Magnitude Controls correction intensity. This corresponds to the ball on the end of ...

"Adobe Premiere Pro: Producing Flash Output Part 1":http://artbistro.monster.com/training/articles/244-adobe-premeire-pro-producing-flash-output-part-1 *7.* In the Flash Video Encoding Settings dialog box, click the Show Advanced Settings button. This reveals all encoding options and changes to the Hide Advanced Settings button (Image above). *8.* In the upper-left corner of the Flash Video Encoding Settings dialog box, choose a profile. If you customize any parameters, Premiere Pro ...

Flash video is a popular streaming format for Internet and intranet use. The Adobe Media Encoder can produce Flash video in the FLV format, but not the SWF format, which contains the metadata required to make a Flash video executable online. If you’ve used the Flash 8 Video Encoder, the process will look very familiar, since Premiere Pro uses many of ...

In conjunction with "Normalizing Audio in Premiere Pro and Audition":http://artbistro.monster.com/training/articles/240-normalizing-audio-in-premiere-pro-and-audition- h4. To increase low-volume regions in Audition, do the following: *1.* In the Display area, click and drag in the waveform to select the quiet regions. *2.* Choose Effects > Amplitude > Normalize (process). *3.* If the default parameters shown in Figure 74c suit your needs (usually, they will), click OK ...

Typically, you normalize audio volume so your entire production will have similar levels and your viewers won’t have to adjust the volume from scene to scene. Technically, however, normalization increases the amplitude of the audio to a target level, usually 100%, which is maximum volume available without distortion. What’s critical to realize is that normalization affects the entire file equally. So ...