zeroes and ones

Motionographer

2006-04-05T16:46:00.000-07:00

If you're like me and can't get enough of watching incredible hi-end motion graphic design, just wishing you could come just a little closer to that bar, you might have heard of tween. Well, it looks like tween is dead.

Don't feel sad because it has made room for a new incarnation, Motionographer. If you have no idea what I'm talking about check out the site and get lost. Be prepared to see the best of the best in motion graphic design, animation and filmmaking. Also be prepared to be inspired.

Panavision HD System

2006-04-04T20:53:00.000-07:00

Since I split my time between screenwriting, editing, motion graphics and cameras on a daily basis I get an extreme education via the internet. I found this blog entry on The Artful Writer of all places. Screenwriter Craig Mazin talks about his love affair with the new soldier on the HD field that was used to shoot Scary Movie 4 and also the upcoming Superman Returns.

It's All In The Edit

2006-04-02T13:30:00.000-07:00

So many blogs that cover the non-linear world of editing revolve around the technical/gear side of the process, rarely delving into what actually makes an edit work. Go to my other blog, this savage art... for info on a recently released DVD of the film Keane by writer/director Lodge Kerrigan. The DVD offers up his theatrical cut and Steven Soderbergh's producer/ghost editor cut. A good way to see how the nuances and meaning of the film can be altered depending on who is doing the cutting.

Red At NAB

2006-03-03T15:29:00.000-08:00

The Red camera is real, Graeme says so.

An Experiment

2006-02-24T13:49:00.000-08:00

I just finished editing and authoring a DVD for a friend and I was left with his short film footage. So I started playing. These are the results:

Starting off here we have footage that originated on Super 16MM then transfered to DV for edit and export for DVD distribution. Here is the original footage clip:

This is what I did to it:

Looks strange, like Eraserhead strange but it's Big Wheels meets Sin City meets Charlie Chaplin!

The process: First I gave it the Sin City treatment by isolating the one color, this time red and limiting the rest of the colors in the Color Correction tool in FCP. Here is a great tutorial via Ken Stone. Then I treated the footage with a number of Nattress filters along with some Magic Bullet and was surprised on how great it looked. Not because I doubt Graeme's abilities or The Orphanage for that matter but I was impressed. Did a little time remapping and voila! What a difference!

Note: These clips are encoded with the H.264 codec so you will need Quicktime 7. Craaaaazy!

Free Subscription

2006-02-23T14:38:00.000-08:00

Anybody want a free subscription to DV Magazine?

And Part Two

2006-02-19T06:07:00.000-08:00

FresHDV continues the interview with Josh Oakhurst, Senior Editor at SportsHD. 720 vs 1080, Film Look vs Video Look etc.

HD Guy Josh Oakhurst Interviewed

2006-02-15T06:43:00.000-08:00

FresHDV interviews independent filmmaker who does a lot of High Def work.

I Have Emerged

2006-01-31T11:48:00.000-08:00

If you are one of the three or so people who stop by zeroes and ones you have probably noticed more blogging activity in the last month or so. After a few needed months developing a screenplay I have returned to the other side, 1.5 drafts later and here I am. You can see my progress on this savage art... I've been creeping back into the video blogosphere little by little, prompted mostly by the need to get back to my workstation. After receiving a phone call from a producer I work with to work on a gig it made sense. Things I will be looking to do: more actual filmmaking. I would like to experiment with the new cameras and workflows out there. I will also attempt to add After Effects to my resume by purchasing and learning 7.0 (when, I don't know). All this in between more writing and developing screenplays. You see, it's a full time gig being a part-time filmmaker. I wouldn't have it any other way...

RitM Post Production Blog

2006-01-27T10:54:00.000-08:00

More post-production workflow from the film, Rain In The Mountains' blog. Brought to my attention by Making The Movie, the production blog for the film.

24 HDV Workflow

2006-01-25T10:39:00.000-08:00

The show 24 is shot on HDV. Here's a detailed workflow from Showreel Magazine (which I didn't even know existed until seeing this) if you haven't read it already.

[via HD For Indies]

Editing Technique

2006-01-12T07:01:00.000-08:00

New software, updates and gear abound! Mike's coverage of MacWorld and the Consumer Electronics Show is so thorough I thought I would go in the other direction. The blog Adventures In Storytelling has a entry on editing tips from film editors that I'm sure we can all benefit from.

Sweet!

2006-01-05T07:31:00.000-08:00

Napoleon Dynamite producer Jeremy Coon gives us some tips on how to shoot and edit digitally with Final Cut Pro. Dang!

Via CinemaTech

Final Cut Pro 6/Extreme?

2006-01-04T11:54:00.000-08:00

In WTF news today, it seems that advancements in technology aren't moving fast enough. The buzz is that NAB will debut new versions of Final Cut Pro and the new high end variety Extreme. FCP6 is expected to have native 5.1 audio editing (along with a new version of Soundtrack Pro), native 1080p24 and 1080p30 DVCPROHD. FCExtreme is for the user who has the newest/latest requiring all top shelf hardware to be rolled out by Apple, of course. Also a DVD Studio Pro 5 to support HD-DVD and Blu-Ray.

Via Think Secret/HD For Indies/DV Guru

Creative Cow Magazine

2005-12-23T05:18:00.000-08:00

If you haven't heard yet, Creative Cow is breaking out with a new magazine that will debut at NAB 2006. Subscriptions are free to all qualified industry professionals so get on the list. If it's anything like the forums I'm sure we all won't be disappointed.

No Firewire For Apple?

2005-12-13T05:05:00.000-08:00

The rumor mill says that Apple might discontinue the use of Firewire 400 and opt for only 800. DVGuru doesn't think so via My Broadband.

Gorgeous

2005-12-08T08:12:00.000-08:00

Check out this profile of the post-production workflow for the new "Gorgeous" Jaguar commercials. Finished in 24p HD.

Shake 4 Trial

2005-11-19T07:32:00.000-08:00

By way of screenwriter John August I found this offer for a 30-day trial of Shake 4 that comes with the purchase of the Apple Pro Training Series book. For the poor boy special you can get a download from the Apple site here for free.

The Invisible Editor

2005-11-14T05:49:00.000-08:00

NPR gets into it with Walter Murch. Lots of cool stuff here.

Ripplecast From Ripple Training

2005-11-08T09:53:00.000-08:00

Ripple Training has just joined in on the whole videocast thing to anticipate the iPod video revolution. These are basically tutorials to add to your Final Cut Studio workflow. You can get all info at the website here. Downloadable pods from iTunes are still pending. Anytime I've tried to watch any video content with iTunes I've had a problem so I would go with the Quicktime from the Ripple site for now and maybe for a while.

Apocalypse Then

2005-11-04T13:40:00.000-08:00

No, that photo wasn't taken today in Iraq. This is just more Jarhead coverage from the Apple website. They do a profile of Murch's post-production process with Final Cut Pro in the Pro/Film section. I will probably be seeing it this weekend and will look to give my take on it. Keep an eye out for that.

I'm curious about an ACTUAL post-production workflow with Final Cut on a feature film. I'm not talking about a DV feature. I'm talking about a film output workflow. I've heard the opinion from one editor who said Avid is much better at handling the output. His experience on a couple of features was with Final Cut Pro 3. That was a while ago but his biggest complaint was how tedious actually outputting a 120 minute film to tape was because it would crap out on occasion, always having to redo the process. Well, we're up to 5 now. Yes, Murch is doing it but he's also doing it with Apple on speed dial. Read Behind The Seen to see how way back in the day, 2003, he cut Cold Mountain with Final Cut Pro. Now that's great and all but we all don't have Steve Jobs home phone number so we have to get by. Anybody out there with experience cutting a feature shot on film, offlined in Final Cut Pro, then conformed for output to film? Feel free to share your problems and praises defending either Avid or Final Cut.

All photos from the film courtesy of Universal Pictures

New Hi Def Blog For Panasonic HVX-200

2005-10-28T08:28:00.000-07:00

Found this via Creative Cow. It's a blog that Panasonic is sponsoring and covers all things HD including the new HVX-200. Def Perception's content is provided by one time employee of Panasonic, Tosh Bilowski.

Update: Is this blog a question of manufacturer ethics? Check out the debate over at HD For Indies.

Me And Walter Murch, Back In The Shit

2005-10-26T06:51:00.000-07:00

Because I've gotten such an overwhelming amount of requests from all one of my fan base (thanks Shane) regarding my blog entries or lack there of on zeroes and ones I thought I would chime in and let you know that I am, in fact, still here. Right now I'm knee-deep working on a screenplay that I'm trying to get just right. I also just finished a short script that I will be looking to film hopefully in the near future once I get the feature where it needs to be. When that gets underway you can guarantee I will be sharing the editorial workflow with everyone out there and looking for your insights.

In the meantime, I thought I would direct you to this overview of Walter Murch's revisiting of the war theme for Jarhead, the new Sam Mendes film. I notice Mendes tends to lean on the incredibly talented veterans of the film world, Conrad Hall photographed two of his films, American Beauty and Road to Perdition. Now Walter Murch joins in on his current one. Go with what works.

Digital Heaven Widget

2005-10-11T18:20:00.000-07:00

I've been out of circulation from blogging on Zeroes and Ones due to a project I'm concentrating on but I did make the rounds around the net and found this today. If you have Tiger then you know the power of widgets. This is truely an editor's friend. It's called VideoSpace and it calculates time into drive space in gigabytes. Brought to you by Digital Heaven and oh yeah, it's free. Check it out here.

Poll Results: Should An Editor Work For Free?

2005-10-05T14:10:00.000-07:00

Looks like results were pretty evenly dispersed. All in all an editor should get paid!! I'm all for it!

Editor Lee Percy To Speak In NYC

2005-10-05T08:43:00.000-07:00

All the info is here:

Manhattan Edit Workshop & The Motion Picture Editors Guild invite you to An Evening with Lee Percy

Wednesday October 19th, 2005 7:00PM

Please join Manhattan Edit Workshop and the Motion Picture Editors Guild for an intimate discussion of the editing process through the work of Lee Percy.

Lee has worked with director Barbet Schroeder from the Academy Award-winning film, Reversal of Fortune to Murder by Numbers. Lee also edited the Academy Award-winning Boys Don’t Cry, and the critically acclaimed film, Maria Full of Grace. He recently completed work on The Ice Harvest for director Harold Ramis.

Time: Wednesday October 19th, 7:00PM

Location: Motion Picture Editors Guild
145 Hudson Street, Suite 201(3 Blocks below Canal St.)

Subways
A,C,E to Canal St. or 1,9 to Franklin St.

RSVP
212.414.9570
info@mewshop.com

Creative COW Podcast

2005-09-23T19:44:00.000-07:00

If you are into editing, compositing, motion graphics or using any professional media applications you've heard of Creative Cow, a great resource that covers just about everything. They have just launched a podcast that's hosted by Franklin McMahon, the Tony Robbins of the media world. He has his own podcast Media Artist Secrets that offers very motivational information on how to advance your career in the world of media whether it be editing, graphic design, filmmaking or photography. His tips apply to all discipline. Check 'em out, your skills will grow and hopefully so will your business.

Poll 1: Should An Editor Work For Free?

2005-09-22T13:41:00.000-07:00

Ah, the constant struggle to make a buck. We've all been there and still are. I placed a poll on the sidebar regarding this catch 22. All gigs take time and we all, as freelancers at least, have to make a decision on what jobs we take. So it's a game of weighing out the reward, whether it be monetary or for career advancement. What if you are offered a job that that allows you to advance your skills or could lead to more paying gigs like this but it's for a month with no pay. What do you do? Bite the bullet? Take the poll and leave a comment here if you have more thoughts on the subject.

Bid-A-Gig

2005-09-21T18:59:00.000-07:00

I came across this site that offers a hook-up between producers and editors. EditXchange is kind of like Ebay for the desktop community. As a "producer", you put your project on the site and watch the fishes, I mean editors, bid for them. Now I think this is kind of a cool concept but I'm not one for paying for work. That said, I did put a profile up. How serious will I take it, I don't know. It looks like slim pickings but the site is young. It's competitive enough out there and now I have to bid for a gig? Hey, I guess you have to spend money to make money right? But haven't we spent enough money on hardware and software. I'm curious what the feeling is out there about a service like this.

XL-H1 Attempts To Steal HVX-200 Thunder

2005-09-17T06:27:00.000-07:00

The gloves are off! After the RESFEST HVX-200 demo in the theater of the Tribeca Performing Arts Center everyone gathered to the lounge to kick the tires. Something I didn't report on yesterday because I was wiped out was that Canon suddenly appeared to show off the new HDV camera. The XL-H1 was on display with reps frothing at the mouth to get the word out to the people. Unfortunately, the one rep I was speaking to couldn't articulate the whole 24f thing because it's "so new, I'm not really sure". It's okay, we'll figure it out.

Tapeless: Are We There Yet? A Look At The HVX-200

2005-09-16T15:10:00.000-07:00

I just grabbed this image from the RESFEST demo of the new Panasonic HVX-200 camcorder I just attended. This next generation memory-card based camera does look pretty impressive but like every new camera that gets thrown to the lions at these events there will always be the trial period of who's going to drop a few paychecks on it and use it first. My guess, not filmmakers. Not yet at least.

I'm not going to go through the laundry list of features, you can see them from the Panasonic site or just drop by HD For Indies for up to the second news on, well, everything. Let me just say this, from an editors point-of-view, this is great! No more tape! Just lock and load. Footage on the drive. No more tedious log and capture. Just capture. A couple of immediate observations to make note of.

Pro:

When shooting in extreme conditions like high heat you will not have to worry about mechanism lock up. There is none where a tape is involved if you go the P2 route.

You can preview and mark footage in the LCD monitor. Great for quick notes of good and bad takes.

Mic that is mounted can be functional because there is no tape noise to pick up. Is it a decent mic? That's questionable, camera mics are notoriously bad.

Con:

The cost of the HVX-200 is $6,000. Fine. The cost of the HVX-200 with 2 X 8GB P2 cards, $10,000. Now the kicker. From what I gathered, at this time getting your footage into a Mac might by problematic. According to the Panasonic rep who kind of glossed over this, it's a Tiger issue. The Panasonic card reader runs for about $2,500. Firestore available for hard drive storage via Firewire.

As of now, I'm not finding a lot of HVX-200<-->FCP workflow information, Apple, what's up?

An 8 GB card will hold only 8 minutes of DVCPRO HD material. Why else would you be using this camera but to shoot HD? The 8 GB cards go for about $1,800 now and will drop. Great for ENG but filmmaking?

Overall, a solid looking camera but we'll see after the fourth quarter if the R&D will kick in to make this a viable option. There is no doubt that we are going tapeless in the future. These are the growing pains and as usual the pain starts in the wallet.

My Head Is Exploding

2005-09-09T16:11:00.000-07:00

Sometimes I see so much cool stuff on the internet all at once I just lose it. This is what I'm talking about:

resfest 2005 Just click around and get taken back by some of the work you see. Lots of eye candy. I went to resfest last year and I felt like I wanted to go back ten years and start all over again. Great work by emerging artists. I felt jealous and inspired at the same time.

EdgeCodes.com Back to basics. Film edititing. You know, storytelling as an art. Don't forget people, eye candy is nice but....

Kona LH Card!!! AJA Introduces New KONA LH 10-bit Uncompressed Video Capture Card for Editing on Apple with Final Cut Studio

Compressor 2 Problem

2005-09-07T08:48:00.000-07:00

Looks like I've run into first upgrade issue. I get an error window when I try to submit my batch to Compressor 2. I've never had a problem with the older version but I guess this is the price of progress. The error message reads: "Cannot Submit Batch - Unable to connect to background process". The Apple site has documentation for this problem but after reinstallation it still doesn't submit the batch. I've just gone through the boards and other users are just as pissed as I am that they can't export a MPEG4 version of their sequence if they want to. There are a number of "possible" workarounds like unplugging every port, closing FCP5 and using Compressor 2 but how ridiculous is that? We have all paid a lot of money for Apple's R&D. What is up with this?!?!

Update: Apple currently has "escalated" the situation and will be getting back to me within 48 hrs. I'm not sure if I should leave the house...They suggested I take out all the RAM that didn't come with the G5, in other words, keep their RAM and get rid of the filthy, contaminated RAM. Uh, I think not, Apple Boy. The problem isn't the RAM, it's Compressor or even potentially Tiger. I don't know.

Update/Update

After a lot of tooling around with my system I think I figured out the issue with Compressor 2. I have gone through Apple and they couldn't give me any answer that I couldn't find on the boards so I took issues into my own hands. If this has been a problem for other users maybe this will help. This is what I did:

I basically trashed everything related to QMaster and Compressor, all files. I DID NOT empty my trash. I then reinstalled Compressor from my FCP 4.5 disc. Did a software update from System Preferences. Rebooted. Installed Compressor and QMaster from the Studio Upgrade disc. Rebooted again. Ran Compressor 2 and did some tests. Looks good except for a couple of loose ends. All my old setting templates from the last version of Compressor were missing, still in the trash. So I moved them over to Users>XXXX>Library>Application Support>Compressor and got them in. I don't think you need all these templates, some of them are duplicated in the new Compressor but what the hell. I noticed some that aren't like the MPEG4 settings.

This is one way of getting around the problem, maybe the long way and there is probably a more efficient way of doing it but this is what got me to the promised land.

HDV Workflow In FCP5

2005-09-01T11:36:00.000-07:00

Check out this article on going HDV native in Final Cut Pro 5.

Final Cut Pro 5 Acquisition

2005-08-31T13:23:00.000-07:00

With every upgrade there are some growing pains. When approaching any new project it's a good idea to know how you are going to bring it all into Final Cut Pro correctly so you don't suffer later. Take a look at this simple checklist I made up to assess capture and system settings available in Final Cut Pro 5. For a full detailed explaination, check out this article by Andrew Balis from Ken's Stone's site where this info was originally gathered.

DMTS Review - Inside Motion 2

2005-08-31T06:17:00.000-07:00

When Apple released Motion last year the immediate reaction was "It's not After Effects". Well, they were right, it's not but to under value it's use would be to under sell it. With Motion 2 now available we can see the motion graphics application getting stronger. DMTS' Inside Motion 2 can teach you how to get the most out of this deceptively simplistic application.

I've been a big fan of Motion since it came out and welcome the new additions to the upgrade. With this DMTS tutorial you get a play by play as are taken through an actual project to see the functionality of some of the new features. Back to After Effects for a moment. A new feature in Motion 2 is the integration with the industry standard motion graphics application. You can now easily "round trip", jump from application to application while updating your project, with After Effects like you can do with the other members of the Apple video family. Another addition to how Motion 2 has brought it's A game with this integration is it's ability to use 16 and 32-bit color space when working with motion graphics. This will come in very handy when it deals with broadcast quality content including the use of more robust material such as HD.

The DVD includes a great tutorial on the use of Replicators. If you have worked with Motion before you know what Particle Emitters are. They are basically pre-built generators of particle objects known as cells to create customizable backgrounds and animated objects. Replicators would be considered the cousin of the Particle Emitter. You can take any object and replicate it to do anything you want. They are just as customizable and also come pre-built.

The filters and generators that have been added in this new version are really exciting. You can see where Apple is going with this. They are trying to advance what seems like a simple program to the next level. The 3D Illusion and Extract filters are where you see this jump happen. Even though this filter is not true 3D it is a great tool to add to your palette. The Extract filter extends this simulated 3D effect by taking an object and extracting it to give it the illusion that it's being pulled right out of it's background.

Motion 2 can be utilized to create motion graphics for quick turnaround projects. If you want to put the time in you can really push the limits of this application and come up with some interesting results. This is why I find these training DVD's such a good place to start. Sure, you can find things and explore which you should do anyway but you will get so much more out of your application if you master the ins and outs from the get go and here is a good place to start. I would suggest if you don't have any prior experience with Motion to check out the full set not just the update to familiarize yourself with the interface

Final Cut Pro Studio, Check

2005-08-29T12:46:00.000-07:00

I loaded Studio this morning. Did all updates with little problem. This means nothing until I actually implement the new tools into a project. I'm going to tweak and tune all this week along with a little edumacating. Learn the new features, figure out the full power of Soundtrack Pro, further my knowledge of Motion 2. Get down to bidness. Any cool findings, I will post.

Tiger, Check

2005-08-28T13:23:00.000-07:00

Did the Tiger upgrade today. A few tweaks were in order. I had to reinstall Motion a couple of times. I finally just deleted it from the drive and then reinstalled along with the update 1.0.1. Motion wasn't the only application that didn't launch, Compressor was being a little problematic. I heard this is pretty common. After the Motion reinstall, Compressor started right up. Strange? All things seem stable, for now. As usual, thanks to Ken Stone for the assistance. Tomorrow, Final Cut Pro Studio. I'm going to install one application a day, do some tests, then to the next one. If I run into any problems at least I'll have a better chance of figuring out which application is causing the problem.

Here We Go

2005-08-27T10:02:00.000-07:00

I'm taking the plunge. I'm finally upgrading my workstation's software applications. I've been sitting on Tiger and the suite since late June but haven't been able to install anything due to a couple of projects dragging on for longer than expected so now I'm ready. OSX, FCP Studio, the whole shabangabang. I usually reference Ken's FInal Cut Pro site for all things of this nature, I'm never let down but if any of you editors out there want to chime in with problems or issues you've seen when you've upgraded please feel free to leave a comment. It will be good for me and others who are about to do the same.

Clients

2005-08-26T09:55:00.000-07:00

I just came across two resources that speak about how to run your business better based on your client base. If you find yourself stressing out about your clients, who's paying you late or worse, who's not paying you at all, check them out. It will give you some guidance and survival tips on how to refocus who you choose to make your business grow.

One was available via the most recent podcast of Media Artists Secrets, #37. Franklin McMahon makes reference to an article on Creative Cow that just brings the points home. It can be found here. Remember, in the end we are judged on the company we keep. The same can be said for the clients we keep too.

Creative Professional's Oasis

2005-08-25T09:02:00.000-07:00

I just came across this amazing resource that every creative professional should take advantage of. It's called Media Artist Secrets. This podcast is run by Franklin McMahon who is a media professional often featured on the Creative Cow website. If you are finding yourself in a creative funk go to this podcast. Now!! I'm serious. This is exactly the boost I needed. Regardless of what you do for a living whether it be web design, editing, painting or music, it all applies. He'll give you some guidance on how to refocus your career, stay fresh and push your creativity. The podcast can be reached via iTunes or his web log. Check it out.

DMTS Review - Inside Final Cut Pro 5

2005-08-17T07:20:00.000-07:00

As an ongoing series on this web log (I don't like the sound of blog so I will refer to it as it's intended name) I will be reviewing products from time to time. With the advent of Final Cut Pro Studio, Apple has presented us with a whole new set of tools for our workstation. With that update Magnet Media is soon to follow with their Digital Media Training Series. I am a user of their products and find them to be extremely helpful in retaining the massive amount of information involved with new changes in technology and just understanding how an application works.

To start, I am only reviewing the update disc of each training series that cover the new components of each application. Future installments will include Inside Motion 2, Inside DVD Studio Pro 4 and Inside Soundtrack Pro. There is an exception to Inside Soundtrack Pro because that is new product. It is probably a good idea to pick up previous versions for each application for they all serve as a good foundation. I still go back to them when I get stuck on something and need a quick reference point to break down the workflow of a particular task.

I find these DVD's better than textbooks because you are visually taken through the lesson with an instructor, Evan Schechtman, editor and founder of Outpost Digital. If you need to go into greater detail you can go back to the manuals that came with the software. You do have the manuals don't you? Inside Final Cut Pro 5 gives you a look at some real interesting advancements in this version. I would like to focus on their section on new workflows and format support. The section goes into detail on how Final Cut Pro 5 handles HDV and MPEG IMX along with the cameras that utilize these formats. The new Panasonic P2 camera and format is also discussed. This is important because of the mass confusion dealing with these new technologies. This section also speaks of improved interoperability and the advancements made with Cinema Tools so you can streamline your film to video workflow. What the DVD touches on and what makes the whole Apple thing a true gift is how all applications can easily import and export amongst each other. Say you are working on a project in FCP and you want to create a quick graphic to chapter out your sections you can do it easily by exporting into Motion, create your graphic, update as need be and back to FCP smoothly.

Also, there is a great tutorial on the new Multiclip Editing feature. The DMTS disc provides a real clear path on how to make this workflow, well, flow. I can envision how not only reality shows will benefit from this but also features using multi camera coverage for a scene such as action films.

The update DVD comes with 1.5 hours of training and 19 lessons with project files included. A solid investment if you want to stay current with all advancements in Final Cut Pro.

Post Realities

2005-08-15T20:26:00.000-07:00

I was wandering around the net today and came across this old posting from HD For Indies. It is very relevant because it gives some insight into HD workflow and trying to find the space on your drives to handle the mass of media to cut a feature film at 1080. Editor Frank Reynolds reflects on his experience cutting In The Bedroom. Read the post here.

Hot Off The Pod

2005-08-15T19:26:00.000-07:00

Fellow New Yorker Paul Figgiani aka Paulie Figg over at The.Point podcast interviews developer super genius Graeme Nattress, creator of Film Effects 2.5, Standards Conversion 2.5 and various filters for Final Cut Pro users. Check out the podcast and Paul's blog for all things post audio related.

Welcome To The Machine

2005-08-15T09:17:00.000-07:00

So I decided to launch a spin-off web log from this savage art... This will be a place where I will post all things Final Cut Pro and editorial workflow. I've been editing on my own for over 2 years now and I learn more and more every day from experience and checking out numerous recources on the internet, ones that will eventually be listed here. Prior to that I did some time at a post production house in Manhattan and got my hands on the Avid Media Composer. Now this is my baby. A Final Cut Pro editing suite of my own. I am looking forward to my fellow Final Cut Pro brethren chiming in from time to time.

So let's start with a breakdown of my gear. This is what I got:

Hardware:

2 GHz Dual Processor Power PC G5 with 4GB RAM
ATI Radeon 9800 Pro Mac SE Video Card
23" Cinema Display
Sony DSR-11 DVCAM/DV VTR
Sony 14L2 Monitor
G-Tech 500GB G-RAID External Hard Drive
Edirol MA-20D Stereo Monitors

Software:

Updated

Final Cut Pro 5
Motion 2
DVD Studio Pro 4
Soundtrack Pro
Photoshop CS
After Effects 5.5
Illustrator 10
Dreamweaver MX
Flash MX

Nattress Film Effects 2.5
Magic Bullet Editors

OSX 10.4.2

These are the staples but I also have a handful of utility applications like Flip 4 Mac. Slowly but surely I will be tweaking the site to add links and stuff but I'm trying to keep it clean and minimal. I said that about this savage art...

Thanks for stopping by....

William