American Cinematheque and American Cinema Editors present the Invisible Art, Visible Artists Seminar, a conversation with all five of this year's Academy Award-nominated editors. This 2 1/2 hour seminar will feature Jay Cassidy, Crispin Struthers and Alan Baumgarten (American Hustle); Christopher Rouse (Captain Phillips); John Mac McMurphy and Martin Pensa (Dallas Buyers Club); Alfonso Cuarón and Mark Sanger (Gravity); and Joe Walker (12 Years a Slave).
It takes place on Saturday, Mar 1 at 10:30 AM at Hollywood's Egyptian Theatre. The seminar is completely free but seating is on a first come, first served basis. Read more here.
Avid has produced a series of free video tutorials called "Getting Started Fast with Avid for Final Cut Pro 7 Editors." The 5-part series features editor Kevin P. McAuliffe helping those who wish to make the transition between Apple's old NLE to Avid's Media Composer 7. Three of the episodes have been released so far, with the final two coming within the next two weeks.
In the first episode, McAuliffe discusses moving your project from FCP to Avid Media Composer 7, with a focus on AMA.
The second episode focuses on the main differences between the two NLEs and how to easily recreate FCP 7 workflows in Media Composer.
Editor Ryan E. Walters, who once proclaimed that FCP X was dead, might be changing his tune with the NLE's latest iteration, 10.1.1.
He writes, "After three weeks of solid use, I still have some frustrations with it- but overall I'm liking what I am experiencing...In the end, I do see what all of the fuss is about with Final Cut Pro X. It is finally starting to live up to the term 'pro.' If you haven't checked it out yet, I encourage you to do so. Once you get over the learning curve, the act of editing itself becomes a very intuitive and enjoyable process."
Read the full story here.
Avid has teamed up with editor Kevin P. McAuliffe to release a 5-part series of free video tutorials called "Getting Started Fast with Media Composer 7."
In the first video, McAuliffe goes over the basics of creating a project, understanding the Media Composer interface, common settings and some tips on how to organize your files.
Get Started Fast with Avid Media Composer 7: Lesson 1 from Avid on Vimeo.
Lesson 2 deals with importing footage.
NPR's All Tech Considered examines where Apple stands 30 years after the introduction of its groundbreaking Macintosh.
They write, "The Mac  marketing campaign created a narrative about a rivalry in personal computing: a plucky company fighting for individual creativity. It's a narrative that has helped sustain the brand."
Read the full story here.
Larry Jordan provides an article outlining the different types of media formats that can be used in Final Cut Pro X and what to consider when deciding which one to use.
He writes, "There are three different types of video media used by Final Cut Pro X:
Optimized (ProRes 422)
Proxy (ProRes 422 Proxy)
Camera native media can use a wide variety of codecs, though only one codec is allowed per media file. Codecs include:
And those are just some of the more popular varieties of the hundreds of codecs that are currently in the market. So, which media format should you use? And how can you tell which one FCP X is using? Answering that question is the purpose of this article."
In the below video, Dave Dugdale of Learning DSLR Video conducted a survey of 1,000 people to try and figure out the most popular NLE program. His results: Adobe Premiere Pro came in at 63%, Apple Final Cut Pro came in at 20%, Sony Vegas Pro came in at 14%, and Avid Media Composer came in at 3%. He does give the caveat that the Learning DSLR Video audience are likely to be skewed more toward the prosumer market (hence the lower numbers for Avid).
In the below video, colorist Dado Valentic demonstrates real-time 4K color grading using the Apple Mac Pro and Blackmagic Design's DaVinci Resolve.
Writes Televisual, "In the video below, Valentic first demonstrates the speed of HD playback from within Resolve, using footage shot on the Sony F65, Sony F55, Red Epic, Red Epic Dragon and Arri Alexa. He then starts adding blur effects nodes to the footage (one of the most challenging nodes for a grading system to apply in real-time) to test how many the system could cope with while still maintaining real-time playback."
Watch below and read more here.