Ein Update ist für den Final Cut Server 1.5.1 herausgekommen. Die neue Version beinhält folgendes: ( Englisch Sprachig)

Final Cut Server 1.5.1 is a revision to Final Cut Server 1.5. This update addresses general compatibility issues, improves overall stability, and addresses a number of other minor issues. This update is recommended for all users of Final Cut Server 1.5.
The issues addressed include:

• Fixes possible slowdown in the check-in and check-out process
• Fixes status display in Downloads & Uploads window
• Locked assets are now skipped in the archive process
• Fixes archiving and restore for bundle assets
• Improves reliability of adding and removing archive devices

Das Update ist 40MB groß und lässt sich hier unter dem direkt Link downloaden.

http://www.support.apple.com/kb/DL969

Author: Anonymous
Source: free-articles

September, dvd,, dvd, 2, 2004 — GeniusDV, LLC announced today the release of an advanced Final Cut Pro training DVD, designed to take the video editing professional using Apple’s Final, dvd, Cut Pro application to the next level of creativity. This new advanced Final Cut Pro training DVD is designed to take months, dvd, off the learning curve of mastering the software’s effects interface and provides tips on how to increase, dvd, the production value of a project.

โ€œWe, dvd, recognized the obvious need for video editing professional, dvd, to add more creative content into their programs when using Final Cut Pro. The advanced Final Cut Pro training DVD, dvd, gives these individuals an opportunity, dvd, to learn from a few advanced building blocks that can take their knowledge and expertise to a new level within the software,โ€ said John Lynn, owner of GeniusDV.

โ€œFor such a powerful application, Final Cut Pro is actually fun and quite simple to use. You just need the right training tool to learn its powerful features,โ€ said certified, dvd, Final Cut Pro instructor Brett Snell. โ€œWith over ten years of video editing teaching experience, John Lynn from GeniusDV has a unique and straightforward approach to presenting advanced Final Cut Pro instruction in a simple and easy to understand manner.โ€

The Final Cut Pro advanced training DVD includes six key lessons, which include many effects that, dvd, are used to build professional television shows and commercials. The training DVD, dvd, comes with media and projects file that are compatible with the latest version of Final Cut Pro HD.

The Final Cut Pro training DVD covers these six lessons:

1: Additional Multiple Transitions, dvd, to an entire sequence – Teaches the important concept of adding an unlimited number of transitions all at the same time to one large sequence.

2: Advanced Color Correction โ€” Explains how to isolate an individual color to produce the โ€˜Pleasantville’ color effect, where one area of a moving image stays in color, with the rest of the of the background in black and white.

3: Moving Filmstrip โ€” Walks through the basic building blocks of creating an animated filmstrip,,, dvd, dvd, where multiple video images follow each other in, dvd, succession across the viewable screen.

4: Title Gleam โ€” Covers the key technique to create a beam of light that travels through text or titles created within Final Cut Pro.

5. Giant Crawling Text (with glass texture) โ€” Explores the important software functions necessary to create giant characters that crawl across with screen with a glass or tinted effect within, dvd, the characters.

6. Time Warp โ€” Reveals the mystery of how the time remap function with Final Cut Pro operates, which includes the ability to change the speed parameters of a clip without changing its duration.

Pricing and Availability

The advanced Final Cut Pro training GeniusDV is available on GeniusDV’s website (http://www.geniusdv.com/final_cut_pro_courseware.php). The training DVD, dvd, set retails for $30.00 and will play, dvd, on any DVD player available throughout the world.

About GeniusDV

Headquartered in Orlando, FL, GeniusDV provides certified authorized classroom training for Apple and Avid Technology’s professional video editing products.

Contact: John, dvd, Lynn

Email: info@geniusdv.com

Phone: 866-566-1881

Web address: http://www.geniusdv.com

So I woke up today, had my morning coffee while enjoying an episode of The Office with Maddi.

Once I finished that I decided it was time to be productive, so I headed onwards to my office and hunkered down in front of my editing station and spent a few minutes trying to decide what I was going to work on.

I have so many things on my plate it was a difficult decision to make. I mean I could have spent time cutting a living video together for the band Big Game Hunt, or I could have spent a few hours editing  my zombie movie “The Withered Dead. I could have even spent my time working on the million and a half screenplays that I have started and since left hanging in limbo.

But NO I tell you! None of that peaked my interested this fine morning, what I decided I want to do was in fact a million times cooler than any of that.

I decided I would spend my morning searching, downloaded and installing free filter plugins for my Final Cut Studio. Oh and did I ever have a blast doing it too!

I found filters that did cool colour correcting effects and other filters that would do smoother slow-motion and even filters that allow me to turn any of my videos to be actual widescreen images!

I know some of you out there will think this is cool, most of you will be happy for me but think I am a big fucking nerd and then some of you will just not understand what in the world I’m talking about and have stopped reading 2 paragraphs up the page. But I just felt like I had to share because I am so damn excited!!

Take care guys and until next time,

Keep your eyes peeled for those flesh eating bastards.

Colin

With Julia, I interview Taylor Martin, the Sophomore Class President. I really liked interviewing him because he’s such an upbeat and outgoing person. It was easy to ask him questions and he would just answer back naturally and give long answers. He definitely didn’t feel awkward in front of the camera and the interview was like an everyday, normal conversation. Through this project, I also realized how much I prefer doing the camera work and the Photoshop work, and not Final Cut Pro.

I’m hoping to see a few of you at MacWorld 2010 where I’ll be speaking next year. I love San Fransisco so will be taking a little extra time out to hang out with my old friends, Amacker and Nina at the Lucky 13 bar on Castro. I also hope to catch up with all my other SF buddies, it’s always hard to fit everything in as there are so many people I love in the bay area!

If you’d like to attend you can click on the banner to the left to get a discount. Click on the Register button and then just use my personal priority code, ATAYLOR when you register.
Below are details about the talk I’ll be delivering;

Users Conference US964: Creative Video Workflow – From Storyboard to Completion – Feb. 12, 2010    3:00 PM – 4:15 PM

Angie Taylor will take you on a journey through a typical video project, showing the entire process including the creation of sketches, brainstorms and storyboards, audio production and clean up, editing, and producing the final project. Angie will also discuss how creative professionals can bring unity and clarity to complex creative projects. Aspects of automating time sheets, liaising with clients, auditing jobs and packaging final files for delivery will be explored within this session.

Anyone with personal or professional interests in creating digital videos and working with tools such as After Effects, Flash, Flow, CS4, Illustrator, Photoshop, Premiere Pro, Final Cut Pro and Soundbooth, will benefit from this session.

If you are interested in a streamlined way to look at the digital video process including tips and tricks using various software tools that will help maximize the creative input and minimize the project complexities, then this session is for you!

Angie’s Shuffle Track of the Day: San Fransisco – Scott McKenzie – listen free on Last FM

This is Arabian Holodeck style!

Director: Mehdi Norowzian
Production company: Chelsea Pictures
Editor: Kirk Baxter
Post-production: Final Cut

In order to gain more experience in video work and production, I am opening my cyber doors to doing videos for you guys! If you have anything you’d like filmed, edited, put on DVD, etc. just head over to the Contact page and shoot me an email!

Today we’ll discuss part 3 of the Multiclip Editing Series by showing you some keyboard shortcuts and remapping your numerical keypad for another way to switch and cut your multiclips.

To make your multiclip editing more efficient you can assign commands and customize your keyboard shortcuts in the Keyboard Layout Tool, and you can find a list of keyboard buttons to use specifically for multiclips.  Go to the Tools pull-down menu to Button List and type in Multiclip into the search field next to the magnifying glass; now you will see a list of available buttons you can use as shortcuts when editing multiclips.

Just pick a button you would commonly use, such as, show multiclip overlays, and drag the button into the button bar in the Viewer window (top right corner).  Now those shortcuts are right there for you to use without having to go looking for them, or remembering key commands.  You can also add buttons to the button bars in the Canvas or the Timeline as well.

You can also load a pre-built button bar in Final Cut Pro that is specifically for multiclip editing if you want all of those buttons available to you in one step.  Just go to Tools > Button Bars > Multiclip.

Some of the Button Bars that appear look like this:

You can also set keyboard shortcuts for the multiclip commands in Final Cut Pro.  By default, most of the commands use the numeric keypad to switch and cut between multiclips.  Final Cut Pro also provides a pre-built keyboard layout for multicamera editing, which is usually sufficient for most editors.  To load the built-in keyboard layout for multiclip editing, go to Tools > Keyboard Layout > Multicamera Editing.  Or to make certain options available without loading the entire multiclip version, you can go to Tools > Keyboard Layout > Customize and then where you see the Multiclip disclosure triangle, you can map the commands which you want to use.  For example, if you want to use your numeric keypad to Switch Video Angles 1-9 and correspond with the numbers on your keypad, just drag the commands from the list onto each corresponding number key, and presto, they’re mapped.

Be sure to check out Parts 1 & 2 of this Multiclip Editing Series:

As an editor I find one of the most useful functions in Final Cut Pro to be the Match Frame function. When you’re moving through a sequence, Match Frame can really keep a good flow going. Instead of having to go look for a clip, we can use Match Frame to load a previous reference of the desired clip into the viewer.

By parking over a clip in the timeline, and performing a Match Frame, Final Cut will load the original source clip into the viewer. The name Match Frame comes from the fact that Final Cut will match the exact frame the playhead is at in the timeline, to the frame the playhead is at once it is loaded into the Viewer. In addition to matching the frame, Final Cut will also set the in and out point in the Viewer with the corresponding in and out point from the clip in the Timeline. Once the Source Clip is loaded into the Viewer, you can set new in and out points and bring a new reference into the Timeline. In other words if I have a 30 second clip, and I use the first 5 seconds as a clip in my sequence, then load 3 different clips into the Viewer. Now I can Match Frame the 5 second clip into the Viewer, and choose the last 5 seconds as a new clip. This may sound confusing, but it is without a doubt one of the most useful functions in Final Cut Pro. It is not the same as double clicking on a clip in the timeline to load it in the Viewer, because if you set new in and out points in the Viewer it will change the clip in the Timeline.

To perform a Match Frame all you have to do is park over a clip in the Timeline, and hit the “F” key. If you are not using the Match Frame function now try adding it into your workflow, you will be glad you did.

Here is another scenario that the Match Frame function can save you time and frustration. You bring a clip into your sequence without the attached audio. Down the road you decide you need the audio. Instead of trying to figure out the in and out points so the audio you bring in matches up with the video that is already there, you just press one key (“F”) and then bring the matching audio right in.

Recently we talked about creating multiclips in Final Cut Pro.  Today, we’ll take it one step further, and talk about how to actually edit that multiclip we created.

Assuming you already have your multiclip ready in the Browser, double-click on it to open it up in the Viewer.  The active angle is highlighted in a blue/green box.  Now click on the View pull-down menu and click on Show Multiclip Overlays.  This is so you can see each clips’ angle number, name, and timecode.

Now suppose you want those camera angles positioned differently in the Viewer; you can Command+drag any of those angles into another position.  So if you wanted your main camera angle to be in the number one position, just command+drag that main clip into the the first window; the clip that was in that position will simply move into the new arrangement.  If you have alot of camera angles to organize, just Cmd+drag each clip into whatever position makes the most sense for you.

Now, click on the Playhead Sync pop-up menu in the Viewer.  Select Video.  This will allow you to switch between just the video sources, and you can use just one of the the audio clips from whichever angle has the best sound.  If you were to choose Video + Audio, you may have uneven sound levels between clips or even audio “popping” between edits.  Now notice once you’ve changed your Playhead Sync to Video only, and click on the number 2 postion, the blue/green box separates.  The green represents the active source your audio is coming from, and the blue highlight box switches to the active video angle.

Continue reading to edit your multiclip…

Ok, now we’re actually ready to edit your multiclip.  In the Timeline, click on the RT popup menu and make sure Multiclip Playback is selected.

To edit the multiclip into the Timeline, hold down the option key to drag the multiclip into the Timeline.  Or you can click on the Red Overwrite Button from the Canvas.

In the Timeline a single audio track appears along with one video track.  The multiclips, or all your camera angles, are contained within one clip in the Timeline.  When you play the sequence, you will only see the active angle, or the top layer.  To see the other angles play in the Viewer at the same time, you have to change the Playhead Sync to Open.

Final Cut Pro opens the multiclip into the Viewer and keeps it open as you continue editing, so you can see all the angles at once.  Now, to change the angle at a certain point in the sequence, you need to cut between angles in order to create your edits in the multiclip.  You can do this by playing the clip in the Timeline and selecting different camera angles in the Viewer as the multiclip plays.  When you press the space bar, your angle switching, or edits will show up in the Timeline.  You’ll notice the different thumbnails in the Timeline to your different camera angles, even though it’s still all part of the multiclip.  Once you’ve cut the new edit points, you can then fine tune them with the Roll Tool.

There is another way to switch and cut multiclips, which is by mapping your numerical keypad to the numbers of the angle shots; but that little tutorial is for another day, so stay tuned for part three of this Multiclip Editing Series!

Final Cut Pro users sometimes forget about this handy little feature; the Voice Over Tool.  The Voice Over Tool lets you record a single audio track directly onto a sequence while you watch it.  It’s a great way if you want to provide an Editor’s Commentary for a client.  You can use the built-in audio input on your computer, or any compatible USB audio mixer and microphone.  You can also monitor the sequence audio while you record.  A company called Digidesign makes an excellent device called an MBOX that provides professional-style XLR audio inputs.  The box connects to your computer through a USB cable, and you can plug your microphone into the MBOX.  You will have to install drivers for the box, but once you have, your input source settings will automatically appear in the input box.  The hardware and drivers must be connected before opening up Final Cut Pro

It’s important to know, when using the Voice Over Tool, that the audio track is saved in the Capture Scratch.  Once you have made the hardware connections, you can find the Voice Over Tool under Tools > Voice Over.  To use the tool, you only have to press the red button to start the recording process.  You will need to set the duration you are recording and the target audio track in the sequence.  To set the Duration, you can set an In & Out point in the timeline.  For DV media, audio should always be set to 48K.  48K audio is an industry standard for DV media.  Therefore, in the Voiceover tool make sure you set your recording to 48K instead of the defaulted 44.1

Some editors like to lay a voice over track first and then edit to it.  This style is fine for some, but it is important to know that you have to have something on the video track in order to use the Voice Over Tool; it will not record on a blank timeline.  It also will not record past the end of a clip or a gap between 2 clips.  In this case just insert a slug on the video track and drag it out for the duration you plan on making your clip.   If you make a mistake in your recording, you can just trim back the track to where your mistake was and you are able to hear the last 5 seconds of your recording.

These days the YouTube Phenomenon has exploded, in my opinion.  Every time I look on my teenager’s computer, he’s watching something new on YouTube.  How can I get my videos on YouTube, you ask?  Well, let me first point out that the picture quality is less than optimal, especially when most of it looks like it’s come from a cell phone.  Plus the fact that your video is going to be recompressed and transcoded into another format altogether.  The most popular codec is MPEG-4.  Let’s assume you already have a sequence edited and ready to go.

• First start out by setting an In & Out point in the timeline if you are only exporting a portion of your sequence; Otherwise, you can export your entire sequence.
• Next, go to File > Export > Using QuickTime Conversion

• When the Save window comes up, go to Format, and choose MPEG-4

• Give your movie a filename, and make sure your extension is labeled as .mp4
• Also make sure you’ve selected the correct place you want to save to (Desktop, or an external Hard Drive)
• Click Save.  Be patient! The conversion process can be slower than average and is dependent on processor speed.  G4 machines are much slower, and newer Intel Power Macs are faster; but regardless, it’s worth the wait since the image quality can’t be beat for the small filesize

It’s also important to know that your compression settings can be tweaked in order to produce a higher quality output.  By selecting the Options button (to the right of the Format selection) you can change the Video, Audio, and Streaming settings.   Although there are many different “recipes” sometimes you just have to experiment with it to get the right one that works for you.

In our 5-Day Final Cut Pro class, our students always got frustrated by the way Final Cut 6 handled speed control. While changing a clip’s playback speed was easy enough if you wanted a constant rate of slow- or fast-motion, common tasks like accelerating or decelerating a clip were painful: unlike Avid’s velocity-based time graphs, Final Cut’s position-based time graphs were anything but intuitive. Unless you were a whiz at high school calculus, visualizing the relationship between position graphs and acceleration (its second derivative, calc whizzes) took a heap of effort.

Speed Change Dialog

The new speed controls poke their heads up in a few places.  For starters, the basic “Change Speed” dialog box (Modify -> Change Speed or Cmd+J) has a shiny new look: in addition to the old percentage-based and duration-based speed controls, you can instantly add eases to the speed change.  These quick-and-easy controls let you avoid a lot of the reasons you’d formerly need to use a Time Remap graph: to smooth out speed changes, for example, simply adjust the clip’s speed then use one of the curved ease options for the clip’s Start and End interpolations.

The Speed control dialog box also introduces a “Ripple Sequence” option, which allows you to toggle whether or not the remaining clips in your sequence automatically adjust to fit your new clip.  It’s on by default, which is normally the behavior that you expect — but if you’ve already got a sequence edited to an audio track, this little option could save you some headaches.

New Speed Tool

But with the new and improved Speed Tool, you may not even need the speed dialog.  With the Speed Tool active (keyboard shortcut “sss”), “trimming” a clip actually stretches or squeezes the speed of the clip to fit in the new duration.  It’s kind of like making a “Fit to Fill” edit with existing clips right down in your Timeline.

For that matter, you can create your eases with the Speed Tool: simply click anywhere inside the clip on the Timeline and drag left or right, and you’re interactively adjusting the speed of the clip before and after that point.  This might be easier to visualize if you have Clip Overlays turned on: watch the notches at the bottom of the clip as you adjust it with the Speed Tool.  The closer the notches are, the faster the clip is playing, and vice versa.

Old Position Graph

The new version of FCP downplays the Position Graph associated with the old Time Remap tool.  As far as we’re concerned, that’s a good thing: it caused our students a lot more trouble than it was worth.  But if you’ve taken the time to learn how to use the graph effectively, you’ll notice that it’s missing from the Clip Overlay view in your Timeline.  Simply load the clip up into the viewer, and you’ll find the graph plus its keyframes under the Speed category at the bottom of the Motion tab.

Ever see those Charles Schwab commercials that look like a cartoon, but you know it somehow came from live video?  It’s called Rotoscoping, which is a technique where animators trace over live-action film frame by frame.

There’s a great plug-in called Toon-A-Matic from Sheffield Softworks that can give you that same “cartoon style” effect with a simple filter.  It also has a caricatcure setting that allows you to distort, exaggerate, or minimize features.  The plug-in is compatible with Final Cut Pro 6 & 7.  Once applied, you’re able to control Brightness, Line Level, Line Brightness, Line Contrast, Line Saturation, Caricature Level, and Mix to achieve a wide range of “toonish” possibilities.  Just click on the Filters Tab in the Viewer window to adjust the parameters.

I also used the filter on a still image to get the same effect.

Like I always say…try it out and play with it…you might be surprised at some of the cool effects you can create!

"Alright you can come, but you can't watch. And there's no way that kids getting in!"

So the coffee’s made.  Sitting on the couch as I write this, a change from my normal tether to the tower in my bedroom.  So I’m settling in, loading up some Dragon Age.  Don’t ask me how good it is, I haven’t played far enough in yet to have an idea, but The Mayor was raving about it, so I have high hopes.  And the combat system seems really great so far, a very cool and vast improvement on old multi-character drag em outs.

Already did my morning wake and Beatles RB, that was number one just to kick things off while the beans brewed.  I’ve set a new personal goal in life, to learn to play ‘Don’t Let Me Down‘ and ‘I Dig a Pony‘ on expert bass flawlessly while singing. Bitches.  No it’s not saving the planet or anything remotely noble, but it’s the little goals in life that make it go around.  And besides it makes every morning just a tiny bit easier no matter what the day may hold.

But it’s not all fun and games.  I’ve been working on getting some footage Paper Beats Rock shot a few weeks back on to Dave’s Final Cut System.  I won’t bore you with the gorey details, but it was shot on a Red camera and this seems to introduce all kinds of problems to the process.  I really want to get to cutting and pulling out the green screen on this beast, it was a lot of fun to shoot and I think it’s gonna be a blast to work on.  But of course, sadly mirroring day to day situations at work, the day shift and the night shift don’t always have clear lines of communication and all sorts of little bastardly potholes keep showing up in the road.

Is this gracefully enough for you?

Anyways, birthday was a normal day, which is ok in my book.  I’ve accepted growing old gracefully finally, but I don’t feel the urge to celebrate it much.  Aaaaand because I’m a terrible father, I gotta see the dog soon, it was his birthday too and he knows I owe him some time.

Alright that was easy.  So off to dig into Dragon Age a bit before work preparations begin.

Of course:
“Lazing on a Sunny Afternoon” – The Kinks

(And do yourself a favor and watch that video, those are some Kink-stastic haircuts.)

Today marks the last and first of many things. Today was the last day to have class at Full Sail in the year of 2009. Today marked the final exam that ended my classes for this month. Today also marks the day that I start editing my group’s 16mm project in Final Cut Pro. Today marks the day of motivated time management and productivity. Today marks the end of laziness and wallowing in nothingness. Also, today marks the start of relearning HTML and coding a future website from scratch. Today is a day that I spent time talking to my father about financial situations and trying to work everything out. Today is a day of and for God.

Let this weekend and next week and a half in Orlando be good before I head home. Online classes start on Monday and I hope I can motivate myself and be disciplined. Here is to finishing the year of 2009 with a blast of motivation and inspiration. Here is to the last year of me being a teenager, feeling so young and so old at the same time.

working in Final Cut Pro on my 16mm project. This will be a fun edit, hopefully.

Final Cut! Weds at 8pm on DCUfm

Final Cut is a weekly film, review and soundtrack show on DCUfm hosted by myself and my mate Diane. In each episode we discuss the latest movie news in Hollywood and at home, review new releases, and play music from their soundtracks. There’s a segment included called ‘Cult Classics with Ciarán and James’, where every week they talk about a specific cult movie. We also have a part tentatively called ‘The Rant’ where we rant about a particular hot topic, genre, actor, director; you get the idea, right? You can also text us live in the studio at 085 7531 973

We’ve been running for about 7 weeks now and our main aim is basically to just try and improve with each show. This week we reviewed Jennifer’s Body (see previous post) The Men Who Stare at Goats (with special guest critic Devin Anderson of The TigerFace Show) and Demetri Martin’s feature debut, Taking Woodstock. Ciarán and James discussed the awesomeness that is MTV Movies 1996 feature ‘Beavis and Butthead Do America’, while in The Rant we deliberated if indie movies were really indie any more, or if they have instead spawned off into a genre of their own. E.g.: Little Miss Sunshine, Juno, Garden State.
Tracks played were:

1. Kiss With A Fist by Florence and the Machine,
2. More Than a Feeling by Boston,
3. Roller Coaster of Love by The Chillies,
4. Anyone Else But You by The Mouldy Peaches
5. Clips from Some Jokes by Demetri Martin

The Bitch and The Butch

Final Cut is doing really well with regards to ratings. We currently have the highest text to listener ratio; we just need a few more to make us the highest rated show on the entire station. The format we have right now is serving us well, but because we’re only on for an hour, and also partially because I love the sound of my own voice, we have a tendency to shoot over our allotted time and never seem to fit everything in. So yeah, currently we’re doing ok, but I have a feeling that after Christmas (providing the station renew the show) Final Cut will have a bit of a make-over. I’d love to get a few more interviews in. So far this semester we’ve had Jen Davis and Sinéad Greenan, who won two awards at this year’s Touch Film Festival. (Jen is also in my course but we’ll skim over that for the meantime)

Anyway, I really enjoyed that. I loved hearing different voices on the show. We also have this little arrangement with the Lighthouse Cinema in Smithfield, where they let us go and record vox pops after shows, but it’s difficult for Diane and I to get out there every week, so some people who’d be interested doing that next semester would be greatly appreciated.

I love doing this show and it’s subsequently it’s become a fairly big part of college this year, which is why I seriously hope we carry on into semester two. We used to pre-record but you get such a buzz out of live radio, primarily because you never really know what’s gonna happen next, or more appropriately what’s gonna be said next.

Carly: “To quote Jennifer herself, she’s not even a backdoor virgin.”

Diane: “ Wait, what’s a backdoor virgin?”

Carly: “…….. HAHAHAHAHA!”

At the end of the semester we’ll be composing a blooper reel from some of the practise stuff we recorded over the summer when we were first getting to grips with the station, along with a few of our funnier moments live on air.

Diane: “So Carly, do you have those Borat clips for our lovely listeners?”

Carly: “No.”

Silence

Both: “lol”

So yeah, that’s my radio show. Others you should listen to are
• The TigerFace Show with Devin, Mark and Danny Wednesdays at 6:30-8pm
• Culture Café with Nessy Tuesdays and Thursdays at 7-8pm
• Homophonic with James and his special guest presenter Mondays at 9-10pm (which is also produced by my boyfriend, Ciarán. You should check out his blog. Its a really cool idea and well worth a read.)

I really like doing this video, especially shooting it. I think I have more patience to handle the camera than to actually sit down and edit a video. Directing the actors was pretty fun. It’s really hard because they voluntarily take out time to help you, so you don’t want to be too harsh, but at the same time the friends we worked with were really cooperative and fun to work with.

Friday last, as part of a Video Production assignment for college, myself along with members of my group, Lena, Jane and Shauna went and met the up and coming band US YOUNG LIARS. Despite it actually being the Friday the 13th from hell. The band turned out to be a laugh and we sure as hell had one making it. So enjoy.

Writer/Director Victor Bornia

A Paradigm Shift in Technology

Traditional media companies and movie studios now find themselves at a disadvantage in the entertainment marketplace. New technologies in computer architecture, software and digital delivery systems have given the upper hand to creatives. Writer/director Victor Bornia’s newest project, Darkening Sky, is an exciting example of the new creative power of the artist in the digital age.

Narrowcasting and the Effectiveness of Social Media in Marketing

The advantages offered by yesterday’s costly marketing and advertising plans have evaporated. Why guess what your audience wants when you can ask them to participate and give feedback? Narrowcasting—advertising to a very targeted audience—paired with the use of social media has removed much of the marketing guesswork.  YouTube, iTunes, Twitter and Facebook make it possible for the independent filmmaker to advertise and distribute a film without the 100 million dollar marketing budget once required.

Paramount recently used this strategy for Paranormal Activity to generate demand in specific geographic locations, and to allow the audience to determine a distribution plan for them. Utilizing free social media applications and targeted online advertising, Paramount has generated $103,690,184 as of Nov. 15, 2009 from a movie that cost a mere $15,000 to make. That’s a pretty good rate of return on their investment. Profits from many independent movies have out paced bloated big budget studio movies (think Universal’s $100 million stinker Land of the Lost).

Darkening Sky: A Perfect Storm of Talent and Opportunity

Advanced technology cannot replace talent or experience. With a background in visual effects and computer animation, Victor Bornia is marrying artistry and storytelling with cutting edge technology. The other strategic component that he has added to the mix is an alien abduction/conspiracy storyline. The multitudes of online sci-fi communities are a testament to the strong audience that is awaiting Darkening Sky’s well-crafted story. Using Facebook, Twitter and an engaging website, Darkening Sky looks to have all of the right pieces in place for a very successful launch.

An Interview with Victor Bornia

What inspired you to take on this project?
I wrote the screenplay, so…I was biased! My writing tends to focus on the dark side of human relationships; I also find alien abduction phenomena fascinating. Darkening Sky is the result, basically a twisted psychological drama wrapped in an alien abduction thriller…two of my favorite things.

How have hardware and software advances helped you in the editing room? And what equipment and programs are you using?
New technologies not only made this film possible at all, it raised the bar on what we could achieve with the resources we had. We were very fortunate to shoot on the Red One camera with a brilliant owner-operator DP who really understood the ins and outs and gave us gorgeous imagery. The film is being edited in Final Cut on a quad-core Mac Pro tower with gobs of RAM and acres of hard drive space — all of it just laughably affordable these days (~ $100 for freakin’ 1.5 terrabytes?). I’m a long-time After Effects user but am doing a lot of VFX work in Motion, which has a lot of surprisingly sophisticated tools. I’m also an old-school Lightwave 3D user (how I made my living), so that’s the tool for 3D, rendered on a trio of Frankenstein hot rod PCs I built for my work.

Do you believe that independent filmmakers have any advantages in the current media market?
I’d say being truly independent has brought us all the advantages of light vs. heavy, small vs. large. There are pros and cons on both sides, of course, but the biggest advantage is that we’ve been able to move from concept through to near-completion very quickly; there aren’t a lot of layers to sift through on creative and business decisions (more like a phone call with my partner). Less waiting is good.

How important is a producer to the independent filmmaker?
A producer makes sure that a film actually gets made, so the answer would be, “indispensable.” BUT: that’s not to say filmmakers need to sit on their hands and wait until some Big-Deal Producer grants permission to make a movie. It wasn’t really until I realized that I would need to “become a producer” myself that things started to break loose… Still, this was definitely a co-production with my partner Karly Young. She handled SO much and made it possible for me to even “think like a director.” Couldn’t have done it without her.

How are you using viral marketing/social networking in promoting this project?
Marketing is actually Karly’s main area of expertise, so I’ve been able to stay focused on the film itself. So far I think we’re using social networking pretty basically, to share what’s going on as things develop. Once the film is finished, I’m sure our online presence and interaction will become a much more significant part of what we’re up to.

Who are your 5 favorite directors?
That’s a tough one. David Lynch, Ridley Scott, Adrian Lyne, Martin Scorsese, Paul Thomas Anderson are probably the easiest choices for me… I don’t love everything they’ve done, but they made my all-time favorite movies. There are many others, but those are the people who have consistently delivered things I enjoy and am inspired by.

What are your 5 favorite sci-fi films?
Blade Runner (by a mile); then probably The Matrix, A Scanner Darkly, Dark City, and Terminator. Honorable mention: 12 Monkeys.

***

Victor Bornia Answers James Lipton’s Inside the Actor’s Studio Questionnaire

What is your favorite word?
Evocative.

What is your least favorite word?
Edgy.

What turns you on?
Vulnerability.

What turns you off?
“Sexy” behavior.

What sound or noise do you love?
Pipi (our girl pug) snoring.

What sound or noise do you hate?
False indignation.

What is your favorite curse word?
Fucktard.

What profession other than your own would you like to attempt?
Novelist.

What profession would you not like to do?
Medicine.

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?
“Sorry, we need to send you back.”

Pues el título lo dice todo, hoy en finalcutpro.es recopilan los 6 artículos más leidos en los últimos 6 meses. Si sois usuarios de este software de edición no dejeis de visitar el artículo.

Sois ya muchísimos los que conoceís las bondades tanto del software de edición Final Cut Pro como del formato XDCAM EX y que ya conocereís el flujo de trabajo e interacción de ambos sistemas. Os dejo un breve vídeo de Sony donde se muestra de forma muy sencilla la forma de importal material XDCAM EX (Mpeg4) en Final Cut Pro (Quick Time).

]]> http://appleloops.wordpress.com/2009/06/16/how-to-change-the-key-and-tempo-in-soundtrack-pro/ Tue, 16 Jun 2009 22:35:12 +0000 appleloops http://appleloops.wordpress.com/2009/06/16/how-to-change-the-key-and-tempo-in-soundtrack-pro/