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Techniques for Slowmotion Video

DSLR: Techniques for Slowmotion



In this video tutorial with Robbie Carman and Richard Harrington, learn various ways for converting DSLR footage into instantaneous, buttery smooth slow motion using After Effects, Twixtor, or Cinema Tools; you might also use Optical Flow in Apple Motion, Advanced Frame Blending in AE, and FCP .

Check out more at –
http://library.creativecow.net/harrington_richard/
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Avoid Lens Flare by Flagging Your Lens


While the sun is generally incredibly useful to photographers, it can occasionally be annoying. If the sun hits your lens at an undesirable angle, you can end up with spots or flares that ruin a shot. Flares generally take on a geometric shape, and may be easy to miss while recording. Additionally, a flare can significantly reduce the amount of contrast and saturation in your image.

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The flare is typically caused by a very bright light sources (it most cases the sun). Flares are far more common in zoom lenses as they have multiple surfaces that are prone to light scatter. With a little practice you’ll learn to spot flares quickly. Getting rid of flares just requires a few strategies and modifications to your shooting style.

One way to prevent lens flare is to block the light. Typically the flare is caused by light entering from the side of the frame. This light is rarely needed for a proper exposure and can be blocked. If using a tripod, you can place your body to the side of the lens to serve as a wall. You can also reach out with a hat off to the side to block the light.

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I used a Rogue FlashBender to protect the lens from additional flare while shooting on a bright day.


You can of course use other devices to block unwanted light. I’ll often attach a Rogue FlashBender right to my lens (http://www.expoimaging.com). These flexible cards are normally used to shape an off-camera flash, but I find the built in flexible support rods bendable surface works well to flag a troubling flare.

Get more tips here –
Want Better Photos or Video? Avoid Lens Flares


This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Batch Processing Images in Photoshop



An oldie, but goodie. Learn how to process several photos at once. This is designed for video workflows, but all will benefit.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Shooting Video? Better Under than Overexposed

This is a sneak peek from a new book I am writing – Creating DSLR Video: From Snapshots to Great Shots

While you can do a lot in postproduction to fix exposure, video files are a lot like working with JPEG images (as opposed to raw photos). Push an adjustment too far and you’ll get posterized image where details are clipped. Shoot too dark or too bright and you’ll have no information to work with and possibly quite a bit of noise.

The key is to always protect your highlights. Do not let the bright areas of your image (like skies or faces) get clipped. One view you likely have on your camera is a histogram. You typically can see this after taking a photo or cycling through your view options (in most cameras you can push the Info button or press your navigation dial from side to side to cycle views). If the histogram is pushed against the right edge, it means you have no information to work with. Blown out highlights go pure white and there is just no way to recover the details.

Here you can see the same scene shot two different ways. In the first, I shot things a little hot. With color correction in post, I was able to recover a lot of details. But you’ll notice that a lot of the details in the shadows are clipped.

Ch06_Over
Be careful to keep your histograms from getting slammed to the right.
ISO 125 | 1/50th sec. | f/14 | 32mm lens

On the other hand, I also shot the scene and exposed for the “boring middle.” In this case the histograms were more balanced and I had a lot more information to work with. After color correction (a Levels and Saturation adjustment), the shot looks a lot better.

Ch06_Under

It’s better to slightly underexpose than overexpose when shooting video. Notice how the shadowy details in the rocks are preserved better in this version.
ISO 100 | 1/60th sec. | f/14 | 32mm lens


The use of a loupe or viewfinder is essential for outdoor shooting. Bright light on your LCD just makes things damn near impossible to judge. If this is out of your price range, wear a hat and use it as a shield for time to time to judge exposure. I can’t emphasize enough though that a loupe should be one of your first investments if you become serious about shooting video on your DSLR camera. By removing all light pollution, you can make accurate decisions.

Ch06_loupe
Photo by
Vanelli


Be sure to pre-order my new book – Creating DSLR Video: From Snapshots to Great Shots

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Exposure Part 2: Adjusting for Overexposure

DSLR Exposure Part 2: Adjusting for Overexposure



Everyone faces exposure problems, even if you're using a loupe, it's difficult to judge, especially without a waveform or histogram. After loading your clips onto your computer, and you're faced with dark and underexposed clips, use this tutorial from their continuing DSLR series, featuring the expertise of Robbie Carman and Richard Harrington, and learn how to bypass the camera - go straight to NLEs and talk about the best methods for correction of underexposed clips.

Check out more at –
http://library.creativecow.net/harrington_richard/


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Exposure Part 1: Adjusting for Underexposure

Exposure Part 1: Adjusting for Underexposure



Everyone faces exposure problems, even if you're using a loupe, it's difficult to judge, especially without a waveform or histogram. After loading your clips onto your computer, and you're faced with dark and underexposed clips, use this tutorial from their continuing DSLR series, featuring the expertise of Robbie Carman and Richard Harrington, and learn how to bypass the camera - go straight to NLEs and talk about the best methods for correction of underexposed clips.

Check out more at –
http://library.creativecow.net/harrington_richard/


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How to Use Raw Red Video Natively



Learn about how to use work with Red video natively (actual raw video) in this tutorial on Adobe Premiere Pro and After Effects.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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Opening My Mind Has Opened Doors

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The past few years has forced me to rethink a lot of my business decisions. What I'm going to lay out for you is how I reached the decision to switch from Final Cut Pro to Adobe Premiere Pro, as well as why part of my postproduction department is running on Windows.

Read the whole article here –
http://magazine.creativecow.net/article/opening-my-mind-has-opened-doors

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An Old, But Useful Tutorial on AE Shapes



Learn how to use the Shape Tools to create dynamic motion graphics elements. This tutorial was recorded as part of a session at the 2007 NY Post Production Conference (www.nypostconference.com).

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Creating a Timelapse or Stop-Motion Movie with Photoshop Extended

Many photographers are experimenting with creating time-lapse or stop motion animations with their cameras. To do this, the camera is typically placed on a secure tripod and a series of still photos is taken with their camera of a scene. Typically teh photos are taken at regular intervals.

1. Organize your frames You’ll need between 12 and 30 images for each second of animation, so chances are you’ll have a lot of source material. Make sure all the images are in one folder and that they are named sequentially. If needed, you can use the Batch Rename command in Adobe Bridge to fix any naming issues. Files should be named similar to frame001, frame002, frame003, and so on.

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2. Open your animation When you’re ready, it’s time to open the image sequence in Photoshop. Choose File > Open and navigate to your folder that contains the image sequence files.

3. Import a sequence
Select only the first frame of animation (selecting more than one frame will disable the animation). Make sure the Image Sequence option is checked. Click Open to import the sequenced frames.

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4. What speed?
The next dialog box asks you to specify a frame rate. All of the standard video frame rates are offered. Check with your video editing software to determine which rate you need for a particular project.

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5. Check playback You can use the Animation panel to check your animated movie. When satisfied, you can choose File > Export > Render Video.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Photoshop 3D Text – UAP 243



Instructor Richard Harrington explores the ability to alter text through 3D Text Extrusion in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Time Re-mapping Footage in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Time Repmapping Footage



In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington talks about how to control time inside Premiere Pro. There are many options to change the speed of clips, including the rate stretch tool, time remapping to achieve a variable speed value, and using After Effects own remapping abilities to fine tune your results.

Check out more at –
http://library.creativecow.net/harrington_richard/


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A Two Part Fix for a Corrupt Mac Drive

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Photo — iStockPhoto.

Yesterday while in the middle of a huge back-up, the power went out.

My drive (which was not on an Uninterruptible Power Supply) went down…. hard.

After a reboot... things did not look good. The Drobo Dashboard saw the drive… but my Mac wouldn't mount it. No disk repair program would bring it to life…

Disk Warrior – Fail

Drive Genius – Fail

Disk Utility – Fail

Four more other apps… nope.



Then I had an idea.

DG
I used Drive Genius to reparation the drive. I told it to just create a new partition that was the exact same size as the current volume.



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When that was done… I was able to use Disk Warrior to rebuild the drives directory.

In about 12 minutes, all 8 GB were recovered (with zero data loss).

Whew…

Hope this helps some of you… especially when all seems lost.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track


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Tis The Season – Holiday Photo Clinic

Photoshop Holiday Photo Clinic from Richard Harrington on Vimeo.



Join me as I tackle 12 holiday images. This in-depth class will show you how to fix both standard and advanced problems that often plague holiday photos. If you like my training be sure to check out my books,
Understanding Photoshop CS5 and Photoshop for Video.


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Warped Text – UAP 242



Instructor Richard Harrington demonstrates how to alter text through Warp Text in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Sizing a Picture for Video

Photos that are intended for use in a video project have much lower resolution requirements than those for print projects. Additionally, video has very specific pixel dimensions that need to be followed. Otherwise unwanted black bars can show up around the image on the video screen. Let’s learn an easy workflow.

1. Create a video-sized documentChoose File > New... and choose a preset that matches your video editing timeline.

Size1

2. Add your source photoChoose File > Place then navigate to your desired image file and click Place and then click OK. Your source photo may have a different pixel shape than your video graphic document. Many of the video presets rely upon non-square pixels, but Photoshop will handle all of the conversion internally.

3. Scale the image to sizeDrag the Transform handles to size the photo. Be sure to hold the shift key to scale the image proportionately.
Size2

4. Commit the imagePress Return (Enter) to complete the Place command and add the image to your document.

5. Change your mindWhen using the Place command, the new layer is added as a Smart Object. This means that you can choose to scale the image up to its original size at any time. To modify the scale, choose Edit > Free Transform to resize the image.

Size3


This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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View Your iPhone or iPad on Your TV

How'd you like to play Angry Birds on your TV? Need to browse a website with your family? Or maybe show your portfolio on the big screen?

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Well if you have an iPad or iPhone running iOS5 as well as an Apple TV you can.

1. Turn on your iOS device and make sure it is connected to the same WiFi network.

2. Turn on AirPlay for your device. Double-click the home button.

3. On an iPhone, swipe twice to the right.

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On an iPad swipe once

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4. Press the AirPlay button.
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5. Select your Apple TV from the list and enable Mirroring.

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6. Browse, launch, play, surf while sharing with all around you on the big screen.

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I can show my portfolio from 500px on the big screen.


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Using a DSLR Slate App

DSLR: Using a Slate App



DSLR video training with Robbie Carman and Rich Harrington: This episode talks about why you want an iPad for production. There is a DSLR Slate App (often used for production information, a sync point for dual system audio, etc.) which now moves all of this information to your portable device.

Check out more at –
http://library.creativecow.net/harrington_richard/
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HDR is Not a Bad Word

I'm constantly surprised how much I hear people complaining about HDR (High Dynamic Range) Photography. Many feel its a phase or a fad… something that's over done.

HDR is in this strictest sense, the merging of multiple exposures to show a wider dynamic range than a traditional camera can capture. It can be used to create photorealistic images that closer match what the eye sees. It can also be pushed for an artistic effect.

I'd like to offer five reasons why HDR photography is a useful tool that you should seriously consider adding to your toolset.

1. Lowlight Images

When working in tough lighting conditions, HDR Photography really comes through. This image was created by merging 3 exposures. It was shot hand-held at the Lincoln Memorial in Washington, DC at 10:30 pm. Need to shoot in lowlight, try HDR.

Lincoln


2. Dramatic Sepiatones and Black and Whites

Do you want to create black and white photos that really pop? How about truly dynamic sepiatones? I find that the use of HDR gives greater depth to my tones and makes more compelling images.

church



3. Details are Revealed

If you have architectural details that need to come through, HDR works wonders. I took this photo laying on the floor shooting up into the ceiling of a church. The subtleties of the architecture really stand out and I enjoy poring if the finer details of the original artist.

Statue


4. Painterly Effects are Fun

The use of HDR toning can create a painterly like image. These options can be fun with certain images and really open up narrative approaches.

rapunzel



5. The General Public Loves HDR

While photographers may complain… the general public loves HDR. The colors pop, the images are compelling… there's just something that stands out.

seattle

This is one of my most popular photos. Gets great reactions and comments from just about all folks. It's several images merged together. Here's how I made it in fact.

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So love it or hate it… you should really give HDR a try. Have a look at my other blog – Triple Exposure –
www.3exposure.com – which covers the topic in-depth.

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Photoshop World Comes to Washington, DC

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In March, Photoshop World will bring a new party to our nation’s capital to offer three non-stop days of informative, inspirational and invaluable photography, lighting and Photoshop training from the industry’s best and brightest talents, as well as an industry expo showcasing the hottest products and services on the market.

I'll be teaching a
pre-conference on DSLR Video (held at RHED Pixel) plus regular classes and show floor classes.

Click here to download a PDF version of the official Photoshop World brochure, which will be arriving in the January issue of Photoshop User.

The brochure features descriptions of all training sessions and optional pre-conference workshops, a list of participating instructors and much more.

And don’t forget to
register before Friday, February 17 to save an extra $100 off the registration rate.

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Stylizing Text – UAP 241



Instructor Richard Harrington demonstrates the various ways you can alter text with the text tool in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Photoshop and AE: Refine Edge Command and 3-D Motion Control

Photoshop and AE: Refine Edge Command and 3-D Motion Control



In this installment of PS and AE, Richard Harrington shows to use Adobe Photoshop and After Effects together to get great 3D extrusion. He'll take some photos and split them out into 3D space, as well as use the Refine Edge command and the content-aware fill option to quickly build your layers to pop out and move around in the 3D camera.

Check out more at –
http://library.creativecow.net/harrington_richard/

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A Little Warmth for Winter

Fire Dancer by Richard Harrington (RichardHarrington)) on 500px.com
Fire Dancer by Richard Harrington

Hope this image brings you a little warmth this winter.

Focal Length — 27 mm
Shutter Speed — 2.5 sec.
Aperture — 18
ISO/Film — 1600
CategoryPerforming Arts


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Trends for the Photography Indutry

I spend part of my career speaking at industry conferences. This gives me an opportunity to see who’s exhibiting, as well as talk to vendors and photographers to see what’s on their minds. I wanted to quickly share five things that I’ve noticed popping up more and more. Consider adding these areas to your service offerings to expand business opportunity:
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3D Photography

Right now, this is actually starting as a consumer trend. We’re seeing cameras like the Sony Bloggie 3D as well as some mobile phones starting to pick things up. But 3D is on the rise and I expect things like iPad, phone, and computer displays to not be far behind. If you’re into product or location photography, give it some serious thought.
  • You should also check out lenticular printing such as Snapily.com

Video

I know for some this is old news… but interest continues to skyrocket. My dSLR classes at Photoshop World sold out in record time. I was amazed at how many people in the photography world are interested in video and have clients willing to pay.

Time-lapse Photography

A close cousin to video is the art of time-lapse photography. In this case the photographer shoots several stills sequentially using a timer or intervalometer. An exposure can be taken as often as every second, but often longer intervals are used to show the passing of time. There is high demand for time-lapse photography within the stock community and it’s a heck of a lot of fun.

Metal Printing

One of the most popular output options these days is metal printing. Whether it’s large sizes for walls to smaller panels for installations, you’ll find that many vendors are now offering this service. Two things to think of – first shop around… because this is a new service… prices are vary wildly. Second, most printers tell me to reduce the contrast and saturation a bit as the metal will intensify both.
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Timecode in After Effects



Learn about how to use timecode in Adobe Creative Suite CS5.5.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.
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Know Your Oponent

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There are several reasons you might not be paid by a client (and most have little to do with a dissatisfied client, aggressive behavior, or conspiracy).  Here are a few practical strategies I employ at my office.

  • Use s systems of deposits. We will bill incrementally for work.  An initial deposit, another if substantial pre-production is required.  A bill upon initiation of shooting.  Another after post-production.  By spreading out your payments, you aren’t serving as a bank to your client.  You can also catch a flaky client before you’ve handed over assets and lost power.
  • Take credit.  While you’ll take a small hit in fees, the cash in hand is better than you paying interest towards your own debts.  Credit card fees for payments are typically less than credit card finance charges.  Take a look at easy solutions like Square to process cards with no account setup fees.
  • Ensure the final bill is accurate. Did you go through and reconcile all the changes the client made? Look though the initial quote and proposal.  Have you delivered everything you promised in writing?  Don’t get hung up because your bill has mistakes.
  • Don’t skimp on information.  Make sure the invoice has the project name, project or PO number, as well as your full details such as address and Tax ID. Make sure the Due Date is clearly visible on the invoice.
  • Ensure delivery. Make sure that your contact gets the actual bill. Send a draft as an email asking for confirmation of accuracy. Include hard copies in the mail and with deliverables (people are overloaded with email).
  • Close the loop.  Call the client a few days after sending bill to confirm receipt.  A few days later call the Accounts Payable department and confirm that they actually got the bill.
  • Run a report. Know who owes you money by generating a report in your accounting software.  Make sure you reach out within 3 days of a late payment.  Be sure all subsequent invoices are marked with the due date and point out any finance charges.
  • Pick up the phone. If you are actually owed money, pick up the phone. Call the client or the accounts payable department.  Be polite and ensure that the invoice was actually processed.  If you’ve done the previous steps, be sure to cite your previous calls where you confirmed receipt.
  • If all else fails.  If you’ve gotten to this point you either have a deadbeat client, one who is experiencing sudden economic hardships, or a dissatisfied customer.  The deadbeat client you should have spotted through the use of progress payments.  The economic hardships are a realty, but work out a payment solution and suspend rights or future work until the get caught up.  An upset client, you better get to work and resolve it.

Remember:
Be polite, but firm. You are not a bank. Accept credit cards and let someone else be the bank.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track
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Monitoring Solutions with HDMI for DSLR Video

DSLR: Monitoring Solutions with HDMI



DSLR video training with Robbie Carman and Rich Harrington: This episode visits HDMI and monitoring in general.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Save Your Photos for Web and Mobile Delivery

I frequently see other photographers struggle in preparing their files for the Internet.  Some make files that are ridiculously big and take forever to download.  Others accidentally resize or flatten layers during the process and damage their files.  But I understand, you probably didn’t study to be a web developer.
Fortunately, Photoshop provides a powerful command for compressing images and previewing the results: the Save For Web & Devices command.
1.    Open an image in Adobe Photoshop.
2.    Choose File > Save For Web & Devices.
Save-for-Web-1-300x219

3.    The Save For Web & Devices dialog box offers several important options for optimization and preview:
  • Tools. If you can’t see the entire image, you can use the Zoom tool to make the image more visible. Additionally, you can use the Hand tool (or hold down the spacebar) to drag and navigate around the image.
  • Optimization tabs. By clicking the four tabs at the top, you can choose to view the Original image, an Optimized view, 2-Up for two versions of the image side by side, or 4-Up for four versions of the image side by side. Being able to compare optimized images helps you choose the right format and compression settings.
  • Image Optimization Info. The area below each image in the Save For Web & Devices dialog box gives you optimization information. You can see the current optimization applied, the projected file size, and the estimated download time based on a selected modem connection speed.
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4.    You’ll likely need to further reduce the file size for Internet delivery. The first area to tackle is the actual image size in pixels. In the Image Size field type in a Height of 600 pixels, so the image can integrate easily into the Web page (even with a screen resolution of 1024 x 768, a height of 600 would allow the image to display without scrolling up and down). Press the Tab key to exit the field and apply the resize value.
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5.    The file size has been reduced, but it’s hard to see the effects of the compression. Set the image magnification view to 100%.

6.    Change the amount of Compression by either changing the preset (from High to Medium, for example) or adjusting the Quality amount.
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7.    Click Save to specify a location for the saved file and then write a compressed Web-ready version. The original file will remain untouched, and its resolution and quality will be identical to its state when you launched the Save For Web & Devices command.

For more on mastering Photoshop, check out my book
Understanding Adobe Photoshop.
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Vanishing Point – UAP 240



Instructor Richard Harrington shows you a filter in Photoshop CS5 that allows perspective cloning.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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iTunes Searching: How Will You Be Discovered?

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Whether you're publishing a podcast or an app, you'll be found in one of three ways on the iTunes store. Understanding how these methods work will improve your chances at success.

1. Search

The iTunes Store contains a search field. Results are returned based on popularity and relevance. Popularity relates to the number of new subscribers you’ve had in a given period (which is an uncontrollable factor). Relevance is due largely to your show’s description and keywords (which you have complete control over). Be sure to write an accurate description that addresses your show’s topic. You can also use keywords to address misspellings or additional search criteria.

2. Featured Content

The iTunes Store routinely features content. There are several factors that contribute to a show being featured. First and foremost, the quality of content is considered. Second, your show must have attractive artwork (which does not include Apple items like logos or iPods). The staff at the iTunes Store also favor shows with consistent content that is released regularly (e.g., weekly or daily). It should also go without saying that your feed needs to be valid, so periodically check it at www.feedvalidator.org.

3.Top Lists

On each page of the iTunes Store there is a “Top List.” These lists showcase the top shows in each category. Making these lists is based on new subscriptions. We often recommend launching a show with four episodes (simply pre-date the first three to offset their “release”). This way a new show offers visitors multiple options. This initial surge can help you make a splash. Once you are on a Top List, it is essential you maintain your release schedule and quality. Staying on a Top List is very helpful, as it makes it much easier for visitors to discover your show.


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How to Fix a Shaky Camera



Learn about the Warp Stabilizer in Adobe Creative Suite CS5.5.

This video is part of the book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques.

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3-D Models in Photoshop and After Effects

Photoshop and AE: 3-D Models



In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores the interaction between Photoshop and AE when creating 3D models. Learn how to use Photoshop to retexture a model and import as a live 3D model into After Effects.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Spot Color Effects for Video Plus a Free HD Download



A free tutorial using After Effects or Final Cut Pro X to do advanced secondary and spot color effects. Learn how to tweak a color in a video clip (even with a moving subject). This technique is fast and easy (and is a client-pleaser too).

Plus thanks to iStockphoto, you can get:
This vide clip for free –
http://www.istockphoto.com/stock-video-13410332-poppy-on-meadow.php
A free audio file too –
http://www.istockphoto.com/freeaudio

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Working with Shadows and Highlights in Raw Images

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I've posted a new tutorial over at the great Tip Squirrel site. This one is a quick look at how to use
Shadow and Highlights with Adobe Camera Raw. The tutorial will work with Adobe Photoshop or Lightroom. Ideally you'll use a raw photo, but the Adobe Camera Raw module can also open TIFF or JPEG files.


"In this follow-up to last week’s video, Rich Harrington teaches us how to fix clipped shadows, overblown highlights, and soft detail when working with photos shot under low lift conditions."


I hope you enjoy it.

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Photoshop World – Buy One Get One

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My friends over at Kelby Training have some great deals on Monday.

But this is the biggest – B
uy a PhotshopWorld ticket and get one for free.

Here are some other deals too.
  • NAPP Membership (or Renewal) - Get 6 extra months free
  • Books, DVDs, Bundles - Save 30% off your order
  • KelbyTraining.com - Save $50 on a one-year subscription
  • NAPP and KelbyTraining.com $199 for one year of both

Check out all the deals here



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Lens Blur – UAP 239



Instructor Richard Harrington demonstrates how to use the Lens Blur Command in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Need a Drobo? I've Got a Deal for You (Valid 11/26 Only)

We use a lot of Drobo products in my office… and I use them at home too. They make some great storage units for keeping data safe.
We've kept in touch with Drobo providing feedback on features and performance (fortunately they're a good listener).



I also got them to offer up two great deals
(valid on Saturday, November 26 only).
We edit most of the video in our offices off Drobo Pros or the Drobo B800i units. Our graphics department also uses the Drobo FS units to share files. I store my photo library on two Drobo S units at home.

drobo-s

Drobo S

  • Creative pros and photographers.
  • Can also work for many video formats
  • 5 drive bays (Fill with your own drives)
  • eSATA, FireWire 800, USB 3.0

List Price $799.00

Discount Code -$300
RHEDBF

Rebate - $100 (
http://info.drobo.com/l/2552/2011-09-23/BEL52)

Final Cost $399 (That's Half Off)
Code is valid starting 12:01 am 11/26/11 only for 24 hours

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Drobo Pro

  • Creative pros and photographers. Works well for video workflows too.
  • Single-computer storage for creative professionals and small business
  • 8 drive bays
  • Gigabit Ethernet for iSCSI, FireWire 800, USB 2.0
  • I prefer Gigabit Ethernet for video editing (very fast)

List Price $1,499.00

Discount Code -$500
RHEDBF
Code is valid starting 12:01 am 11/26/11 only for 24 hours

Rebate - $150 (
http://info.drobo.com/l/2552/2011-09-23/BEL52)

Final Cost $849 (That's Almost Half Off)



Also, be sure to follow me on Twitter and Facebook


Follow Drobo too…

We'll have a contest coming up in a few weeks.

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Editing Multi-camera Productions in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Editing Multi-camera Productions



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington goes over the process of setting up a multi-clip for editing and walks you through the essential steps.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Several of My Books and Videos on Sale for Black Friday (through 11/27/11)

PP_BFHeader_teaser

Peachpit Press has put several of my books and videos on sale for Black Friday. The sale has already started.

EBOOKS – 40% off One | 50% off Two or More

Use Code EBOOKBF in your shopping cart (discount applied at checkout)

From Still to Motion: Editing DSLR Video with Final Cut Pro X
By Richard Harrington, Abba ShapiroPublished Dec 14, 2011by Peachpit Press

Motion Graphics with Adobe Creative Suite 5 Studio Techniques,

By Richard Harrington, Ian RobinsonPublished Sep 23, 2010by Adobe Press

Apple Pro Training Series: DVD Studio Pro 4, 3rd Edition
By Martin Sitter, Adrian Ramseier, Robbie Carman, Richard HarringtonPublished Sep 4, 2009by Peachpit Press

Apple Training Series: iWork 09
By Richard HarringtonPublished Apr 7, 2009by Peachpit Press

Apple Training Series: A Teacher's Guide to Digital Media in the Classroom, Adobe Reader
By Richard HarringtonPublished Oct 21, 2008by Peachpit Press


VIDEOS – 50% off One | 60% off Two or More

Use Code BFVIDEO in your shopping cart (discount applied at checkout)

Apple Video Training: Numbers for iPad, Online Video
By Richard HarringtonPublished Jan 13, 2011by Peachpit Press

Apple Video Training: Keynote for iPad, Online Video
By Richard HarringtonPublished Dec 27, 2010by Peachpit Press

Apple Video Training: Pages for iPad, Online Video
By Richard HarringtonPublished Dec 20, 2010by Peachpit Press

iPhoto: Fix Your Photos, Streaming Video
By Richard HarringtonPublished Feb 8, 2010by Peachpit Press

iPhoto: Share Your Photos, Streaming Video
By Richard HarringtonPublished Feb 8, 2010by Peachpit Press





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Animation for Producers — Free Panel at GV Expo

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Wednesday, November 30 | 5:30pm - 8:00pm
Washington, DC Convention Center
http://on.fb.me/vt8dtC


Don't miss this special Animator's Roundtable at GV Expo. It's
FREE and open to the public. This is the chance for DC's best Animators, Motion Designers, and VFX Artists to meet their Producer counterparts.

Producers and Animators don't always understand each others areas of expertise. Creating an animation or graphics heavy video can often be daunting, so the Animator's Roundtable has activated its universal translator to help Producers and Animators speak the same language and communicate better! Our expert panel, a mix of Producers and Animators, will share their knowledge and a few tips on planning for and using animation effectively. They'll help you figure out how to solve your creative challenges with the magic of graphics.

Special Guest Panelists:

  • Chris Dominici, Potomac Motion
  • Richard Harrington, RHED Pixel
  • Pradeep Mistry, PCM Animation
  • Ann Ramsey, US Dept. of Health and Human Services

This is a FREE event starting right after the close of the exhibit hall floor. Come join us for some networking and a great discussion, so if you're a Producer, an Animator, or just intrigued, this event is for YOU!


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Syncing with DSLR Footage with DualEyes

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A great way to sync your DSLR and sync-sound footage is with a stand-alone, third-party application called DualEyes from Singular Software (www.singularsoftware.com/dualeyes.html). What’s really cool is that DualEyes can sync your DSLR video clips and your separate high-quality audio recordings before you import them into Final Cut Pro X, Adobe Premiere Pro, Avid etc. It creates a new video clip containing the good audio married to the original video, so there is no loss in video quality. Plus, your original files remain untouched on your drive.

In my tests, DualEyes was significantly faster than Final Cut Pro X's automatic syncing (but it will set you back $149).

Here is a quick overview of how DualEyes works.

1. Launch the DualEyes application.

2. Click the New Project button.

3. Give the project a descriptive name, and select a location where you want to save the project. I suggest saving in a media folder related to the project you are syncing because DualEyes does create new media and temp files when it runs. The application also generates a report file that you can peruse to determine any problem clips.

4. Drag in the video and audio files that you want to sync or click the Add Media button (the plus symbol).

Officially, you can add multiple video files, but it is best to stick with only one good audio file. This is not multi-camera prep, so you should only put video in from one camera or camera angle. Don’t throw everything in at once. With that said, I dumped in the sound track from a concert and every video angle (even a few random clips), and it did an excellent job of matching the sound.

5. Click the Options menu and choose from the following options:
  • Replace Audio for MOV and AVI files. DualEyes will create a new file that contains the video from the original clip and the synced audio for MOV and AVI files. Make sure you select this option, or you won’t get a new self-contained movie file with clean audio.
  • Correct Drift. Cameras can record at 24P, 29.97i, and so on. Audio devices like to keep rates at 30 frames per second. These timing differences between the audio and video can sometimes cause drift, which means audio and video could be perfectly synced in one segment of the video but unsynced in a different segment. The Correct Drift option corrects this so that everything is in sync all the time. This problem tends to show up in very long recordings.
  • Level Audio. Before DualEyes, the creator of the software had a great product used by podcasters worldwide called the Levelator. This product did a wonderful job of smoothing out variations in sound. Well, that’s built into DualEyes. If your audio levels vary a lot between clips, DualEyes can normalize the audio levels. If you’ve recorded from a professional soundboard at a venue, this might be overkill, but for interviews and most other situations, it works great. It’s almost always safe to use this option, but it will take a bit longer to process.

6. Click the scissors button to start synchronizing clips.

7. You can monitor progress within the app and view the Output column to track progress. When it’s done, you will see a new clip that contains the good audio and the good video (minus the bad audio). You will find this movie in the same folder as the original movie with the bad audio. Its name will be appended with “_from_” and then the name of the good audio file you referenced.

8. Simply import it into Final Cut Pro X, Adobe Premiere Pro, or Avid and you are good to go.

DualEyes is a popular choice with those who need to prepare footage to hand off to clients or other team members. It’s popular because it’s fast and it saves several steps at the editing stage (which often get screwed up due to poor communication).
I recommend you download the free demo and try it out.

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Want to Recharge Your Video Editing Mojo? Join Me at Editor's Retreat 2012 (Discount Code)

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I have been going to the Editor's Retreat event for almost 15 years (back when it was known as the Avid Master Editor Workshop). This is a great event that lets professional editors get together for several days of learning and networking in a small intimate event. The next time its being held is February 1–5 in Austin, Texas.

Editors Retreat from Editors Retreat on Vimeo.

Now in its fifth year, the Editors Retreat has become an annual gathering for the post-production elite. Highly experienced editors from the worlds of film, TV and video come together to network, exchange ideas, share tips and of course, have fun! To ensure that only the best of the best attend, participation is subject to an application and screening process.



The Editors Retreat is an intensive, interactive environment for TV, video and film editors that fosters creativity and the exchange of ideas at the highest level.Now in its sixth year, the Editors Retreat has become an annual gathering for the post-production elite. Highly experienced editors  come together to network, exchange ideas, share tips and of course, have fun!  Running for 5 days and 4 nights, the Editors Retreat offers advanced sessions on post, visual and audio techniques and features valuable insight into emerging trends and technologies.  

Keynote attendees have included such names as Alan Heim, Sally Menke, Geoffrey Richman, Dan Lebental and Maysie Hoy.  Retreat attendees are known to walk away with incredible raffle prizes and swag, often worth more than cost of attending!


For more info visit : 
EditorsRetreat.com
Special 10% Discount Code  :  ERRH12


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Why I Switched to Adobe Premiere Pro (A Video Testimonial)

Atlanta Cutters 7_27_2011 Part 3: Adobe Premeire Pro CS5.5 presentation from Atlanta Cutters on Vimeo.



I share why RHED Pixel has switched to Adobe Premiere Pro. Forgive the rough audio… but the content and the logic are good (especially if you've been sitting on the fence wondering where to go about your video editing needs).

Richard Harrington, Founder RHED Pixel, presents Adobe Premiere Pro CS 5.5.
From the Atlanta Cutters Post Production User Group Meeting July 27, 2011. Sign up today to be a member or register for our next event. atlantacutters.com

Lead Camera: Michael Fulcher
2nd Camera: Kevin Olson
Media Management: Chris Fenwick
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Animating the Lens Blur Filter

Photoshop and AE: Animating the Lens Blur Filter



In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores how to use the Lens Blur Filter in AE CS5.5 to create variable depth of field. This filter is an improvement on the last version of the same.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Replacing Skies – UAP 238



Instructor Richard Harrington shows you how to replace the sky in a photo in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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New Digital Camera Support Added to Mac

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Apple just released the Digital Camera RAW compatibility Update 3.9. Here’s the list of which new cameras are added to the Mac  platform.

  • Canon PowerShot S100
  • Nikon 1 J1
  • Nikon 1 V1
  • Nikon COOLPIX P7100
  • Olympus PEN E-PL1s
  • Olympus PEN E-PL3
  • Olympus PEN E-PM1
  • Panasonic LUMIX DMC-FZ150
  • Sony Alpha NEX-5N
  • Sony Alpha SLT-A65
  • Sony Alpha SLT-A77

Digital Camera RAW Compatibility Update 3.9 is 7.20 MB and requires Mac OS X 10.6.8 or OS X 10.7.2 or later.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Learn About File Based Workflows with Gary Adcock

One of the smartest video guys I know (who also has impeccable taste in food) is Gary Adcock. Check out this two part video on working with file-based video workflows. Gary has served as a tech consultant on several books as well as technical projects… the man is a genius.

AJA Intensive: File Based Workflows with Gary Adcock (Pt 1 of 2) from Createasphere on Vimeo.



AJA Intensive: File Based Workflows with Gary Adcock (Pt 2 of 2) from Createasphere on Vimeo.

From Createasphere's Entertainment Technology Expo in NYC September 2011, watch AJA product evangelist Gary Adcock share AJA offerings for a range of NLE and VFX solutions.



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Online Safety Infographics

I'd like to share with you two videos RHED Pixel produced for the Family Online Safety Institute. Lot's of information about what kids do online and some fun motion graphics too.






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Mastering the Media Browser in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Mastering the Media Browser



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington explores the Media Browser in PP and talks about features that you might not know exist.

Check out more at –
http://library.creativecow.net/harrington_richard/

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The Impact of the Camera Phone and Citizen Journalism

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photo – istockphoto

While much justifiable criticism has been levied against the evolution of cellphone cameras, there is a tremendous beneficiary… journalism.  We now have a literal global network of camera operators with the ability to capture newsworthy events and transmit usable photos.

Many photographers dismiss this technological shift. After all, how can a point-and-shoot (especially a low quality one at that) take the place of a modern DSLR with a selection of lenses? The answer is easy… speed and mobility.

Let’s accept that a modern smartphone has a camera that is technically capable of producing an image that is usable by most news and editorial outlets. Here’s what smartphones have that most DSLRs do not.  Hopefully camera manufacturers and others can push the evolution forward (and yes, evolution these days happens in the consumer space far quicker and more often than the pro equipment segment).

  • Data network. First and foremost is the ability to publish on demand.  First often matters when it comes to news… the ability to shoot and tweet/Facebook/share is the key factor here.  Why are WiFi connections in pro cameras so far between and so “stapled-on?”
  • Geotagging. Photos from mobile devices are tagged with essential metadata right in camera.  No need for another adapter plugged into your camera.  GPS data as well as relevant date info is automatically captured. This makes it easier to search and discover new images by those interested in finding them.  Location-based search is already throughly integrated into both the Google and Bing search engines.
  • Compelling and optimized software. Nearly every top software company has some amazing offerings in the app space.  Whether it’s Adobe Photoshop Express (or the newer Touch), nik’s Snapseed, or Photogene… full-featured editing apps allow for cropping, adjusting, toning, and repairing of digital photos immediately.
  • Location-aware updates. The fact that those in a breaking news situation can actually read updates is critical.  The real-time feedback of services like Twitter help those concerned with documenting events find the story and often interact with others.
  • Helper applications. From maps, to sun tables, to weather guides… it’s all there.  How a modern photographer could shoot without a smartphone is a valid question.

So…  will professional digital photography evolve?  Why not allow the tethering of your smart phone to your camera.  Couldn’t Nikon, Canon and others offer intelligent apps that tie your phone to your camera?  Couldn’t journalists and others push to a tablet for basic touchup then publish without having to lug a laptop?

As we move closer and closer to digital only delivery for our news and periodicals… the DSLR may go the way of the designer.  The quick and the agile will evolve and survive while the rest become extinct.

Want to see the impact on video journalists? Read this –
http://www.theatlanticwire.com/business/2011/11/cnn-photojournalists-lose-jobs-cheaper-better-cameras/44906/

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Free Webcast with Photographer Joe McNally


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Get a unique perspective on the man who has inspired so many photographers. On Wednesday, November 16 at 6pm EST, KelbyTraining.com will be hosting a very special free webcast event - A Day With Joe McNally - hosted by Scott Kelby & Joe McNally.

During this live event, you will watch the premiere of A Day with Joe McNally along with Scott and Joe, in its entirety, absolutely free. In between segments, Joe will answer your questions live via the liveblog or on Twitter with the #AskJoeM hashtag. Don’t miss your chance to spend the day with someone who American Photo magazine lists as one of the 100 Most Important People in Photography and described as "perhaps the most versatile photojournalist working today". This is a rare opportunity to learn the photography secrets and insights from one of the world’s premier photographers.

REGISTER FOR FREE –
http://kelbytraining.com/webcast

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Restore a Damaged Photo – UAP 237



Instructor Richard Harrington demonstrates how to fix a damaged historical photo using Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Discount Code for GV Expo in Washington, DC

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I'll be speaking at the Government Video Expo’s Digital D.C. Conference!

The event takes place November 29th – December 1st at the Walter E. Washington Convention Center in Washington, D.C.

The Digital Media DC conference is DC's leading training event for professionals in the TV, video, film, motion graphics and New Media industries. Now in its seventh year, DMDC offers 3 full days of sessions in four parallel tracks and includes 48 unique sessions focusing on the latest techniques and practices for editors, motion graphics designers, new media professionals and video producers.

DMDC is produced by Future Media Concepts, the nation’s leading training organization and features the world's best Certified Instructors, award-winning editors, authors and power users. This year, with one Full Pass, attendees may move freely between all the tracks and attend sessions of their choice.

I'm happy to offer a 10% discount code for all those who attend. Just type ‘FMC’ in the customer code on the registration form to secure your discount.

Visit
www.gvexpo.com for more information.

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Using Adobe Device Central to Format Video for Mobile Phones

Photoshop and AE: Device Central



In this installment of Photoshop and AE Video Adrenaline, Richard Harrington demonstrates how to combine Photoshop and After Effects to utilize a helper application designed for mobile -- Device Central CS5.5. In 2010, more money was made on mobile phones just delivering text and sms messages than all of Hollywood put together. In the future, getting content to mobile devices will be increasingly important. You're going to want to know how to get content to a wide range of devices.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Posting to Vimeo from Final Cut Pro X

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Vimeo is a popular website for sharing video (especially amongst professional and amateur filmmakers). It offers both free and paid accounts with different levels of service. Once you’ve set up a Vimeo account, you publish a project to Vimeo directly from Final Cut Pro X.

1. Select the project (or click in the Timeline) and choose Share > Vimeo.

2. Choose an account from the Account menu, or click Add to add an existing account. You can add more than one account to the list but can only export to one at a time.

3. Fill in the requests field:
Password. Enter your Vimeo account password. You’ll need to enter it each time you want to publish for security purposes.
Viewable by. Choose who can see the video.
Title. Enter a name for the movie so others can search for it.
Description. The information here helps power search features on the site and can convince others to watch your movie.
Tags. You can use keywords to help viewers find your movie.
4. Select the “Set size automatically” option or deselect it and choose from the menu to control the size of the output movie. Vimeo has limits on free accounts as to how many clips and data can be uploaded each week.

5. Use the Compression menu as well as the Advanced and Summary areas to control the quality of the file generated. These controls are identical to the options previously discussed.

6. Click Next to read the terms of service. Click the blue hypertext to go directly to the terms of service and review the rights you are granting the video hosting provider.

7. When ready, click Publish. You can monitor progress with the Share Monitor in your Dock.

Be sure to preorder the new book –
From Still to Motion: Editing DSLR Video with Final Cut Pro X


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Mastering the Adobe Premiere Pro Timeline Panel – Free Class

Here's an archive of my free class sponsored by Adobe – Mastering the Adobe Premiere Pro Timeline Panel

You can view the hour-long class here
https://seminars.adobeconnect.com/_a227210/p84tcyvjq2f/?launcher=false&fcsContent=true&pbMode=normal

The timeline panel in Adobe Premiere Pro is where the story comes together.  Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll.  But once you dig in, you'll find much more.  In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition.

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Black and White Photoshop Adjustment Layers


Learn how to use Black and White adjustment layers in Photoshop more effectively.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track
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Putting the Fun Back Into Work

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image by AnthiaCumming/iStockphoto

For most of us, we got into photography or video because it was fun.  Sure the prospect of making a living off something we enjoyed was exciting; it was a dream job. But then reality set in… what was once fun increasingly became work.

I liken the entire dynamic to that of a marriage.  I started dating my wife almost 15 years ago. What started as young romance, turned into newlywed bliss.  Add in two jobs, two kids, and other pressures and its easy to find yourself sleeping next to a stranger.

What we figured out a few years back is that we were better parents the more we were in love with each other.  Hence our standing tradition of having our own date night at least every two weeks.  We step away from all the parts of the relationship that are work and instead work on our relationship. We’re happy, we’re in sync, and we’re a better family.

What’s the lesson here? Are you married to your job or do you love your job?  By taking the time to make photography fun again and giving you a chance to grow and explore that relationship, you will be far better off.

Take on some personal projects.  Do something because you want to and not because you have to.

For me, that’s time-lapse photography.  Capturing scenic views and letting the passage of time get recorded.

  • I walk out with two camera bodies and two tripods.
  • The process of finding the shot (which often involves the quiet of a sunrise or sunset) relaxes me.
  • I find a good view and set the cameras up.
  • After carefully composing both shots, I meditate.  If I’m not feeling introspective, then I read comic books on my iPad.  Both help me relax.
  • I then get some fun time in Adobe Camera raw and After Effects to make beautiful images that others enjoy.

I’ve started sharing my techniques through
Triple Exposure, which has been socially fun and let me meet some great colleagues.  I find the end result and the creative process beautiful and rewarding.  Photography is fun… the images I’m creating cause a reaction.  I am proud of the work, but the only person I need to make happy is me.

Just as my family is stronger because my wife and I love each other… so is my work.  I enjoy what I do and on those days when there’s a gap in work it doesn’t seem so depressing and worrisome.  Even if I’m busy and I’m on the road for clients, I still find myself getting up early to catch the sunrise.  Worst case scenario… I can even just set the camera on a timer to shoot out my hotel window.

But I’m having fun and making time for me… and my client work is all the better for it.

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Customizing Keyboard Shortcuts in Adobe Premiere Pro

Premiere Pro Video Adrenaline: Customizing Keyboard Shortcuts



In this installment of Video Adrenaline for Premiere Pro, Richard Harrington talks about the powerful features of customizing your keyboard using Premiere Pro CS5.5.

Check out more at –
http://library.creativecow.net/harrington_richard/

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My Top 5 Free Fonts from Chank.com

Everyone loves free fonts! Here are a few from my favorite font designer Chank Diesel.

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This post sponsored by iStockphotoSave 10%Get a Free Audio Track



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Time Lapse Part 3: Assembling a Timelapse Shot

Time Lapse Part 3: Assembling a Timelapse Shot



From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part three in a three-part series on creating time lapse. This episode covers assembling a time lapse shot.

Check out more at –
http://library.creativecow.net/harrington_richard/

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Request for Feedback on New Branding

We're tweaking the branding at my company… RHED Pixel. Would love to get some feedback on the new look and feel.

The ad below is a sample of the direction we're going. Thanks!

StudioAd_sm

Please post comments below or
send me an email.
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Time Lapse Part 2: Shooting Techniques for Time Lapse

Time Lapse Part 2: Shooting Techniques for Time Lapse



From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part two in a three-part series on creating time lapse. This episode covers shooting techniques for time-lapse.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Greatest Halloween Costume Ever (A Live Camera)

Making of the Camera Costume from Tyler Card on Vimeo.



Here's a great Halloween costume

Everything works from the LCD screen, built-in flash, and shutter release button.

This post sponsored by iStockphotoSave 10%Get a Free Audio Track
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Free E-Seminar: Mastering the Adobe Premiere Pro Timeline Panel

Title: Mastering the Adobe Premiere Pro Timeline Panel
Time: Thursday, November 3rd, 10:00 am  PT/1pm ET
Registration link: http://www.adobe.com/cfusion/event/index.cfm?event=detail&id=1903730&loc=en_us
 
More Info:
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The timeline panel in Adobe Premiere Pro is where the story comes together.  Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll.  But once you dig in, you'll find much more.  In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The class is taught by Richard Harrington of RHED Pixel.

Bio:
Richard Harrington is the founder of RHED Pixel in Washington, DC (www.RHEDPixel.com).  Richard is the co-author of the new book and DVD, An Editor's Guide to Adobe Premiere Pro.  He is also the host of Creative COW's Premiere Pro video podcast.  Rich is the author of numerous resources for the video industry.  To find out more follow Rich on Twitter @rhedpixel or visit his blog (www.RichardHarringtonBlog.com).
 
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Time Lapse Part 1: Gear You'll Need

Time Lapse Part 1: Gear You'll Need



From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you the first in a three-part series on creating time lapse.

Check out more at –
http://library.creativecow.net/harrington_richard/
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Adobe Sneak Peek – Image Deblurring



In this video demo, Jue Wang will show you a sneak peek of a potential new feature that allows users to remove blurriness from digital photos caused by camera shake while the pictures were being taken.

Rich's Take:
  • This will change everything
  • I still believe in shooting right, but 99% of people I know would benefit

This post sponsored by iStockphotoSave 10%Get a Free Audio Track
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Content Aware Fill/Scale/Heal in Photoshop – UAP 236



I'll show you how to repair and remove unwanted content in an image using the Content Aware Tools in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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DSLR Video Essential Gadgets

DSLR: Essential Gadgets




DSLR video training with Robbie Carman and Rich Harrington: This episode examines the essentials for DSLR video, including the BlackRapid R-Strap, a calibration target from PhotoVision, LED on-camera lights, hot shoe splitters or adapters, a mountable mini bi-directional level, hard cases for small items, and more.

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Media and Social Media Symposium by RHED Pixel – Day 2









Stream videos at Ustream

My company, RHED Pixel is offering a two day Media and Social Media Symposium. The event will be streaming live for two days (we have several 45 minute sessions). Below is the schedule for day two, Wednesday, October 26. We'll stream these only once… so if you want to catch these live you can watch below or at this link –
http://www.ustream.tv/channel/rhed-pixel-open-house-day-1


10:00 AM EST
Video on the Go: Producing Video for Smart Phones, Apple iOS and Google Droid
Richard Harrington & Mark Weiser — RHED Pixel

11:00 AM EST
Measuring Social Media Results: Real World Metrics
Amy DeLouise

12:00 PM EST
More than 140 Characters: Enriching Twitter and Facebook with Photos, Video, and More
Richard Harrington— RHED Pixel

2:00 PM EST
You Can Hear the Difference: The Benefit of Audio Sweetening
Cheryl Ottenritter –Ott House Audio

3:00 PM EST
Color Grading your Video Project: When You Really Want to Fix it in Post
Robbie Carman — Amigo Media

4:00 PM EST
Fix it in Post: Rescuing Footage from Production Disasters
Brenda Spevak and Adam Martray — RHED Pixel

4:45 PM EST
The Perfect Key: What You Need to Know About Green Screen
Richard Harrington & Xi Lin —RHED Pixel



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Media and Social Media Symposium by RHED Pixel – Day 1









Stream videos at Ustream

My company, RHED Pixel is offering a two day Media and Social Media Symposium. The event will be streaming live for two days (we have several 45 minute sessions). Below is the schedule for day one, Tuesday, October 25. We'll stream these only once… so if you want to catch these live you can watch below or at this link –
http://www.ustream.tv/channel/rhed-pixel-open-house-day-1


10:00 AM EST
Hypersyndication: How to Get Your Social Media and Video More Eyeballs
Richard Harrington — RHED Pixel

11:00 AM EST
Nobody Cares What You Had for Lunch: Practical Writing Tips for Social Media
Mary Fletcher — Fletcher Prince Marketing

12:00 PM EST
DSLR Video: Hollywood Style – DC Budgets
Rich Harrington & Mark Weiser — RHED Pixel

2:00 PM EST
Why 3D Matters: How your Brain Sees 3D Video
Chris Mayhew — V3 Imaging

3:00 PM EST
Hard Drives and Your Media: What You Don’t Know Can Hurt You
Mark Fuccio

4:00 PM EST
Five Innovations in Video Editing: How to Work Faster and Smarter
Richard Harrington & Adam Martray — RHED Pixel

5:00 PM EST
From Inspiration to Animation: Motion Graphics Design Showcase
Xi Lin & Esin Ozdag — RHED Pixel

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Working Faster with Photoshop’s Spot Healing Brush Tool

Do you read Tip Squirrel? If not you should… tons of great Photoshop experts post tips over there (including me).
Here's a recent post on the Spot Healing Brush

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The Spot Healing Brush tool was added to Photoshop as a way to harness powerful blending technology with less work (although the Healing Brush is pretty labor-free to begin with). It can quickly remove blemishes and imperfections in photos without requiring a sample point to be set.
The Spot Healing Brush tool automatically samples pixels from the area around the retouched area.
Let’s give the tool a try:
1. Open a file with a blemish (or
download our sample image)
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Look closely at the image; you’ll see some acne on the child’s forehead and a wet spot on her shirt. Both are easy fixes with the Spot Healing Brush tool. 2. Activate the Spot Healing Brush tool from the Tools panel.
3. Choose a soft-edged brush from the Options bar. Make the brush only slightly larger than the problem areas. For this image, a brush size of 25 pixels and a hardness of 25% will work well.
4. Set the blending mode in the Options bar to Replace to preserve noise, grain, and hair texture at the edges of the stroke.
5. Choose a Type of repair in the Options bar:

  • Proximity Match. Pixels from the edge of the selection are used as a patch for the selected area. This should be the first attempt at repair; if it doesn’t look good, switch to the Create Texture option.
  • Create Texture. Pixels in the selection are used to create a texture to fix the damaged area. If the texture doesn’t work, try dragging through the area one more time.
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6. Click once on an area you want to fix. You can also click and drag over a larger area. After fixing the acne, touch up the wet spot on the child’s shirt. If you are unhappy with the spot healing stroke, simply undo and try again with a smaller brush. You can also try stroking in different directions to modify your results.
Ch11-Fig-16-Spot-Healing-3_thumb
Upon close examination, you should notice that you have healed several blemishes in the photo. If only life were so easy.

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Check Out Several Free Samples of An Editor's Guide to Adobe Premiere Pro

Pasted Graphic
Free resources from the new book "An Editor's Guide to Adobe Premiere Pro"

More than an hour of free video on Adobe Premiere Pro and Creative Suite 
http://ow.ly/74fyH

Importing Avid and FCP Projects
http://ptgmedia.pearsoncmg.com/imprint_downloads/peachpit/peachpit/samplechapters/0321773012/0321773012_appenD.pdf
http://ptgmedia.pearsoncmg.com/imprint_downloads/peachpit/peachpit/samplechapters/0321773012/0321773012__appenE.pdf

Trimming
http://ptgmedia.pearsoncmg.com/imprint_downloads/peachpit/peachpit/samplechapters/0321773012/0321773012_ch09.pdf


Importing Footage
http://www.peachpit.com/articles/article.aspx?p=1729266


Hope it helps. You can order the book here:
http://www.amazon.com/Editors-Guide-Adobe-Premiere-Pro/dp/0321773012/ref=sr_1_1?ie=UTF8&qid=1319509066&sr=8-1
Comments

Adobe Sneak Peek – Video Meshes




In this video, Sylvain Paris will show you a sneak peak of a potential feature for editing videos, including the ability to create 3D fly-throughs of 2D videos and change focus and depth of field.

Rich's Take:
  • This has some serious potential for compositing
  • RotoBrush, Content Aware Fill… apparently Adobe wants to take every hard job and make it easy.


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Healing Brush in Photoshop – UAP 235



Instructor Richard Harrington shows you how to retouch an image using the healing brush tool in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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A Time Lapse Tribute To Steve Jobs - Made From Post-it Notes

In the category of sounds weird but is actually quite cool, we have a time-lapse film put together of a recent mural built from Post-It notes.  It's a portrait of Steve Jobs built by a team of artists.

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The whole project was created using:

  • 4001 post-its
  • 400 m of ducktape
  • 6 hours of work
  • Filmed with an iPhone4
  • Edited with iMovie on a MacBook Air


Comments

New Canon 1D Adds Major Video Features

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The Official Canon Press Release — Video Section (Annotated by Rich Harrington)


Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II image sensor, the EOS-1D X utilizes new HD video formats to simplify and speed up post-production work.
Nice to see when they admit a problem. This is a true focus on professional workflows (which is great to see)

The two new compression formats offered on the EOS-1D X include intraframe (ALL-i ) compression for an editing-friendly format and interframe (IPB) compression for superior data compression, giving professionals the options they need for their ideal workflow.
The first option is HUGE. This will mean bigger files, but fewer compression artifacts. It will also mean that the files will be easier to edit as they place less demand on the computer's CPU and GPU.

Answering the requests of cinematographers and filmmakers, the EOS-1D X includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing multiple cameras or separate sound recording to be synced together in post production.
TImecode is the law that lets multiple pieces of gear to play together. This is absolutely essential to professional workflows.

Canon's all new full-frame CMOS sensor ensures that video footage captured on the EOS-1D X will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality.
Full sensors are great for low light… not so much for outdoor shooting. Remember to keep a matte box around for filtration.

A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor.
This is great and removes the artificial barrier. Pro cameras have been splitting and reconnecting files for years.
Although the phrase "the same convenient DSLR form factor" is clearly a misperception. Come on Camera, make a digital back feature that makes it easier to modify the camera and add some XLR ports.

The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.
This is great… but I'd really like to see some more 720 options.
From what I hear, the Canon announcement in early November is DIFFERENT, than this announcement and should be interesting.


The Canon EOS-1D X also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely.
Manual controls… what a concept (sarcasm). But hey.. it's about time and its grab to have them. Especially during the record event.

A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.
I still suspect the internal mic is crap.
Stereo mic input… crap… make an XLR adapter.
What about output? Hopefully the A/V port will work. Would make the on-the-fly adjustments more useful.

(See the full release here –
http://usa.canon.com/cusa/about_canon?pageKeyCode=pressreldetail&docId=0901e024803b812e#)
The camera is supposed to ship in March 2012

From what I hear, the Canon announcement in early November is DIFFERENT, than this announcement and should be interesting.
Comments

Free Premiere Pro Webinar 10/18 at 11 AM PST

updated_better_editing_with_adobe_premiere

More and more editors are switching to Adobe Premiere Pro CS5.5 to make them more efficient. If you’re wondering if Adobe Premiere Pro is right for you, join us for a free Webinar. Two long-time industry pros, Richard Harrington and Abba Shapiro, made the switch to Adobe Premiere Pro and will show you why it is now their preferred editing application. You’ll get the real story on the Mercury Playback Engine, what it means to edit footage natively, how you can remove bottlenecks in your pipeline when transferring projects from other applications, and how to work with Adobe After Effects and Photoshop.


  • To showcase Adobe video streaming, we will be hosting the event on Adobe Connect.
Important Update:


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Using Content Aware Scaling to Resize Images

Photoshop and AE: Content Aware Scale

]

In this installment of Photoshop and AE Video Adrenaline, Richard Harrington demonstrates how to combine Photoshop and After Effects to look at a great feature called Content Aware Scale. In Photoshop, you can detect skin tones or choose to protect a selected area from transform, but be able to completely re-scale an image while leaving the selected area unchanged. Richard then brings these concepts into After Effects for video in the next installment of Video Adrenaline for Photoshop and After Effects.
Comments

Adobe Sneak Peek – RubbaDub



In this video, Brian King shows you a sneak peek of a potential new feature for automatically replacing the dialog of a video clip with separately recorded audio with near perfect synchronization.

Rich's Take:
  • Sync sound workflow – GREAT
  • Dialog replacement – AWESOME

This is just amazing.

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Apple Updates Aperture 3 and iPhoto ’11

Apple just released two new software updates for their photo editing tools. If you're using iCloud with iOS 5, be sure to check out the update.

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About Aperture 3.2

 Aperture 3.2 supports compatibility with iCloud and iOS 5. This update also addresses minor stability, performance and compatibility issues, including:
  • Resolves an issue that could cause the "Loading" indicator to reappear in the Viewer when cropping a photo
  • Aperture now automatically relaunches into Full Screen mode if the application was in Full Screen mode when last quit
  • Pinch-to-zoom gesture now automatically activates Zoom mode in the Viewer
  • Left and right swipe gestures can now be used to navigate between photos in the Viewer
  • Microsoft Outlook can now be chosen in Preferences as the application used by Aperture for emailing photos
  • Fixes a problem that could cause Aperture, running on OS X Lion, to quit unexpectedly when using brushes to apply adjustments
  • Loupe now correctly displays magnification levels between 50-100%.
  • Fixes an issue that could cause Aperture, running on OS X Lion, to display the incorrect color profile on externally edited images
  • Import window now includes an option to delete photos from iPhone and iPad after they have been imported into Aperture
  • The Lift & Stamp tool now displays the correct cursor icons when being used in Split View and Viewer only modes

For detailed information on all recent updates, visit this article: http://support.apple.com/kb/TS2518



image.jsp

About iPhoto 9.2

 
 iPhoto 9.2 supports compatibility with iCloud and iOS 5. This update also addresses minor stability, performance and compatibility issues, including:
  • Left and right swipe gestures can now be used to navigate between photos in Magnify (1-up) view
  • Previously imported photos are now displayed in a separate section of the Import window
  • Book/calendar themes and card categories can now be selected using a pop-up menu in the carousel view
  • Resolves an issue that could cause some pages of books to print incorrectly
  • Rebuilding a library now correctly preserves saved slideshows and books 

The update is recommended for all users of iPhoto '11.

Comments

How My iPhone Saves My Time-lapse & Video Shoots

I have an app for my iPhone and iPad that saves my bacon time after time.

I present to you, the essential and indispensable
Sun Seeker: 3D Augmented Reality Viewer By ozPDA

You see, I often find it difficult to know exactly where the sun is going to be when shooting time-lapse. When will it rise and even more importantly… WHERE!?!

3d_ssmap_ss

See my full review over at 3Exposure.com – http://3exposure.com/2011/09/19/how-my-iphone-saves-my-time-lapse-shoots/

This post sponsored by iStockphotoSave 10%Get a Free Audio Track


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Cloning in Photoshop – UAP 234



Instructor Richard Harrington demonstrates how to remove unwanted images in a photo using the clone stamp tool in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5


This post sponsored by iStockphotoSave 10%Get a Free Audio Track

Comments

Syncing Clips Automatically in FCPX

If you're working with dual system sound (very common in DSLR workflow) you'll need to marry the camera footage with an external audio recording.The easiest way to sync is to let Final Cut Pro X try to do it automatically. As long as you have sufficient levels in your reference audio, we find the process is successful most of the time. The process works best when you need to sync a singe video file to a single audio file. Here’s how:

1. Select both and audio clip and a video clip in the Event Browser.

FS2M_FCPX_CH06_04


You can select multiple clips by holding down the command key and clicking on each clip. You’’ll know a clip is selected by the yellow selection box at the edge of each clip.

2. Choose Clip > Synchronize Clips (Opt+Cmd+G.)
A new clip is created in the Event Browser. This new clip is a compound clip. Which means it is really a clip made up of at least two other clips.

3. Look for a new clip in the Event Browser.
Newly synced clips do not have any Keywords attached. If you’re filtering your Event Browser using a Keyword collection you might not see the new clip. Be sure to switch your view to see all clips in the Event. You might want to tag the synced clip with additional keywords.

FS2M_FCPX_CH06_05


Depending on the size of the original files, this new clip could appear very quickly or take a while. If you can’t find the clip, simply select the search box in the upper right corner of the event library and type in “Synchronized clip.” You probably will find it after you type “synch.”

4. Select the clip in the Event Browser and click the Play button.

5. Watch the clip back and check for sync.

You should hear both the reference audio and the dual system sound playback. Later you’ll learn how to discard the audio.


Want to learn more about editing DSLR video in Final Cut Pro X? Then check out
From Still to Motion: Editing DSLR Video with Final Cut Pro X (Coming Soon)

Don't worry Adobe Premiere Pro fans… that version is in the works too and will be updated and ready for the next version.


Comments

I've Never Met a Video That Couldn't Be Shorter

shorter
iStockphoto/adventtr


I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media



This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Two Down & Dirty Techniques to Make Your HDR Photos Pop

hdr-pop


Like your HDR images? Want them to pop more? In this
3Exposure tutorial, I show you how the Find Edges Command, a Black & White Adjustment Layer and blending modes can take your image from wow… to WOW!

These techniques are easy and fast so take 4 minutes and extend your skill set.
Check it out at 3Exposure.com!

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Delivering Video to Mobile Audiences



A presentation I gave on delivering video to mobile audiences. From a recent RHED Pixel open house.

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Recovering A Raw File – UAP 233



Instructor Richard Harrington explains the benefits of shooting in Raw, rather than jpeg or Tiff using Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Using Adobe Photoshop and Adobe Premiere Pro Together



Author Rich Harrington demonstrates how to integrate still images into your Adobe Premiere Workflow.

Be sure to check out the new book – 
An Editor's Guide to Adobe Premiere Pro

Comments

Photoshop's Content Aware Scale


CAF
In this installment of Photoshop and AE Video Adrenaline, I demonstrate how to combine Photoshop and After Effects to look at a great feature called Content Aware Scale. In Photoshop, you can detect skin tones or choose to protect a selected area from transform, but be able to completely re-scale an image while leaving the selected area unchanged. I then bring these concepts into After Effects for video in the next installment of Video Adrenaline for Photoshop and After Effects.

See it at Creative Cow!


Comments

RIP Steve Jobs – You Changed the World

steve1
steve2


If you would like to share your thoughts, memories, and condolences, please email rememberingsteve@apple.com


I just heard the news… and it hurts. I find it strange that I am fighting tears over the loss of a man I've only met in passing.

But the truth is that I owe much of my professional career to this man's vision.

The first computer I learned on was an Apple. I had a Mac from day one in college.

I built my company around Macintosh technology.

I've used the portals Steve built to reach so many others. From the books I write to the podcasts I publish, Apple technology helps me reach the world.

I think at all the people who have captured and shared their memories thanks to Steve and his concept of the Digital Hub.
His move to put iLife and iWork into the hands of so many has changed the way people communicate.

So while many will remember his technology genius…. I remember a man who believed that the world could be a better place.

One where everyone's voice could be heard.
One where sharing video and photos was as easy as pushing a button.
One where the boundaries of cost wouldn't prevent creatives from achieving their dream.
One where students could learn and be better connected.
One where people could use technology to create better experiences and interactions.

Thank you Steve for all that you've done.

sadmac

Please share your thoughts below as well as send them to
rememberingsteve@apple.com

Comments

Billing for the Video Industry

billing


Every video project should be split into progress payments. By splitting the financial payments across progress you ensure protection for your financial security. Typically, I recommend the use up to five, equal payments. If project’s have extremely short timelines or do not involve a full-service production (such as shooting only) then adjust your payment schedule.

  • Project Initiation — Once the project scope and budget is agreed upon, a deposit for 20% of the project should be submitted.

  • Preproduction — This stage encompasses the bulk of project planning. Tie a progress payment to the delivery of the script or other relevant preproduction tasks. Issue a progress payment upon delivery of final preproduction items to the client.

  • Production — I recommend the submittal of an invoice once shooting begins. This is typically the most expensive stage of a project. Be sure that you have received some form of payment before production begins. Do not hand off project footage until at least 50% of a project’s budget is in hand.

  • Postproduction — Once editing begins, another progress payment should be issued. Some choose to watermark projects until at least 66% of a project’s budget is received.

  • Closeout — A final bill that reflects any change orders should be generated at the completion of a project. Be sure that your agreement states that you retain certain rights to a production until payment is received in full.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

This post sponsored by iStockphotoSave 10%Get a Free Audio Track

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Rendering Synthetic Objects into Legacy Photographs

Rendering Synthetic Objects into Legacy Photographs from Kevin Karsch on Vimeo.

Supplementary material video for our 2011 SIGGRAPH Asia paper (see the project page here: http://kevinkarsch.com/publications/sa11.html). 3D objects are rendered using LuxRender (http://www.luxrender.net).



Authors: Kevin Karsch, Varsha Hedau, David Forsyth, Derek Hoiem



Abstract: We propose a method to realistically insert synthetic objects into existing photographs without requiring access to the scene or any additional scene measurements. With a single image and a small amount of annotation, our method creates a physical model of the scene that is suitable for realistically rendering synthetic objects with diffuse, specular, and even glowing materials while accounting for lighting interactions between the objects and the scene. We demonstrate in a user study that synthetic images produced by our method are confusable with real scenes, even for people who believe they are good at telling the difference. Further, our study shows that our method is competitive with other insertion methods while requiring less scene information. We also collected new illumination and reflectance datasets; renderings produced by our system compare well to ground truth. Our system has applications in the movie and gaming industry, as well as home decorating and user content creation, among others.



This is a
REALLY cool video and some amazing tech. Be sure to watch and share.
Comments

The Director Needs to be Confident

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Clients look for a confident vendor who can get the job done. Crews look for a leader to provide the artistic vision. While you may be “inside your head” mulling the creative vision or finding the shot… that won’t work in many video situations. You need to be assertive and confident… otherwise your shoot will spin away from you quickly. Video may be a team sport, but the team needs a captain.

I can’t tell you how many times I am faced with new challenges. Nearly every project brings up new technical and creative challenges that I’ve never faced. This is the truly exciting part about working in video. Rarely do I have every answer (but I do know where to look and how to solve the problem). No client wants to hear ‘I don’t know.’ What they are looking for is ‘I will figure it out.’

When presented with a challenge in a project, I exude confidence (but not arrogance). I know that showing confidence to my team as well as my clients is inspirational. A clear study of the challenge ahead will lead to solutions. Then I’ll leverage my networks. I have a collection of peers I trust to ask questions of. I can turn to online forums like Creative COW. I can ping my social network through Facebook, LinkedIn, and Twitter. All of these play a part in finding answers.

Everything I learned in college about video is technologically obsolete. What I learned was how to tell stories and how to solve problems. Every tape format has changed; every software application has upgraded ten or more times. Heck, web browsers didn’t even exist. But I know that I can learn. And because of that I am confident that I can solve any challenge I face and devise a solution that is an effective compromise between the budget-in-hand and the schedule I have. With a little practice, you can see the world this way too.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

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Find Video Clips with Speech Recognition in Adobe Premiere Pro



Author Rich Harrington discusses the Adobe Story Workflow. Learn how to attach scripts and transcripts to your Adobe Premiere Pro footage.

Be sure to check out the new book – 
An Editor's Guide to Adobe Premiere Pro
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Useful Filter Shortcutsfor Photshop

ps_shortcuts
Here are useful shortcuts when working with filters in Photoshop

Repeat previous Filter

  • Command+F (Ctrl+F)
  • Runs the last filter again with the previously used vales. No dialog box opens.
  • Mac Think "I command the filter to run again"
  • PC Think "I control the filter to run again"

Reopen previous Filter with same settings loaded

  • Command+Option+F (Ctrl+Alt+F)
  • Opens the last filter dialog box with previously used values loaded.Can adjust then apply it.
  • Mac Think "I want command the last filter, but with options to adjust"
  • PC Think "I want command the last filter, but with alternatives to adjust"

Fade previous Filter:

  • Command+Shift+F (Ctrl+Shift+F)
  • Must run immediately after a filter. Let's you mx back original with a fade amount as well as use blending modes.
  • Mac Think "I command the filter to fade and blend"
  • PC Think "I control how the filter fades and blends"

Trust me… these are useful.
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Free Webinar on Mastering Premiere Pro Timeline – Friday 9/30

ASkaPro

Mastering the Adobe Premiere Pro Timeline Panel – by Richard Harrington

The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

The class is on Friday, September 30, at 3:00 p.m. – 4:00 p.m. EST.
Just go to the Adobe Connect Room: http://my.adobe.acrobat.com/askcspro.

The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

To check the session start time for other time zones follows:
http://bit.ly/q13I6l
 
The signup for the event is on Facebook (but you don't need an account). This will send you reminders about the event.
http://www.facebook.com/event.php?eid=274628395898390

Comments

It’s All About Project Management

PMgraf
iStockphoto/kemalbas

  • Video is a multi-headed beast that’s constantly screaming to be fed and nourished. You’ve got people in front of the lens, people behind the cameras, and even more behind the scenes. Video projects are complex with multiple stages of approval along the way. You need to control things and have a plan (and even another plan for when that one fails).

  • Project Management is not unique to video, but it is a critical skill due to the complex interconnected nature of video projects. Chances are that you may have some project management skills… but I want you to go deeper and actually study the formal business practices of project management.

  • The best decision I made in my professional career as a video producer was to formally study Project Management. I chose to get a master’s degree in it, and it saves me nearly every day. Many schools offer consolidated courses and workshops; you can pursue an educational certificate, or even just start your own independent study.

    While I’ll emphasize project management, I mean the business practices. It is important to learn how to balance the scope of the project, track your resources, and maintain budget and quality. Simply buying a project management software package will make you no better a business pro than owning Photoshop will make you a photographer. Software is a tool, not the foundation of a professional career.

    We use project management principles to clearly describe the work to be undertaken. We measure progress and track changes so the end budget reflects the work performed. We closely monitor the budget and schedule (as these are often more important or easier for the end client to measure). Quality video is awesome... and the world is filled with talented folks who can make it. Fortunately (for true business professionals) it takes more than just creative talent to make it in the world of video. Business acumen and client management are just as important.
You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

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Get My Motion Graphics book for $10

Adobe Press has my new Motion Graphics book on sale for this week only!
nografbookmini
Motion Graphics with Adobe Creative Suite 5 Studio Techniques
By Richard Harrington, Ian Robinson
Published by Adobe Press
Series: Studio Techniques
Pages: 456
Watermarked eBook

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects.

Sale ends on Sunday at 10/2 at 12:01 AM PST

This includes a link to download exercise files as well.
Comments

Batch Renaming Clips in Adobe Bridge



This episode demonstrates how to rename your files in Adobe Bridge, in order to avoid media management issues.

Be sure to check out the new book – 
An Editor's Guide to Adobe Premiere Pro
Comments

The State of DSLR Video Editing

I recently had the chance to be a guest on the Planet 5D podcast. We talked about the state of the art in editing HDSLR footage and more!

Watch for free here.

podcast #52 Richard Harrington from planetMitch on Vimeo.

Comments

How My iPhone Saves My Time-lapse Shoots

I have an app for my iPhone and iPad that saves my bacon time after time.
I pressent to you, the essential and indispensible 
Sun Seeker: 3D Augmented Reality Viewer By ozPDA
You see, I often find it difficult to know exactly where the sun is going to be when shooting time-lapse.  When will it rise and even more importantly… WHERE!?!
Features
This app does several things that let you know a lot of detail about the sun and its position.
1. You can use the GPS and magnetometer to find your location and determine sun data based on your position.

location_ss1

2. You can see a compass view that shows solar position, angle, and elevation for both day & night.

compas_ss

3. A map shows you elevation information for each hour in the day.

map_ss

4. You can see details about sunrise, sunset, dusk, and twilight

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5. You can compensate for time shift and enter a future date to use the app while scouting but see into the future
But the COOLEST feature is by far is the 3D Augmented reality view.  You can open the camera on your iPhone or iPad and actually see the horizon with an interactive display.  You’ll see a helpful arrow to shot you where the sun is (even if its hidden).  You also get a rich overlay which shows you where the sun is moving with times called out.  This makes it much easier to frame your shots for time-lapse as well as now where and when the sun will rise or set.

3d_ss

The App sells for $5.99, but is an absolute steal. This hands down makes my time-lapse shooting better as I know how to frame my shots as well as when I need to be in position.  Check out the app here to buy or read more reviews. It is currently available for iPhone 3GS, iPhone 4, an iPad.

For more posts on Time-lapse – visit Triple Exposure – www.3exposure.com

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Carry It… Check It… Rent It…

baggage
Photo courtesy iStockphoto/Mathieu

While I’m not a road warrior, I easily log 50 flights a year for my job. I’ve had to travel with equipment all over the world for both photo and video projects.  Traveling just gets more and more expensive these days.  Here are a few rules that I apply to getting there safely with my sanity and equipment intact.

Carry It

I always carry these things onto the plane.
  • A roll-on bag with all my lenses and camera bodies. I have had luggage stolen, the thieves know what gear bags look like.
  • A laptop shoulder bag. With laptop, power supply, 2 TB of portable storage, and spare cables for all items.
  • The Internet. I have an iPad, an iPhone, and a Wireless Modem. Why do I have 3 internet connections at all times? Because its cheaper than paying for WIFI at the airport and hotel.  Plus its much more reliable than counting on clients and coffee shops.
  • A change of clothes. Because your bag will get lost at the worst time

Check It

When it comes to checked luggage, here are some tips to try to stretch your budget.
  • Weigh your bags. Weigh your bags before you fly.  A simple bathroom scale is worth keeping near your gear.
  • Prepay. Some airlines offer annual passes for baggage, while others give you a free bag with their branded credit card.
  • Choose wisely. One of my favorite airlines is Virgin America.  Not just for their lovely service and planes (with Internet), but for their $25 per bag and up to 10 bags policy.
  • Pack a bag. Overweight bags are more expensive than checking another bag.  I carry a very lightweight bag inside my suitcase for “overflow.”
  • Skycaps are your friend. Those great folks out front of their airport are often nicer than the folks inside.  Just walk up and hand them a five or ten dollar bill with your driver’s license.

Rent It

Don’t feel you have to lug all your gear with you.  All those bags can sure add up.
  • Hire local. Find a local crew person or assistant for the market you’re traveling to. These can be a lighting assistant or someone to help with gear on the shoot.
  • Find a peer. Use the ASMP Find a Photographer app or site to find a photographer to rent gear from. For video crews try the Creative COW services directory.
  • Look for a grip house. We typically rent lighting equipment and support gear. from a grip house, which are used by the video and motion picture industries.
Why all this hubbub?  These days every dollar counts.  Clients don’t really look at your rate plus expenses, they just see the bottom line.  In my experience, the better a traveler I am, the more money left over to go in my pocket.

Comments

Merge to High Dynamic Range Pro – UAP 232



Instructor Richard Harrington shows you how to increase the dynamic range of an image by combining multiple images using the HDR tool in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Creating Logos and Bugs for Video

Logos and Bugs from RHED Pixel on Vimeo.



Use Adobe Photoshop to prepare logos and bugs to overlay your video.


Be sure to check out the book –
An Editor's Guide to Adobe Premiere Pro.
Comments

Age is Just a Number

agenumber

I have seen myself go from being an upstart kid to a balding professional. But I have learned this... age is just a number. I have worked with wonderfully talented “kids” throughout my career. I have also chosen to surround myself with those who are more experienced than me. Both parties have added to my understanding of this medium and its creative applications.

While the guild system of old is all but destroyed, you can still preserve its spirit. Seek out others who you want to work with. Ignore their age and instead look at what they have to offer to the creative process. An open mind goes a long way. I continuously learn things from even the youngest employee or crew member. I also have learned to listen when someone else has something to say.

Video is a collaborative medium and one that has undergone a century worth of change in the last ten years. Bluntly... shut up and listen. Put any preconceived notions you may have about age or experience aside and open yourself to opportunity.
You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

Comments

Setting Up Photoshop for Video and Motion Graphics Part 2

This is part two on setting up Photoshop for a video workflow. Be sure to see part one posted yesterday.

Units & Rulers

Figure ch01-08
Under Units & Rulers, modify Photoshop’s measuring system to match video. If you work in a print environment, you can quickly jump back and change your measurement units by double-clicking on the ruler.
  • Set Rulers to pixels.
  • Set Type to points.
  • Ensure that screen resolution is set to 72 pixels/inch.
  • Ensure that the Point/Pica Size is set to PostScript (72 points/inch) so that type acts like other video applications.
  • Click Next.

Guides, Grid, & Slices


Figure ch01-09
The next category helps you precisely align design elements.
  • I find that a Light Red guide is easier to see than the default Cyan.
  • Set up a grid using Lines with a gridline every 40 pixels and 4 subdivisions. You can now turn the grid off and on from the View menu or from the keyboard using Cmd+" (Ctrl+").
  • Disable Show Slice Numbers unless you are doing a lot of web work. Slices are used with rollover graphics to trigger button effects on web pages.
  • Click Next.

Plug-Ins


Figure ch01-10
  • If you need to travel with your plug-ins on a removable drive (for example a freelance assignment) then you can specify an Additional Plug-Ins Folder.
  • Click Next.

Type


Figure ch01-11
The Type category consolidates several important type options into one area.
  • Check the box next to use Smart Quotes if you’ll need true quote marks and apostrophes more than foot and inch marks.
  • Leave Enable Missing Glyph Protection checked
  • Choose to Show Font Names in English (or the native language of your software).
  • Check Font Preview Size and specify a size that you like. The Huge size is helpful if a producer or client frequently sits over your shoulder.
  • Click Next.

3D


Figure ch01-12
The 3D category controls both the performance and the appearance of Photoshop’s 3D toolset. Stick with the defaults until you master these tools.
  • Click OK.
Comments

Setting Up Photoshop for Video and Motion Graphics Part 1

Photoshop has its roots as a video and film application. The print—and more recently, web—industries have claimed it as their own. Now it’s our turn. Digital video has emerged as the fastest growing technology area; more and more books and applications are popping up on the shelves, promising solutions for all skill levels. It is my goal to help you reclaim Photoshop and learn to harness its diverse imaging abilities to enhance your video projects.

Photoshop has all the tools you need (and many you don’t). Let’s get started by setting up Photoshop to work with our video applications. First we’ll modify its preferences which control how the application functions. To begin, call up your Preferences panel by pressing Cmd+K (Ctrl+K). These Preferences suggestions are based on Photoshop CS5. Most of these options exist in earlier versions of Photoshop, but naming conventions may vary.

General

Figure ch01-02
In the General category, choose:
  • Adobe Color Picker (a consistent, cross-platform color selection tool).
  • Image Interpolation set to Bicubic (best for smooth gradients).
  • Use Shift Key for Tool Switch unchecked.
  • Resize Image During Place checked.
  • Zoom Resizes Windows checked.
  • Zoom with Scroll Wheel checked.
  • Click Next.

Interface

Figure ch01-03
The Interface category groups several preferences together that affect the application’s appearance.
  • Set UI Font Size set to Medium or Large depending upon the resolution of your display. Use a larger size for bigger monitors.
  • Leave Show Channels in Color unchecked. This option affects how your channels and images are viewed and diminish the on-screen viewing quality.
  • Uncheck Enable Gestures if using a laptop (unless you love them).
  • Click Next.

File Handling

Figure ch01-04
In the File Handling category, you need to make some changes to ensure cross-platform functionality. Even if your shop only uses Macs or PCs, you will work with others who are on other operating systems. Be cross-platform compliant when saving your Photoshop files.
  • Always choose the Save an Icon and Macintosh or Windows Thumbnail options. This will allow you to quickly locate files through visual cues.
  • Always append file extension with lower case tags.
  • Set Maximize PSD and PSB File Compatibility to Always.
  • Click Next.

Performance


Figure ch01-05
The performance category groups several options together which manage your installed RAM and hard drives.
  • Memory Usage identifies how much RAM you have installed. Photoshop has a minimum requirement of 1 GB for CS5.
  • Allow at least 20 History States (levels of Undo). You will vary this number based on RAM and personal experience as you grow less dependent on undos.
  • Memory will generally not be a big deal because you’ll work primarily with low-resolution sources in this book. However, if you have extra (local) drives, make Photoshop aware of them. Set your emptiest drive as the First Scratch Disk. Ideally you will choose a drive that is not the system (boot) drive.
  • If you have a robust video card and will be doing a lot of image clean up, then check the boxes for Enable OpenGL Drawing.
  • Click Next.

Cursors


Figure ch01-06
Photoshop uses specialized cursors to make it easier to know which tool is in use.
  • Set Painting Cursors to Normal Brush Tip. I personally prefer to check Show Crosshair in Brush Tip. (The Caps Lock key disables this preview feature.)
  • Set Other Cursors to Precise. This way, you can actually see your sample point for your Eyedropper and Stamp tools.
  • Click Next.

Transparency & Gamut

Figure ch01-07
Under Transparency & Gamut, you can generally leave these options alone. Personal preferences do vary however.
  • You can change the grid size to make it easier to see transparent pixels.
  • You can change the grid color if you despise light gray. You can also disable the grid altogether. Remember, the grid will not print or show up in your video graphics.
  • Click Next.
Comments

Shadows/Highlights in Photoshop – UAP 231



Instructor Richard Harrington demonstrates how to utilize the Shadows/Highlights command to perfect an image.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Free Webinar on Mastering Premiere Pro Timeline

ASkaPro

Mastering the Adobe Premiere Pro Timeline Panel – by Richard Harrington

The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

The class is on Friday, September 30, at 3:00 p.m. – 4:00 p.m. EST.
Just go to the Adobe Connect Room: http://my.adobe.acrobat.com/askcspro.

The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

To check the session start time for other time zones follows:
http://bit.ly/q13I6l
 
The signup for the event is on Facebook (but you don't need an account). This will send you reminders about the event.
http://www.facebook.com/event.php?eid=274628395898390

Comments

DSLR Creative Suite Workflow Part 5

DSLR Creative Suite Part 5 from RHED Pixel on Vimeo.



Clean up your audio with Adobe Audition. Publish your DSLR projects with Adobe Media Encoder.

To learn more about DSLR Video, check out
From Still to Motion.
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Creating “Print-Worthy” Frame Grabs from a Video File

photoprint
Photo by iStockphoto/ambritsview

One of the most common requests I hear is the desire to take frame grabs from video and format them for use in print. Unfortunately, the mediums just don’t mix very well. Remember, in order to capture between 24 –30 frames per second, a small image is grabbed. Depending on your format, you end up with around 640 X 480 square pixels of information for standard definition. If you condense these pixels to a print resolution of say 300 ppi, you get a print size of about 2 X 1.5 inches. Slightly larger than a postage stamp, but not very useful for most printing jobs. For HD, things are a little better as you have up to 1920 X 1080 which means about 6.5 X 3.5 inches.

In Photoshop, we can “up-rez” an image through the Image Size command (Image > Image Size). Since this information does not currently exist, the computer will attempt to interpolate the information. I recommend that you switch pixel dimensions to percent, and then up-rez exactly 200% using the nearest neighbor interpolation method. Are the results great? No. But they are acceptable for some uses. An excellent Photoshop plug-in called Genuine Fractals uses advanced processing to generate high-quality files from low quality sources. You can find out more information at
http://www.ononesoftware.com.

This post is sponsored by iStockphoto

Want bonus credits for download? –
http://www.istockphoto.com/richardharrington.php

Comments

You Can’t Be Good at Everything

iStock_000006626473Medium
iStockphoto/FPM


Those who “know” me are likely thinking this is a hypocritical statement. But the truth is that you cannot be good at everything. It takes a keen awareness of your personal strengths and weaknesses in order to survive in the world of video.

Truly professional productions require a myriad of source elements. Video is much more than just moving pictures. You’ll need high-quality sound, compelling music, a well-written script, compelling graphics, art direction, and more.

I recommend a triage approach to developing a skills inventory:


  • Marketable Services – These are skills that you feel confident in selling to others. You should aim to keep this list below ten items (after all there’s a reason you have ten fingers). Be sure to develop these skills continuously through exercise (practical use) and training (conferences, books, online learning, and social media).
  • Potential Services – This category houses skills that you both want to offer and show potential aptitude. Look for opportunities to develop through personal projects and volunteering your time. Look for a mentor that you can serve under and log additional practice time.
  • Outsourced Services – There will be lots of services you need to make a video project. You can’t be good at all of them. Learn enough so you understand what’s involved, then build a good pool of talent that you can hire. There is no shame in hiring other professionals. In fact it is critical to the success of the industry. Through the mixing of creative professionals, new ideas are born.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media



Comments

DSLR Creative Suite Workflow Part 4

DSLR Creative Suite Part 4 from RHED Pixel on Vimeo.



Learn how to use Adobe After Effects for your DSLR projects.

To learn more about DSLR Video, check out
From Still to Motion.
Comments

What I Remember About 9/11

NOTE: This is a personal statement and has nothing to do with technology or video. It does have to do with my core beliefs and events that have shaped me. It is opinionated and it is emotional. I originally only posted it to a private Facebook page, but was encouraged to share it. I hope it makes you think and believe that the world can be a better place.

________________________________________________


What I remember most about today was being in a classroom teaching 1 mile away from the Pentagon.
 
We were just taking a break and a student said that a plane had just crashed into New York City. We were all confused and concerned.
 
This was before the news groups put much on the net.  This was before the web video revolution.  We just didn't know.
 
The first plane hit New York and we were stunned. Then the second and we knew something was terribly wrong.
 
Soon we could see the smoke and hear the sirens. Rumors that explosions and fires were throughout DC spread.  Students were panicked and we had to keep them calm.  I had to hold that classroom together and make sure that people didn't leave.
 
Eventually we all went home... numb. Everyone was driving about 3 miles and hour. All I could think about was my family and loved ones.  We couldn't really talk much, couldn't get a phone line.  Somehow I let people know that I was OK.
 
Got home to my wife... we all just sat there in shock.  I had to stop watching TV.  I couldn't stand to see what was happening.
 
Through work, I got to help a very important client.  The American Red Cross was my client and we put together several important commercials to raise money and help the healing.  I remember waiving most of my billing so I could help.

These are real people… not actors. These are true stories that I had the honor to edit.






 
It was hard to see the pain.  Even harder to look at the footage from Ground Zero that the Red Cross had and couldn't share. About a year after the event, I was asked to edit together footage to honor the first responders.
 
Here is a link to that video... it is very painful for me to watch.  But I think it helps people rise above.
 

 
What we need now is for the good in people to rise. We need a nation that is united in the belief of making a better world and not one where people just look out for themselves. We need to move past hatred, past partisanship, past economic inequity, and all of the things that just lead to greed and evil.
 
Now is the time to remember and rise.


Comments

Live Interview on DSLR Video Monday 9/12

5D_Logo


I'll be a guest on Planet 5D for a live video chat this Monday (9/12) at 9 PM EST

The event is totally free to attend. We'll be talking about some recent DSLR video projects I've done as well as take a sneak peak at some new training that's in the works. The conversation is completely interactive as you can post questions that we'll answer live.

The page for the show is:
http://planet5d.com/live

Join us this Monday at 9PM – Come a few minutes early to get logged in

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Finding and Hiring Contractors

helpwanted
iStockphoto/belterzview

Find other professionals to work with can seem quite daunting at first. This is especially true if you are changing markets or professional focus. It’s important to realize that the film and video community is well established with its own professional groups and even unions. Finding qualified video crew is not difficult (if you know where to look).

  • Craigslist is Not Your Friend – Before we tackle where to look, lets get where not to look out of the way. I find that Craigslist (and others like it) are filled with ads looking for crews. Nearly all offer no pay (just experience). As such, most professionals don’t even bother looking here for work. It’s hard to find true talent when you’re surrounded by wannabes looking for a handout.

  • Professional Groups – There are numerous professional groups in most markets. A simple web search may turn up user groups for specific technology like tools from Apple or Adobe. You can also find groups that maintain directories and member programming such as MCA-I, Women in Film, and others.

  • Grip and Rental Houses – Many markets have grip and rental houses that rent lighting and support equipment used in the production of film and television projects. These places also rent to other video professionals and usually maintain or even staff crews that can be hired. These are great places to start when you need to hire in a different market.

  • Teaming – Chances are some of your colleagues are also getting into video production. Work with those you know. I have found that collaboration with colleagues works far better than viewing everyone as your competition. Work openly with those you trust and respect and go out of your way to work together. Those who are worth working with will certainly return the favor in some way.


You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

This post is sponsored by iStockphoto –
www.istockphoto.com/richardharrington.php

Comments

DSLR Creative Suite Workflow Part 3

DSLR Creative Suite Part 3 from RHED Pixel on Vimeo.



Learn how to enhance enhance footage and create graphics for your DSLR video projects with Adobe Photoshop.

To learn more about DSLR Video, check out
From Still to Motion.
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Photoshop's Auto-Levels

When working with the Levels adjustment layer, you may have noticed the Auto button. This command button triggers an analysis of the histogram data by Photoshop that is then used to modify the individual controls of the Levels adjustment. In many cases this results in an image that is properly adjusted for color balance and exposure issues. In others it will get you closer to a corrected image.

1. Open a photo that is too dark.

Fig 10-11 Auto Levels 1

2. Add a Levels adjustment layer by clicking the Levels icon in the Adjustments panel.
3. Click the Auto button to perform an automated adjustment for the image. The image’s levels and color are adjusted.

Fig 10-12 Auto Levels 2

Fig 10-13 Auto Levels 3

4. To refine how the automatic adjustment works, hold down the Option (Alt) key and click the Auto button again. A new dialog box opens.
5. Select Find Dark & Light Colors and Snap Neutral Midtones to create a very natural balance of colors for the image.

Fig 10-14 Auto Levels 4
6. Click OK to close the dialog box.

Fig 10-15 Auto Levels 5


Rinse and Repeat


If you have several images from the same camera or shoot, they may need the same Levels adjustment. The Save button allows you to save a Levels adjustment (to the folder that contains the image is a good place). You can then click the Load button to apply that adjustment to another image.

This post is sponsored by iStockphoto
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My Favorite Browser Bookmarks and Why

links_23

Photo by iStockphoto/JuSunview

Clientcopia – www.clientcopia.com
This site lets me know that everyone has crazy clients. Good for a laugh and a pick me up.

Basecamp HQ – www.basecamphq.com
I use this online project management tool for both my companies. This keeps me organized and ensures open communication with my clients.

Apple Trailers – www.apple.com/trailers
I’m a movie junkie. Plus this is an excellent way to see the best lit, best composed shots in the whole movie.

Rafael Concepcion – www.aboutrc.com/blog
RC is a helpful author and podcaster who shares his discoveries in great posts. He’s a natural storyteller and very passionate.

Twitter – www.twitter.com
I follow a great group of photographers and media pros. This is the water cooler/bar for the digital age. I get news, gossip, and strong opinions. Feel free to follow @rhedpixel and share any news you have with me as well.

Photo Focus – www.PhotoFocus.com
This site is an extensive collection of articles and resources. There are daily posts and I truly enjoy the breadth of coverage.

Screenr – www.Screenr.com
If I need to record a quick tutorial or show a colleague a technique, Screenr is great.

Creative COW – www.creativecow.net
This is where I go to get all of my video questions answered. You’ll find active forums and extensive selection of tutorials and podcasts.

Kelby Training – www.kelbytraining.com
This site offers a large selection of classes and tutorials by some of the top photographers and photoshop users in the world.

Mac Rumors – www.macrumors.com
I’m an Apple enthusiast. I like to know what’s going on as well as what might be going on in the Apple ecosystem.

Photoshop Disasters – www.psdisasters.com
This is another site that’s good for a laugh. It’s also educational as you can learn from other’s mistakes.

Triple Exposure – www.3exposure.com
This one is a blog I share ... but that doesn’t mean I don’t read it every day. There are great comments and resources all about my three favorite styes of photography – panoramic, HDR, and time-lapse.

How about you? What are your must read sites? I’m always looking for more.

This post is sponsored by iStockphoto

Comments

DSLR Creative Suite Workflow Part 2

DSLR Creative Suite Part 2 from RHED Pixel on Vimeo.



Get started editing with Adobe Premiere Pro and DSLR footage.

To learn more about DSLR Video, check out
From Still to Motion.

Comments

Free eBook – From Still to Motion–The Business Manifesto

From Still to Motion–The Business Manifesto


Practical advice for professionals working in video and new media


Get it here


Comments

Chromakey with After Effects

Chromakeying in After Effects from RHED Pixel on Vimeo.



Learn how to key footage with Adobe After Effects and Keylight.

Be sure to check out the book –
An Editor's Guide to Adobe Premiere Pro.
Comments

Using Anti-aliasing in Photoshop for Screen Graphics

aliasing
The image on the left is aliased, notice the jagged stair-step edges. The image on the right has anti-aliasing applied to the text.

Did you ever play with Lego building blocks as a child? Perhaps you noticed how hard it was to build an arch or a curve. The best you could achieve still had noticeable stair stepping. Guess what, pixels are just like those building blocks. Curved or diagonal lines will not look good at low resolutions, and you must soften the edge.
By choosing to use an Anti-aliasing method, Photoshop will generate smoother results—especially when using selection tools (such as the Quick Selection tool) or vector-based type. Anti-aliasing works by softening the color transition between edge pixels.

Since only the edge pixels are changed, you lose no detail in the image itself. Anti-aliasing is a useful option for creating text, making selections for filters, or copying and pasting. It will be a recurrent topic throughout this book. You can adjust the anti-aliasing for many tools directly in the Options bar. You should apply this option before a selection is made.

This post is sponsored by iStockphoto – 
Get a free audio track for your video project or photo slideshow
http://www.istockphoto.com/freeaudio
Comments

DSLR Creative Suite Workflow Part 1

DSLR Creative Suite Part 1 from RHED Pixel on Vimeo.



Learn how to organize your DSLR video projects for an Adobe Creative Suite workflow.

To learn more about DSLR Video, check out
From Still to Motion.
Comments

Four Free Chapters from new Adobe Premiere Pro Book

ShowCover.aspx_
In case you haven't picked up An Editor’s Guide to Adobe Premiere Pro, you can now check out a bunch of the book for free. This is the most detailed book on video editing that I've ever worked on, I literally wrote it to retrain my own staff. It is all about realistic workflows and maximizing the entire Production Premium Creative Suite.

Todd Kopriva of Adobe says:
“This book is an excellent resource for experienced editors to learn Adobe Premiere Pro. It begins from an assumption that you already know about video editing in general and only need to learn the details of the features and workflows specific to Adobe Premiere Pro and its companion applications.”
Here are two free chapters and two appendixes:


Get the book here

Comments

Final Cut Studio Goes Back On Sale

final_cut_studio_7-thumb-640xauto-7214-4e601bf-intro-thumb-640xauto-25117

I just got off the phone with a lovely woman at 1-800-MY-APPLE.

Here are the highlights of the call.

  • Final Cut Studio 3 is back on sale. In fact it’s been available for 4 days.
  • The studio costs $999 (just like it used to).
  • If you're a student, that’s $899 (just like it used to).
  • There are NO other discounts or upgrades that the representative could find.

This product is not on the consumer Apple website. You have to call 1-800-MY-APPLE. According to the representative… she says that there’s been A LOT of calls asking for it to go back on sale… so she was glad to be able to sell it again (instead of telling people no).

So there you have it…. Those of you sitting on older versions of Final Cut Pro can step up (but not upgrade). You’re now set if you needed new licenses to go with that new Mac Pro (oh wait, still waiting for that…).

Here’s
another story on the re-release, if that helps.

I’ve updated my chart on where things stand for Final Cut Pro X (which still seems stuck in the middle).

scores_9_1

Comments

Apple Updates Digital Camera RAW for New Cameras

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About Digital Camera RAW Compatibility Update 3.8
This update adds RAW image compatibility for the following cameras to Aperture 3 and iPhoto '11:
  • Konica Minolta DiMAGE A200
  • Olympus PEN E-P3
  • Panasonic LUMIX DMC-G3
  • Panasonic LUMIX DMC-GF3
  • Samsung NX11
  • Samsung NX100
  • Sony Alpha NEX-C3
  • Sony Alpha SLT-A35
For more information on supported RAW formats, see http://support.apple.com/kb/HT4757
Comments

Need a Royalty-Free Audio Track (For Free)

audio_free
If you need to put together a new video or slideshow, I'd highly recommend checking out the Audio section of the iStockphoto website.

They have thousands of royalty-free audio tracks that are truly fully cleared. Buy the track and you can use it for just about anything with no additional rights to by or legal worries.

A lot of folks think they can use
ANY track for "personal" use.

Nope. You cannot post to the web, show as your portfolio, use less than 30 seconds, etc. BE LEGAL and buy your music.

Except, I'll make it even easier on you to get started. I'll give you a track for
free!

http://www.istockphoto.com/freeaudio

Photo by iStockphoto/chrisgramly





Comments

Stealing Sunsets – UAP 230



Instructor Richard Harrington shows you a technique to take the sunset from an image and use it’s colors in a different image.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Using Multiple Cameras For Time-lapse Photography

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I see a lot of folks try to flip cameras as they go from one model to another. I know for many, the economic realty is a need to trade-in or re-sell gear in order to upgrade. The truth however is that the amount you’ll see for used gear may not be worth as much as you’d hope. I subscribe to the belief of putting the gear to work.
When it comes to shooting time-lapse, a second camera body (or even a third) can really come in handy.

  • A second body can be set to a different ISO or aperture when shooting tough exposures (like sunrise or sunset)
  • You can shoot different focal lengths on each body to create dramatically different shots. You can get your master shot and some additional angles all at once.
  • A spare body can be especially useful if you are shooting content that requires simultaneous coverage like an event or live process, such as at a construction site.
  • Shoot raw on one camera and JPEG on the other.
  • You can shoot at different intervals to produce different looking footage

Chances are you have at least a few lenses in your bag… put them into use on that next shoot.

Be sure to check out the Triple Exposure website –
www.3exposure.com – for more on time-lapse.

Comments

Adobe Point Text vs. Paragraph Text

Photoshop002

When you need to create text for your projects, you can turn to Adobe Photoshop, Adobe Illustrator, or After Effects. With each application, there are two ways you can create a text layer. You can use either Point or Paragraph text in each application, both offer benefits and you should carefully choose which you want.

Point Text

Click in the Comp window and start typing to create Point text. Point Text treats each line you type as a separate block of text. New lines will only be created when your press the Return (Enter) key. This method is useful if you want to align the text to a specific point on-screen.

Paragraph Text

Click the left mouse button down and drag in the Comp window to create a Paragraph text block. The edge—the text’s bounding box— is defined by how far you dragged the mouse when you created the paragraph text layer. This style of text wraps text around to the next line when your type reaches the edge of the current line.

You can resize the bounding box by clicking to place the cursor within the text, then dragging on one of the sizing handles around the perimeter of the bounding box. Shift-dragging a sizing handle will constrain the proportions of the bounding box. Make sure you don’t accidentally drag a sizing handle with the Selection tool, or you’ll scale the text, not it's bounding box.

This post is sponsored by iStockphoto – 
Get a free audio track for your video project or photo slideshow
http://www.istockphoto.com/freeaudio

Comments

Create PDFs from Your iPad or iPhone



Pasted Graphic

Adobe has expanded its suite of iOS apps with CreatePDF. You can now convert several different files into a PDF right from your iOS device.

The app uses Adobe's
online PDF creation service.

You can submit:

  • MS Word (docx, doc), Excel (xlsx, xls), PowerPoint (pptx, ppt)
  • Adobe Illustrator (ai), Photoshop (psd) and InDesign (indd)
  • Images – JPEG, BMP, PNG, GIF, TIFF
  • RTF, Text and WordPerfect
  • OpenOffice and StarOffice documents

Comments

My Portfolio gets Miniaturized

I recently ordered a collection of new Moo Minicards for Photoshop World.

What's cool is they let you do business cards with
100 different images on the back. Photogs love em as they're a great way to show off their work.

Here are my 100 selects… hoping they all work at a small size.

100 Minicards En Route by Richard Harrington (RichardHarrington)) on 500px.com
100 Minicards En Route by Richard Harrington

Comments

New iPad Magazine — Light It

mzl.dmhehbly.480x480-75
My friends over at Kelby Training just launched a new photography magazine on the iPad. It looks very cool. The first issue is free, so go check it out if you've got an iPad.
 
Light It: The How-To Magazine for Studio Lighting and Off-Camera Flash is the first digital photography lighting magazine made exclusively for the Apple iPad®. It features the industry’s top experts on photography lighting.

The free debut issue boasts more than 50 pages of articles, lighting techniques, equipment overviews, and more. The digital-only format allows for stunning photographs, videos, and web links for a whole new reader experience.  

 
Light It is for photographers of all skill-levels who use lighting or want to explore lighting concepts. The debut issue of Light It is being distributed free of charge as part of the Light It app, also free, that serves as the “magazine rack” for all future issues. No subscription is required.



 
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Finding the Shot – New Podcast Epsiode

banner3

Welcome to the next episode of the Triple Exposure podcast.
Scott & Rich talk about what scenes lend themselves best to time-lapse, HDR and panoramic photography.

You can direct-
download the MP3 here.

You can subscribe on iTunes here - 
http://itunes.apple.com/us/podcast/triple-exposure/id440563481


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Creating Sepiatones in Photoshop – UAP 229



Instructor Richard Harrington demonstrates how to create a sepia tone from scratch to add a unique look for your image.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Film Look—Soft Bloom with Adobe Dynamic Link

Are you looking to push the "film look" even further for your DSLR footage? A quick trip to Adobe After Effects can enhance your clips.

filmlook

  1. Duplicate your current sequence in Adobe Premiere Pro in case you change your mind.
  2. Select the clips in the current timeline that you want to process.
  3. Choose File > Adobe Dynamic Link > Replace With After Effects Composition.
  4. The selected clips are sent to After Effects. If its not running already, the program will open. Name the project and click Save.
  5. Double-click the composition to ensure it is open, then click in the Timeline panel.
  6. In After Effects, choose Layer > New Adjustment Layer. You can use an adjustment layer to affect all clips below.
  7. Choose Effect > Blur > Fast Blur and crank the filter up to a radius between 15 and 90 pixels. Don’t worry if it looks over-done.
  8. Click the Repeat Edge Pixels checkbox.
  9. Switch to modes in the Timeline and try different blending modes such as Add, Overlay, Soft Light, or Multiply. In fact you may want to try all of the different modes to see which one you like best. Depending on your source, you may need to use different modes, to get results.
  10. Adjust the opacity of the adjustment layer to taste.
  11. Choose File > Close Project. Save your changes.
  12. Return to Adobe Premiere Pro to see the updated effect. If you want to update the effect, highlight the linked composition and press Cmd+E (Ctrl+E).

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Dealing With Crowds in Panoramic Photos

huntington-beach

I seem to like to make things hard on myself.

  • Lots of moving subjects (hundreds of people in fact)
  • Shifting horizons and foreground (waves)
  • Lack of a tripod (shot thus handheld in about 60 seconds)

But the moment was worth capturing.  I was in Huntington Beach (my birthplace in fact) and I really wanted a photo to capture the mood.  Of course it was just about noon (the light was awful).  That’s okay… the whole reason I enjoy Photoshop is the process of developing the picture in my mind’s eye.

Head over to
www.3exposure.com and see how I put the shot together.

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Check Out this Week's Episode of the Grid

Pasted Graphic
I was this week's guest on The Grid with Scott Kelby & Matt Kloskowski. It's a live talk-show about photography, Photoshop & other industry-related topics. The archive of the live show just got posted.

You can view it here.

Episode Summary

Scott is back from his European seminar tour and is joined by Matt and PSW Instructor, Rich Harrington. Today's topic: "C'mon… Admit it… You use Photoshop" - a lively discussion about why Photoshop is still seen as a taboo addition to photography by some, regardless of the fact that
every photographer uses it. The discussion turns to "digital vs. darkroom"… And then careens right off the rails as Scott regales the audience with a lovely song about Brad's experience in Amsterdam. (NOTE: He's totally joking).

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Don't Miss a Live Interview with the Photoshop Product Manager Today

grillbryan

Don't miss Bryan Hughes (Photoshop Product Manager) on a special bonus LIVE episode of The Grid today (Thursday, August 18).

Here's the link:
http://www.kelbytv.com/thegrid

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Black and White Adjustments in Photoshop – UAP 228



Instructor Richard Harrington demonstrates how to successfully use the Black and White Adjustments in Photoshop CS5 to change the look of an image.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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How to Sign Your Work – Adding a Digital Signature To Your Photographs

A popular trend these days is to sign your images when posting online. The thought is to treat the image more like it was being shown in a gallery and less like pixel dust in the wind. The process is really pretty easy to do. I’d also like to state that this is a much more attractive way to watermark a photo.

bike_wheel2

Head over to Triple Exposure to see the free tutorial – http://3exposure.com/2011/08/03/how-to-sign-your-work-–-adding-a-digital-signature/


______________________________________________________________________


If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel

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A Photoshop HDR Workflow Example




In this video, photographer and trainer Rich Harrington takes 3 images and works with them to complete a single HDR image with multiple effects.

Combining the images and them post processing within Photoshop Rich gives us a real world example of photographic workflow.

For more tutorials be sure to check out
Tip Squirrel

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Photoshop Calculations = Math, right?

This is a goes post from the talented Janine Smith In my opinion the name "Calculations", in and of itself, is the biggest drawback of this really awesome tool. I think if the folks at Adobe had called the thing "Melvin" there wouldn't have been nearly the confusion over it. The name is daunting to those of us with Math Phobia, but the command itself is just nifty!

Even when I began to understand that Calculations might actually be a feature I could use in my work, I just wasn't getting it! I watched training videos, read articles, asked people to explain...it just wasn't getting through. For some reason, even the explanations were coming across as somewhat mathematical therefore they were bypassing the connection in my brain that would allow them access into the inner sanctum of my cerebral cortex. Until the day
Deke McClelland was guest-blogging on Scott Kelby's blog and the clouds parted and the sun shone through!

I'll say right off the bat that Deke's tutorial was dealing with Calculations as a masking tool. I think as a tool in photo restoration, that alone can be invaluable. But then I also started looking at the other use for Calculations for me, as a restoration artist. Just what is that, exactly?

Well, literally, it is what it is! Calculations is a Channel Blender! I see three main areas, so far, in which Calculations can benefit photo restoration. Analysis, channel blending and masking. Remember, since Calculations only work in RGB mode, always scan your photos, yes, even the black and white ones, in color! Calculations aside, it should be a part of your restoration workflow, lest you severely limit your repair options!

In case you've never seen Calculations, have absolutely no idea what in the world I'm talking about, you'll find this little gem in the Image menu. Image > Calculations...and this dialog box will appear.

calc1

You'll have the ability to blend different sources, different layers (I confess, up to now I've only experimented with "Merged" layers), and any two of the Red, Blue and Green channels. You'll have the ability to invert one or both of the channels .You'll also have at your disposal all of the familiar blending modes as well as two new ones: Add and Subtract. Then you can decide whether to make your blend into a new document, selection, or a new channel.

Regarding analysis, Calculations is a great way to take a photo, for instance, that's so faded it's not immediately clear what is even in the picture, and determining it's chances of restoration. In the example, below, from my families personal collection, I could see a couple people and had a good idea one was my grandfather, but wasn't really clear about the entire composition. After filtering it through Calculations using the green and the blue filters (the red was almost totally shot), I can see it's my grandfather standing next to my grandmother, with her holding up her hand to show off her wedding ring. Since she'd probably only being doing that at the time of her wedding, not only do I now know for certain it's my grandparents in the photo, but I also know the photo was taken in 1921. My mother was also thrilled to see her father was smoking his pipe in the photo, which is how she remembers him best!

Calc2

By using calculations as an analysis tool, I determined in less than five minutes that, yes, this photo could be restored, given time and a lot of patience, and that it would very much be worth it to my family.
Over the next couple of weeks, I'm going to go over the two other photo restoration worthy benefits of Calculations, channel blender and masking tool.

Janine Smith is the owner of Landailyn Research and Restoration, a Fort Worth, Texas based company whose services include family history research and photo restoration. Janine honed her skills in restoring badly damaged photos as a volunteer with Operation Photo Rescue, a non-profit organization whose mission is to repair photographs damaged by unforeseen circumstances such as house fires and natural disasters. Janine’s work is well-known in the world of genealogical and historical societies, museums, libraries, university archives, and non-profit organizations; appearing on the board of directors for several organizations and institutions. She is a sought-after lecturer on photo restoration and preservation to libraries, genealogical and historical societies.

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Free Webcast: Motion Graphics with Adobe Creative Suite 5 Studio Techniques

credgemograf


I have a
new webcast on motion graphics that's been released by Creative Edge. It's a one hour show and it features some of the best techniques from a new motion graphics design book.

The whole thing is
absolutely free… just be sure to click the full-screen button so you can better see things.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will learn how the Adobe Creative Suite can benefit your motion graphics workflow; discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator; gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras; and explore advanced techniques like DVD menu design, motion control 3D and panoramic images. This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.


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Lightening A Dark Photo

Drk_ba1

This is a guest post by the talented Janine Smith who is one of the best photo restorationists I know.

As a photo restorationist I'm given many types of photographs in all manner of conditions. Sometimes the image can be very dark and given to me as a 'lost cause'. This isn't always the case, here’s just one way to lighten them up.


Read More...
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Repairing An Aperture Library


This is a guest post from Scott Engel

I want to thank Richard for giving me the opportunity to be a guest blogger. I am a freelance photographer specializing in wildlife, but I do a lot of zoo photography as well. In a past life I also worked for Apple Retail as a Creative/Trainer and I hold an Aperture 3 Certification.

Aperture is a wonderful application. Sometimes, however, you might encounter an error with your library and it will not open. Aperture has a great set of troubleshooting tools in case your library becomes corrupt or fails to load.

1. While holding down the Option and Command keys, click on Aperture to launch it.

2. There are three tools to help you repair a library:
ap_repair
  • The first choice, Repair Permissions, will address a majority of issues and is the fastest.
  • The second Choice is to Repair Database. It takes a little bit longer but it’s more thorough.
  • If your library needs some extra attention, then choose Rebuild Database. This is the most time consuming, but is very thorough.

3. Click Repair to make the fix.


You can contact Scott on Facebook at
www.facebook.com/Engelimages | Twitter @Engelimages
He also has a small photo gallery at
www.engelimages.com
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Adjusting Vibrance in Photshop – UAP 227



Instructor Richard Harrington demonstrates how to adjust the saturation of an image without loosing the details of the image using the Vibrance Adjustment Tool in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Meet the Adobe Premiere Pro Product Manager and Get FCP Migration Tips

I just heard about a great webinar that's being held this Friday. Your chance to hear right from the Product Manager's mouth about Adobe Premiere Pro. Al is a great guy with a lovely sense of humor and whip smart skills (I say these things so my feature requests go through – oh but they are true).

Here's the official blurb

More and more Final Cut editors are switching to Adobe Premiere Pro CS5.5 to become more efficient. In this week’s Ask a CS Pro, Product Manager Al Mooney will review some of the most important workflow tips and tricks to help editors, new to Premiere Pro, get up to speed quickly.

When: Friday, Aug.12

Time: 12 p.m. -1p.m. PT  Session start time for other time zones follows: http://bit.ly/qG22EX
Where: Connect Room: http://my.adobe.acrobat.co m/askcspro. The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join. 

___________________________________________________

For more videos and a complete training experience, check out An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

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Make Clips Open in Adobe Premiere Pro Faster


While I love 95% of Adobe Premiere Pro… I do have a few annoyances. One of the biggest is loading clips from the Project Panel.

Select a clip… press Return (Enter) and nothing happens.

LOAD!

Well the good news is (like most of the "missing" shortcuts) this can be changed.

1. Choose Premiere Pro > Keyboard Shortcuts or Edit > Keyboard Shortcuts.

2. Choose Panels from the pop-up menu.

ppshort1


3. Type the Open in the search field.

ppshort2


4. Click in the field next to Project Panel > Open in Source Monitor and then press the Return (Enter) key. This ill remap the default Render work area (which I would change to Command/Ctrl + R).

ppshort3

5. While you/re at it, click in the field next to Media Browser Panel > Open in Source Monitor and then press Shift + Return (Enter) key.

There… problem solved.

If you want to learn A LOT more on Adobe Premiere Pro – Be sure to
check out my new book.




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The Eight Step Grunge Look

This is a guest post by the talented Glyn Dewis (who is letting me take more of a family vacation).

BEFORE_AFTER
The images above show the 'out of camera' and 'final edit' versions of a photograph that I took of a 'Rough Sleeper' when out on a photo walk in the coastal town of Brighton, UK, and in this post I want to show you each of the stages I went through in Photoshop to achieve the final look.
Read More...
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Panorama and Content Aware Fill for Photoshop CS5 and Photoshop Elements 9

First of all, can I say what a privilege it is to be appearing on the Richard Harrington Blog. Rich has been a major contributor to TipSquirrel.com for some time and I've been a huge fan for much longer than that!

When Photoshop CS5 was released one of the stand out new features was Content Aware Fill. This function could be used to remove unwanted objects or, as we see here, fill empty space around a panorama with new content.

Photoshop Elements 9 came shortly after and boasted the Content Aware Spot Healing brush but not Content Aware Fill, so there’s no way of filling in those blank spaces in panoramas right? Wrong...


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Luminosity Sharpening 3 Ways

Guest post By Michael Hoffman

The Luminosity Blend Mode allows us to use the brightness values from one layer to make adjustments to the brightness of underlying layers, without creating unwanted shifts in the hue of the underlying layers.
This can come in useful with our sharpening workflow.the image below is an example of an image that was sharpened heavily, and the resulting halo along the edge boundary. This has developed some weird color shifts as a result of the sharpening:

LumSharpening01_thumb1
Let’s take a look at three ways to use the principles with Luminosity Mode blending to eliminate the color shifting, and leave the hue intact as we add brightness and darkness along the edges to sharpen our images. You may have seen recommendations that you convert your image from RGB to Lab and sharpen the L channel, then convert back to RGB. This technique will achieve essentially the same result, without the conversion – and without having to flatten a multi-layer image.
Read More...
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The Great Camera Shootout 2011: Episode 2 ~ "Sensors & Sensitivity"

The Great Camera Shootout 2011: Episode 2 ~ "Sensors & Sensitivity" from steve weiss on Vimeo.



I got to see some of this great footage and test at a sneak peek at NAB. This is a real-world comparison of DSLR and other CMOS type sensor cameras like the RED, Alexa, and Sony F3.

Episode 2, “Sensors & Sensitivity” of the three part series continues with tests covering sensitivity, resolution, compression and the relationship between them. These tests were designed and administered by Robert Primes ASC, director of the Single Chip Camera Evaluation (SCCE) and shown at 2K screenings around the world to indie filmmakers, event shooters, commercial DP’s, directors and corporate filmmakers alike. Their opinions on the footage are invaluable when it comes to understanding what all this data means in real world shooting situations.

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Sizing Images in Photoshop

Guest blog post by A.J. Wood


Thanks to Rich for having me here as a guest blogger. I’m not one to mince words, so let’s jump right into the tutorial. We’re going to discuss Image Sizing. Often overlooked, sometimes confusing, easily dismissed, but oh so important. First thing is to get to the Image Size command: Press CMD+OPT+I (CTRL+ALT+I) to open the Image Size dialogue or choose Image->Image Size from the Photoshop menu.

Pixel Dimension for Screen / Document Size for Print

Pixel_Dimension_for_Screen__Document_Size_for_Print1
Notice the two distinct areas for sizing an image – Pixel Dimensions and Document Size. Pixel Dimensions are used to size an image for a display, e.g., monitor, overhead projector, television. Document Size is necessary when outputting an image for print.

Resampling Changes All Field Values (Resolution x Size = Pixel Dimensions)

Resampling_Changes_All_Field_Values__Resolution_x_Size___Pixel_Dimensions_1
When “Resample Image” is checked, changing values in any field effects the entire dialogue. If you look closely you can see that the resolution of the image (300) multiplied by the height in inches (5) gives us a requirement of 1500 pixels to print. (300×5=1500). Resampling changes the pixel dimensions and total pixel count.
Whenever I size an image, I always set the resolution field first. Once that’s set, then I move to the appropriate width & height field for outputting my image.

No Resampling Means Image Integrity is Maintained

No_Resampling_Means_Image_Integrity_is_Maintained.11
When “Resample Image” is unchecked notice how the Pixel Dimensions become locked. Adjusting resolution will simply increase or decrease the size of an individual pixel. The integrity of the image does not change because the pixel count stays the same.
Notice how the image went from being a 5×7 print to less than two inches in size. (300×1.667=500).
media_12486656309901
In the above figure any attempt to get a 5×7 print results in lower resolution. Because “Resample Image” is unchecked, there are only 500 pixels for width & 357 pixels for height.

It’s the Total Number of Pixels, not Resolution You Should Watch

I often hear folks argue about resolution in terms of printing, but what’s most important is the total number of pixels when the image is first opened. An image from a digital camera measuring 3500×2400 pixels gives you a lot more options for output then one taken off the Internet at 400×250. It will always be easier to take a large image, and reduce the size, then to take a small image an size it up. Resampling is not bad, but you are either deleting existing pixels (downsampling) or creating new pixels (upsampling). Some resolution values to keep in mind:
Screen resolution – 72-96ppi – PowerPoints, websites, emails, TV Office printing – 150ppi – laser or inkjet printing, drafts, proofing Professional printing – 240-300ppi – can be higher, but these values tend to work just fine
Keep in mind, resolution can be set TOO HIGH. If your desktop printer is rated at 240ppi you receive no benefit from outputting an image at 600ppi. In fact, you offload the resampling onto the printer which will result in a pixelated image.

 Quick Crop Tool Tip

Quick_Crop_Tool_Tip1
As a final tip, if you really dislike the Image Size dialogue, you can skip it and use the Crop Tool instead. Simply specify the width, height AND resolution, and your image will be resampled appropriately. (Keep in mind, all the rules still apply, the Crop Tool just executes commands quicker)
I hope you found this information useful. You can follow me on Twitter
@aj_wood where I post daily Adobe tips Monday through Friday at 12PM CST or feel free to visit my blog ajwood.com
Cheers!


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Adobe Unveils New Webinar Series Ask a CS Pro – Starts Today

images
Starting today (Friday, August 5) Adobe will have regular Friday eSeminars called Ask a CS Pro. The series will focus on ways for creative professionals to get their jobs done and to get more out of Adobe software.

The first session is by a super savvy colleague of mine,
Carey Dissmore

In this week’s Ask a CS Pro, Carey Dissmore will talk about the importance of great demo reels, and provide an overview of the editing workflow in Premiere Pro from the perspective of an editor who is comfortable with Final Cut Pro. Carey will also share the similarities, differences and unique advantages of Premiere Pro, including its tight integration with other products in the Adobe Production Premium bundle such as After Effects, Photoshop and Audition.
 
The event starts at Noon Pacific. You can participate at the Connect Room: 
http://my.adobe.acrobat.co m/askcspro. The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.
 
Session start time for other time zones follows: 
http://bit.ly/qWKv5b
 
Be sure to keep an eye out for other seminars as well.
 
Comments

Tinting a Photo with Photshop – UAP 226




Instructor Richard Harrington demonstrates how to tint an image in Photoshop CS5.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Vintage Photo + High Dynamic Range = Cool Look

Vintage Photo + High Dynamic Range from Richard Harrington on Vimeo.



Here's a recent tutorial from my new website Triple Exposure –
www.3exposure.com

In this tutorial, Rich Harrington shows you how to combine modern technology with vintage source materials to create a retro look.

Tools covered:
• Merge to HDR Pro
• Lens Correction
• Black and White Adjustment
• Cropping
• Blending Modes
• Layer Masks
• Filters

Be sure to also head over to
Triple Exposure to learn how to win a copy of Adobe Creative Suite 5.5 Production Premium.

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Free Adobe DSLR Workflow Class – Live Event on Tuesday, August 9

motion_banner

I'm the featured guest on the next Motion Connect Live Class on Tuesday, August 9, 2011. It is a 100% free event and you can even win a copy of Creative Suite CS5.5 by attending. Be sure to register to be eligible to win. Really. Go do it it now. rsvp »

This summer in the motion+connect Summer Series, you’ll have the opportunity to get ahead of the curve by learning first hand how these new features work and how to integrate them in your next project. Join us for the final session in our summer series – Production Premium: DSLR Workflow with Rich Harrington from RHED Pixel.
It’s all about the DSLR workflow. We’ll explore ways the Adobe Production Premium CS5.5 workflow saves you time and money – providing an efficient workflow that delivers quality results on reliable schedules.


overview:
7:15-7:30 PM: Pre-Show: Stuff We’re Watchin’
7:30-8:20 PM: Production Premium: DSLR Workflow with Rich Harrington
8:20-8:30 PM: viewer Q&A with Rich Harrington
8:30-8:40 PM: QuickFIX: details coming soon
8:40-8:50 PM: QuickFIX viewer conversation
8:50-9:00 PM: giveaways | close

*all times are Mountain Daylight Time MDT (USA) | UTC -6 To  find what time it takes place in your time zone, click here »


______________________________________________________________________


If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel


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Zacuto Electronic Viewfinder Adds New Features

EVFflip

My Zacuto Electrnic Viewfinder showed up Saturday. I'm already using it on my second shoot tonight. This thing is so awesome in that I can really see things like exposure and focus with a true viewfinder. The buttons are easy to use, the unit feels solid (but weighs practically nothing).

The best part? The fact that I've only had it a few days and Zacutto is already adding features via a free firmware update (love that).

Here's the complete
user manual so you can check out the features.
Download the current EVF Manual: Z-Finder EVF Manual

Heres the free firmware update (took 20 seconds to update)
Current Version of Firmware: 1.01.00.  Click Here To Download
Firmware 1.01.00 includes the following updates:

  • Audio meters enabled that are able to be positioned in any of the four corners.
  • Battery meter can now be positioned in any of the four corners
  • Audio loop through enabled
  • Underscan now implemented
  • Can now save and recall Chroma, Contrast and brightness settings as presets.
  • Changes to color, brightness and contrast are now saved on power down and return on power up.
  • Red One, Sony FS100 scaling presets added

How To Upgrade Your Firmware
Once you download the firmware the next thing you need to do is have a USB Thumb Drive formatted to FAT32.  Please note this is not the default file system used for either Mac or PC and by formatting your thumb drive in this way it will erase all data that is currently on the thumb drive.
1. Reformat a USB thumb drive as FAT (FAT 32 or MD-DOS). This can be done with Disk Utility on a Mac or by right-clicking in windows and choosing Format.
2. Download the current firmware –
Click Here To Download
3. Copy the current firmware file to the FAT32 thumb drive (
NOTE: File name must be evfupdate.fw)
4. Insert thumb drive into EVF USB port
5. Select UPDATE from the EVF menu
Menu-12
6. Select 
USB DRIVE
Menu-13
7. Select 
START UPDATE
Menu-14
8. When prompted, power down and restart the unit.
9. Enjoy!

Here is a detailed page about the EVF Units – http://www.zacuto.com/electronicviewfinder-faq




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Photoshop for Video Returns with New Episodes

cow_ps7


In case you missed it, the Photoshop for Video podcast is back with new episodes!

These two have been released and more are in the queue. A big thanks to Creative COW for sponsoring the show.

Photoshop and AE: Refine Edge Command and 3-D Motion Control

Photoshop and AE: Layer Comps

You can find a list of more shows here – http://library.creativecow.net/tutorials/adobephotoshop

Or subscribe in iTunes –
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=173706237 where the show has hit #7 in its category!

______________________________________________________________________


If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel




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Final Cut Pro X App Store Scores Rise

FCPX_SCORE_7_31

The App Store scores for Final Cut Pro X continue to rise over time. In the strictest sense, the app is no longer failing.

Here are a few observations I'd like to share:

  • The App has fallen off the Top 10 list of selling apps (down to 11). This is largely due to initial demand being satiated and Apple removing it from the home page (except for a little button below the fold).
  • The App is firmly entrenched in the #2 spot for Top Grossing. This means Apple is making good money of the application and it can b considered a success financially.
  • The user community remains fiercely divided. I've spent the last few weeks entrenched in user group events and industry functions. Apple, Adobe, and Autodesk are certainly gaining new users.
  • The next dot release update is going to be a watershed moment. MANY (and I mean many) are taking a wait and see approach to see how much Apple can put back in.
  • I heard from a reliable source at the Atlanta Cutters Event that the XML resources will be released to developers in the next two weeks. This will open up new opportunities for FCPX to participate with other professional applications. No word on cost implications however.
  • I have heard from many people switching (or thinking of switching) to Adobe Premiere Pro how surpassed they are at its performance and features. These same people love After Effects and Photoshop, yet seem surprised at how good the integration is between the three. Dynamic Link, Native Editing, and Adobe Media Encoder continue to please.
  • Hardware companies like AJA are broadening their support to all the manufacturers. Avid, Adobe, and Apple are all seeing new products and new support with drivers.
  • Several major places are adding in or strengthening their use of Adobe and Avid tools. I've spoken to folks at Discovery, CNN, Turner, American University,
  • The DSLR crowd (including Vincent Laforet, Phillip Bloom, and Shane Hurlbut) are now using Adobe Premiere Pro. The RED community is quickly switching too.
  • The industry got a quick shot of evolution. "Everything just changed in post" rings true. It's just that a lot more shuffling is occurring than anyone expected.


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Adobe Offers Path to FCPX Editors

title_banner


As disgruntled Apple Final Cut Pro users search out options for professional video editing, Adobe Systems has been a major beneficiary of the big switch since FCPX hit the market. In her interview with Jim Guerard of Adobe Systems, Debra Kaufman finds the result of Adobe's offering for former FCP users to be a big uptick in pro video users.

Article Focus:


Creative COW has posted a great article that goes in-depth with both Adobe staff and users about why folks are switching to Adobe Premiere Pro.

Some of my favorite parts:

Adobe also created another key feature: ensuring integration of Adobe Premiere with the new generation of digital cameras. "We natively support all these camera formats from Sony to Panasonic, from RED to the Canon 5D Mark II," says Guerard. "You don't waste hours and hours of transcoding on ingest. The time and money we save people and the amount they're able to get done is huge."

and

Who's making the switch to Adobe Premiere Pro? According to Guerard, the broadcast and indie filmmaker arenas are the most likely suspects. "In broadcast, there is so much happening with multi-screen delivery and distribution," says Guerard. "With Premiere, you can seamlessly take the content out to all kinds of platforms. And broadcasters know us and trust that we're dedicated to this market. They know they'll get a brand new release every year. For professional editors who count on their software application to pay the bills, they need that kind of partnership and collaboration."

Be sure to read the whole article here – http://library.creativecow.net/kaufman_debra/Adobe-offers-switch-FCP/1

______________________________________________________________________


If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel


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A Free Four-day Photoshop Class from Lesa Snider


PSD-11Q3-640x360px_1

Would you like to take a great Photoshop class that goes really deep? One that you can wear your pajamas for? One that's 100% free to watch live? Be sure to check out Lesa Snider's Photoshop CS 5 Intensive class. The free class runs September 20–23 (a Tuesday-Friday Workshop).

" In this special workshop, you'll dig into Photoshop CS5 with Lesa Snider, author of Photoshop CS5: The Missing Manual. There is so much to cover in Photoshop CS5 that we need almost a week to cover everything. In this special 4-day workshop (Tuesday - Friday, from 9:00-4:00, Pacific Time), you'll dig into Photoshop CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop."

Be sure to sign up in advance before the class fills up. –
http://creativelive.com/courses/photoshop-cs5-lesa-snider

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Vincent Laforet and Richard Harrington Show a Complete Adobe Workflow

Detailed Adobe Premiere & Dynamic Linking Workflow from Vincent Laforet on Vimeo.



I recently had the chance to spend two days working with Vincent Laforet going over a bunch of Adobe workflow stuff. He's a super talented guy and and we had a lot of fun exploring some of the geekiest corners of time-lapse, HDR, Raw video and more. The video above is an edit down of some of the stuff we discovered.

The above video covers the following steps:

  • Setting up a project with Premiere, including what settings are best to modify, and what settings are best to leave alone.
  • How to bring media into your project through the Media Browser and use its features efficiently. Including how to organize clips, and bring them into your sequence timeline.
  • How to best create your sequence with optimum settings for the video you are working with and how to set up an adequate number of audio tracks.
  • How to set in and out points on your raw footage and either overwrite or insert a shot into your timeline, as well as a demonstration of Adobe’s patching feature.
  • A demonstration of the ripple tool (which adjusts one side of an edit), roll tool (which adjusts both sides of the edit), the razor tool (which splices footage), and the rate stretch tool (which changes the speed of your clip).
  • How to map your keyboard with custom hot keys, as well as set it up with FCP hot key commands (for those of you making the transition).
  • A demonstration of how to use the marker tool to create points on your timeline, and how to automatically fill those markers with footage from your media browser using the "automate to sequence" function.
  • How to admit that it’s okay to use the help menu
  • How to quickly apply color correction within Premiere without exporting to After Effects or a third party application, with an overview of the different controls.
  • How to import and edit your looks from RED CINE X into your Premiere timeline when you are working with RMD files, and how to bring those changes back into RED CINE X.
  • How to use clip handles and apply and modify transitions between clips.
  • How to send clips over to after effects from your Premiere project using Adobe’s Dynamic Link function, which updates all changes you make in both programs in real time.
  • A demonstration of the After Effects Warp Stabilizer and its different stabilization methods. Also a demonstration of the Vibrance plugin, and how you can work with such plugins while others are analyzing.
  • Demonstration of the Magic Bullet Colorista within After Effects (or Premiere).
  • How to output/export your Premiere project using Adobe Media Encoder, which is 64-bit.
  • How to create a "watch folder" that automatically encodes your footage to a preset codec.

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Creating Time-lapse Movies with Raw Files

Using Raw Photos in a Time-lapse from Richard Harrington on Vimeo.

In this Triple Exposure tutorial, Rich Harrington shows you how to use raw files in a time-lapse movie. Learn how to access Adobe Camera Raw from right within Adobe After Effects.



For more on time-lapse, be sure to check out Triple Exposure at
www.3exposure.com.

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Listen to this Maccast on Final Cut Pro X

Pasted Graphic
I recently had a chance to talk with some very smart folks about the release of Final Cut Pro X. The show looks at several issues and tries to explain why people had such a hard time with the release.

"A podcast about all things Macintosh. For Mac geeks, by Mac geeks. Show 357. When Apple released the latest version of Final Cut Pro they created quite an impact although it may or may not have been the one they wanted. The Final Cut Pro X (FCPX) release was very anticipated and had a lot of hype. When it shipped many in the high end pro video market cried foul. In this episode I invited three video pros, Richard Harrington, Ron Brinkmann, and Chris Fenwick to come on and help the average Mac Geek make sense of why this release was such a big deal. The changes impact not only those in the video community, but also bring insights and revelations for the rest of us as well."
Be sure to listen to the show here –
http://www.maccast.com/2011/07/16/maccast-2011-07-16-final-cut-pro-x/
If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel
Comments

Investing and Doing Business In the Apple Ecosystem

MacJury1106
I recently had the chance to be a guest on the very cool podcast called The MacJury.

"Operating in the shadow of Apple may be different from any other company in the world. A special MacJury convenes to discuss the benefits and challenges of doing business in and as part of the Apple ecosystem. What makes the Apple space different and what that is attractive from a business and investing perspective, the most recommended area for developers to get involved in, and a case study of how one hardware company approached it, are included in the deliberations. The question of the number of apps in the Mac App Store, the store’s features and how what is and isn’t there affects vendors, the importance of demo versions and much more are covered by the very diverse panel of Mark Fuccio, Tom Loverro, Rich Harrington, Jean MacDonald and host Chuck Joiner."

You can listen to the show or download it here –
http://is.gd/WMsOpB

It was a very interesting show with lots of view points and insight.

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OSX Lion Windows Driving You Nuts?

When it comes to my laptop, I'm a bit of a control freak. I live or die professionally because of this machine.

I've been very happy with the OSX Lion upgrade, except I was missing a lot of controls in the Finder windows.

By default, your windows will look like this...
window 0

Or like this (depending on your previous preferences).

Window1

The key is to go under the view menu and turn on several options:
  • Show Path Bar
  • Show Status Bar
  • Show Sidebar

Now your windows will look like this.:

window2

Much greater control. You can quickly switch between common folders with the sidebar. You can also drag items into the sidebar to add them. You can also press Command , or choose Finder > Preferences (when in the Finder) to customize windows more.

status
Along the bottom you see a clear path of where you are working. Importantly for me is a status of how full a drive is getting. When working with videos and photos its easy to overfill a drive (which can lead to major performance issues or corruption). I try to leave 10% of a hard drive free at all times. If I get to 5% I start removing things to backup.

While I'm at it, here's a useful tip to switch folders. If you command-click on a folder name, you'll get the whole path. You can now switch to a parent directory very quickly. If viewing the Path Bar you can also click in the string to switch folders.

top

If you'd like to follow my public Facebook page – click here –
http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here –
http://www.twitter.com/rhedpixel



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Correcting Color Cast with Photoshop's Levels Command – UAP 225



Instructor Richard Harrington demonstrates how to fix color cast problems using the Levels Command.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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The Closing of a Bookstore and How it Affects You

borders

As a book author I find this sad… and a very scary warning…
More than 10,000 people just lost their jobs from one book store chain alone. (
Here's the whole note).

As a book reader who loves roaming the aisles and touching books, this is a bad sign…

I have so many good memories of taking the kids to pick out a new book (with a great cup of coffee in hand).

I often am disheartened by how intellectual property is becoming devalued.

My books are pirated all of the time. Same goes for my videos.
People record live classes against permission… then post them online.

People complain when I give things away for free that it's not enough (or the right file format, or the part they wanted).

For the record… writing a book for me is typically six months of work.

Yes, I also have a "real" job too. I write and teach mainly because I want to preserve the knowledge I have been given or discovered.
But I also like to take the family on vacation, live in a nice middle class house, and send the kids to college.

I want the film, video, and photo industries to survive. Not just devolve into stammering YouTube tutorials followed with back and forth comments telling me how much I suck/rock (or that my voice sounds like Vince Vaughn… or that I am going bald… or that I used to be skinnier).

The world is changing… stealing has become easier…

But it doesn't make it right.

If you need to keep learning to remain professionally viable (and I suspect all of you do) then support that ecosystem.
Read 6 books a year. Enroll in some online classes. Attend a conference if you can.

Read blogs (there's lots of great ones)… and remember to occasionally say thank you. Complaining is okay too… just pretend that a real person is on the other end and actually reads it.

Karma… Pass it on.

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Master Photoshop for Video – Free Video Series



I just uploaded a bunch of old training from my Photoshop for Video book series.

These movies were done with Photoshop CS3, but the core skills are the same.

I hope they help you make better video graphics. Even if you are a photographer or print designer, you should still pick up some tips.

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Where Does a Teacher Go to Learn?

books
I’ve been writing books and teaching for about a decade. People mistakenly think that just because I get paid to share my technical thoughts that I must somehow know everything.

As if.

I began my professional career as a journalist. What I know how to do is find answers I also happen to be blessed with the ability to share my thoughts in a coherent way that others seem to enjoy.

In this post I’m going to let you in on where I go to keep up on the evolution of technology. Things move pretty fast these days and if you don’t pay attention, you’ll quickly fall behind. Here are a ten of the resources I use to stay abreast of evolving technology and get answers when I get confused.


Here are my top 10 places to look for answers.

  • Creative COW
  • Adobe TV
  • Photofocus
  • Photoshop World
  • dpBestflow
  • Twitter
  • This Week in Photo
  • Triple Exposure
  • Kelby Training
  • Tip Squirrel

Read the whole article for free at the ASMP Strictly Business Blog

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Use HDR Toning for Dramatic Impact on Photos

HDR Toning for Dramatic Impact from Richard Harrington on Vimeo.

In this tutorial, Rich Harrington shows you how to use the HDR toning command to create texture and depth using only a single exposure.



To learn more about HDR, visit Triple Exposure – www.3Exposure.com

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My New Photoshop Training DVD is on Super Sale

DVD_newsletter_header

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Color Grading Footage In Adobe Photoshop Extended



Learn how to adjust the color and exposure of video clips using Adobe Photoshop Extended.
From the book – From Still to Motion: : A photographer's guide to creating video with your DSLR

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Understanding Type on Pattern

Unlike most print designers, video artists must design type over diverse canvases. Often this background contains a full spectrum of color. Achieving sufficient contrast is the key to preserving legibility. When using light-colored type, it is essential to make it larger than if it were dark type. Don’t be tempted to use all uppercase to make the letters stand out. Unfortunately, uppercase letters take more time for the viewer to recognize word shapes and process what they are seeing. This is generally time they don’t have.
Applying a stroke, outer glow, or tight drop shadow is an effective way to getting a contrasting edge. The biggest problem with type and video is that there will always be light and dark elements in your scene. It is crucial to add a contrasting edge to any type that is going to be keyed over a full-chroma, moving background.

typepattern

A Hue/Saturation adjustment layer offers a nondestructive way to check contrast of type over a patterned background.
One way to test your contrast is to convert the file to grayscale. This can be achieved with several methods:

  • You can print it out in Grayscale.
  • Add a saturation adjustment layer, and desaturate (set to 0% Saturation).
  • You can use the History panel to create a duplicate document that you flatten and desaturate.

Adequate separation between foreground and background elements will make for better viewing for your audience. Think of color as tonal value. Some combinations show very low contrast when desaturated.


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Mastering Photoshop's Levels Command – UAP 224



Instructor Richard Harrington shows you how to adjust the contrast in an image utilizing the Levels Command.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Free Motion Graphics Webcast onThursday, July 21

image002

THURSDAY, JULY 21, 2011, 10 AM PDT/1 PM EDT

For this
one-hour webcast with Richard Harrington, co-author of Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will:
  • Learn how the Adobe Creative Suite can benefit your motion graphics workflow
  • Discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator
  • Gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras
  • Explore advanced techniques like DVD menu design, motion control 3D and panoramic images
This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.

There will be five copies of the book given away and all attendees get
15 days of complimentary access to all of Creative Edge including Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

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Dont Miss My Photoshop World Pre-Con Class



My Photoshop World Pre-Conference Workshop is filling up fast. There are only a few seats left.
The class is September 6 in Las Vegas

http://photoshopworld.com/optional-pre-conference-workshops/

If you've already taken my class... the awesome Vincent Laforet is teaching a similar workshop as well.

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Photoshop's Spell-checker

Photoshop has become a freestanding graphic creation tool. It is now possible to proof your text in a number of different languages. If you are familiar with a word processor’s spell-checker, Photoshop’s will seem completely standard. Remember, you must set the language for a text field by using the dropdown menu in the Character panel. To launch the spell-checker, choose it from the Edit menu (Edit >Check Spelling). If it flags a word that you know is right, you can choose to ignore it or add it to your dictionary. There’s no earth-shattering technology here, but the cries of web and video designers have been answered.

dictionary

Related to the spell-checker is a Find-and-Replace command. This allows you to go through all of your text layers and swap out words. Say that you’ve listed Williamstown Resort throughout your full screen graphics. A few days later, the client calls and says it’s actually Williamsburg Resort. You can have Photoshop scan through and replace all instances of the improper name throughout your composition. Again, the technology is standard, but it can be a time saver.

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The Adobe Photoshop to Adobe Premiere Pro Workflow



In this video you’ll learn how to create a Photoshop file from within Adobe Premiere Pro. You’ll also learn how to use the Camera Raw module to develop a photo from a DSLR. We’ll even explore advanced options like the Lens Correction filter, Content-aware Fill, and the Content-aware Scale command to selectively resize a photo.

For more videos and a complete training experience, check out
An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

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Using Photoshop Filters and Blending Modes – UAP 223



Instructor Richard Harrington demonstrates how to increase your filter collection by combining the Filters and Blending Modes.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Importing a Final Cut Pro Project into Adobe Premiere Pro



Learn how to exchange data from Apple Final Cut Pro to Adobe Premiere Pro in this movie. This movie is by Robbie Carman, my co-author.

For more videos and a complete training experience, check out
An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

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Where did the Zacuto Z-Finder come from?

3 Exposure - NAB 2011 Zacuto Booth from Richard Harrington on Vimeo.



Learn the origins of the Zacuto Z-Finder from company founder Steve Weiss. This video was recorded at NAB 2011 for the
www.3exposure.com website.

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A Good Argument for Larger Type

Ch 04 Start
Remember when your mom used to yell at you for sitting too close to the TV? Now look at you, just inches from your computer's screen.

When designing video graphics, speaker slides, or even websites, you’ll likely use type that’s entirely too small. Remember, use a larger font and get some distance between you and your monitor. Get up, and stand a few feet away for a while (or even stand in the back of the room for slides. Review your graphics from a more reasonable vantage point.

For more on design... check out these books:


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How to Batch Process Photos with the Image Processor

image_processor
When working in time-lapse or panoramic photography, chances are that you have a lot of photos to deal with. Maybe its a bunch of Raw files that you want to develop to the same settings, or high resolution images that you want to down sample. The great news is that Photoshop includes a useful script to get more done in less time.

The Image Processor differs from the Batch command in that you don’t have to first create an action. The Image Processor script can be more flexible than the Batch command. The Image Processor can be used for any of the following tasks:
  • To convert a set of files to JPEG, PSD, or TIFF format. You can also convert files simultaneously to all three formats.
  • To process a set of Camera Raw files using the same Camera Raw options.
  • To resize images to fit within a specified pixel dimension.
  • To embed a color profile into images or convert files to sRGB and save them as JPEG images for the Web.
  • To include copyright metadata within the processed images.

To read the whole article for free, visit the
Triple Exposure bloghttp://3exposure.com/2011/07/06/how-to-batch-process-photos-with-the-image-processor/

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Free Webcast on Motion Graphics Plus Free Ebooks for Signing Up

image002

This complimentary webcast is brought to you by Creative Edge, videos and books for creative people.

THURSDAY, JULY 21, 2011, 10 AM PDT/1 PM EDT

For this
one-hour webcast with Richard Harrington, co-author of Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Almost all motion graphics artists today use After Effects, Photoshop or Illustrator to some degree in their projects. During this complimentary webcast, you will:
  • Learn how the Adobe Creative Suite can benefit your motion graphics workflow
  • Discover ways to connect After Effects, Photoshop, Premiere Pro and Illustrator
  • Gain important knowledge of essential techniques like repairing and retiming footage, stylizing footage, background design, and using 3D objects and cameras
  • Explore advanced techniques like DVD menu design, motion control 3D and panoramic images
This webcast is ideal for both intermediate and professional users who want to incorporate CS5 into their own work.

There will be five copies of the book given away and all attendees get
15 days of complimentary access to all of Creative Edge including Motion Graphics with Adobe Creative Suite 5: Studio Techniques.

Comments

Don't Miss the Great Camera Shootout



In the most scientific camera comparison to date, “The Great Camera Shootout 2011: a documentary of the Single Chip Camera Evaluation (SCCE)” premieres with Episode 1: “The Tipping Point.” The first episode of the 3-part web series examines three SCCE Tests: The Dynamic Range Test, The Under Exposure Test and The Over Exposure Test.

You can see part one – here (http://www.zacuto.com/the-great-camera-shootout-2011/episode-one)
Comments

All Creative COW Training DVDs Have Low Prices

CCMS_newsletter_July3-2011
1
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Take Control of the Photoshop Application Frame

Frame_UI
When working in Photoshop CS4 or CS5, you’ll see that the entire user interface is contained within an Application Frame. This frame will block out your desktop and generally makes it easier to keep the many panels and interface elements neatly organized. Across the top of the frame is the Application bar, which attempts to consolidate several commands into one strip. Photoshop has been reorganized to emphasize task-based workflows, which attempt to guide you to the right tools.

Frame_UI

  1. View Extras – Lets you see things like Guides, Grids, and Rulers.
  2. Zoom Level– Lets change magnification levels of your image.
  3. Layout Control – Allows you to display different number of open documents in a tiled view or as tabs.
  4. Screen Mode Switcher – Lets you access Photoshop’s three screen modes that affect how the user interface is presented on your monitor.
  5. Workspace switcher – Allows you to switch between different arrangements of windows designed for specific tasks like color correction, typography, video, and web. For the rest of this chapter we’ll be using the Essentials workspace.

Tip: Frame & Panels Begone!

On a Mac you can disable the Application Frame if you decide you don’t like it. Simply choose Window > Application Frame to toggle it on or off. To turn all panels off, simply press the Tab key. If you want to disable all panels except the Tools panel and Options panel, press Shift+Tab.

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NY Post Conference Returns October 11–13

hpbannerblast

Just a quick reminder to SAVE THE DATE: October 11 - 13, 2011. The New York Post Production Conference in New York City. The show features dozens of expert training sessions for video, TV, film and new media professionals.

3 full days of expert training in
multiple tracks
Sessions taught by
industry experts
Certification prep class & exams for Final Cut Pro & Avid Media Composer 5.5.
Browse the Show floor with hundreds of exhibitors at the
Content & Communications World Expo

See the full schedule
here.

For more information visit the NYPPC
website.

REGISTER NOW by early bird date to save!

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Camera Requirements for Multi-camera Shoots

Figure_06-06

When planning a multi-camera video shoot, several factors can impact the quality of the final production. Choosing the right equipment (along with the crew to run it) will have the greatest influence on the quality of the final production. Here are some details to look for when selecting cameras:

  • Matched codec/format. Ideally, all your footage will have the same codec (compressor/decompressor). If you've mixed formats (like DVCPRO HD and AVCHD), you may need to convert the footage to match for some edit systems. You'll also want to be able to match frame rates so footage stays in sync.
    Lens length. With multi-camera events you'll often be shooting from a distance. Many cameras have fixed lenses that aren't good for long-distance shooting. Be sure to consider distance from subject when choosing a camera.
    Number of audio inputs. Generally speaking, cameras will have 2–4 inputs. Depending on your number of audio sources, more discrete audio channels can really come in handy. If not, look to use an external audio recorder.
    Chip size. Many multi-camera shoots are for concerts or performance events. These events often have low light, which means cameras with single chips, or even 1/3"1/3-inch chips, can get grainy.
    Tapeless acquisition. Choosing to record direct to disk or cards makes it easier to record for long periods without interruption. Make sure you have enough recording capacity to avoid having to stopping for a "tape change."
    Timecode method. Be sure to examine your options, which will may include time of day or synced timecode. These professional options make syncing cameras easier.

Figure_06-04

Tip: Power in Demand

Ten cameras plus a five-ton grip truck’s worth of lights can put a big drain on a location's circuit. Be sure you do a site survey and identify where your power is coming from. You'll likely need to use several extension cords ("stingers") to get the required power to your set. If you draw from too few outlets, you may blow a fuse.


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An Update About PluralEyes and FCPX

PluralEyes
I've been a big fan of PluralEyes since I first met Bruce Sharpe (its inventor) at Podcast Expo (nearly five years ago).
We use this product for both multi-camera projects and DSLR sync sound workflow.

We use it both in Final Cut Pro and Premiere Pro. Unfortunately, it can't work in Final Cut Pro X yet. I've pushed this tool to many of you, but wanted to let you know about its future.

Here's a quick update on the status from Bruce.



PluralEyes and Final Cut Pro X Questions and answers

We are getting lots of questions about PluralEyes and Final Cut Pro X. Here are the answers.

Q: Does PluralEyes support FCP X today?
A: No

Q: Will PluralEyes support FCP X?
A: As with any new host release, we intend to support FCP X as soon as we can, but the technical information that we need to do so has not been released yet. In the meantime, the engineering team has begun the process of analyzing FCP X.

Q: When?
A: We can't make any promises. We haven't seen the technical specs to know how much effort will be required and we don't know when those specs will be available.

Q: Will it be a free upgrade?
A: Yes, for anyone who bought PluralEyes (for FCP 6 or 7) recently.

Q: I thought I detected some weasel words in that last answer.
A: Our updates have always been free up until now. We can't guarantee that an FCP X update will be free for those who didn't buy recently, but that would be our preference.

Q: I see other plug-ins are supporting FCP X already. Why aren't you?
A: There are several different developer kits. One of those has been released and is being used to update some plug-ins. The one we need has not been made available to us.

Q: What about those of us still using FCP 6 and 7?
A: PluralEyes will continue to support those versions for some time and through subsequent releases.

Q: Hey, wait. Doesn't FCP X have auto sync built in?
A: As expected, a basic auto sync feature has been included in FCP X. We also expected that PluralEyes would be able to add value to FCP X, and our experience with it has confirmed that. We have heard from several customers that they still want PluralEyes.

Q: I need PluralEyes for FCP X! Can't you do something? A: We're doing everything we can think of. If you would like to make your wishes known to Apple, they provide a page where you are invited to give feedback about Final Cut Pro. http://www.apple.com/feedback/finalcutpro.html.

Best regards, The PluralEyes Team


Do note... PluralEyes and the companion product DualEyes are cross platform and available for several editing platforms.

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Adobe Premiere Pro and Production Premium are Half Off for Switchers

Well, it looks like the folks at Adobe know an opportunity when they see it. They've launched a new campaign at http://www.adobe.com/products/premiere/switch.html.

If you are a Final Cut Pro or Avid owner, you can save 50% on full copies of Adobe Premiere Pro.

The better deal in my mind is Adobe CS5.5 Production Premium.
  • Adobe Premiere Pro
  • Adobe After Effects
  • Adobe Photoshop Extended
  • Adobe Media Encoder
  • Adobe Encore (DVD, Blu-ray, Flash)
  • Adobe Illustrator
  • Adobe Flash and Flash Catalyst
  • Adobe Story and CS Review

Just use the code
“SWITCH” during checkout. The code also looks to get you an additional discount on upgrades too (though not 50%). The discount doesn't show up until you go to pay, so don't panic.

The offer expires September 30, 2011.

Remember, the Adobe demos are fully functional for 30 days, so you can try them out with no risk.

I've got a bunch of Photoshop, After Effects, and Adobe Premiere Pro tutorials over at
Creative COW in the podcast section.
You should also check out the new book for migrating editors–
An Editor's Guide to Adobe Premiere Pro

Even if you're unsure of your future, this is a great deal. We've used Photoshop, After Effects, and Adobe Media Encoder for years with Final Cut Studio. Classic FCP Editors should check out
Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite.

If you have trouble finding the promo, try these two links
http://www.adobe.com/special/offers.html?promoid=IUAXH
http://forums.adobe.com/message/3773888#3773888

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How to Do an Add Edit in Adobe Premiere Pro

Adobe Premiere Pro CS5001
I keep hearing from folks who are looking for the Add Edit tool in Adobe Premiere Pro. It's there, just under a different name. As you edit in the timeline, you may want to change the length of a shot. Here are a few quick editing techniques you should know:

  • Razor – Press Cmd+K (Ctrl+K) to split a clip at the playhead.
  • Razor All Tracks – Press Shift+Cmd+K (Shift+Ctrl+K) to split all tracks at the playhead.
  • Clear – Press the Forward Delete key to remove a selected segment and leave a hole behind.
  • Ripple Delete – Press Shift + Forward Delete to remove a selected segment and close the gap in the sequence.
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More Questions Raised by the Final Cut Pro X FAQ

fcpxfaq

Apple just posted an FAQ document that addresses the top questions. This is a certainly step in the right direction (open communication always is). I respectively submit my commentary and additional questions to respect additional clarification.

Gary Adcock contributed to this article and added clarification.

Readers, please add to this list in the comments section.

Import


Can I import projects from Final Cut Pro 7 into Final Cut Pro X?

“Final Cut Pro X includes an all-new project architecture structured around a trackless timeline and connected clips. In addition, Final Cut Pro X features new and redesigned audio effects, video effects, and color grading tools. Because of these changes, there is no way to “translate” or bring in old projects without changing or losing data. But if you’re already working with Final Cut Pro 7, you can continue to do so after installing Final Cut Pro X, and Final Cut Pro 7 will work with Mac OS X Lion. You can also import your media files from previous versions into Final Cut Pro X.”

  • If we are willing to lose some data, what could be imported?
  • Can we import the bin structure of a project to use existing organization?
  • You say that there is no way to translate or bring in old projects. Can we definitely take this that there will be no way now or ever?

Gary thinks that the question becomes how much can be brought in and how much of the previous structure is not translatable to the new app. Gary thinks that it should be possible to import the media files into a FCP X event. Folders and subfolders could carry over the existing naming conventions and folder nesting as Smart Collections and use the folder structure to achieve hierarchy via keywording.


Can I import my video directly into Final Cut Pro X as I could in Final Cut Pro 7?

“Yes. Final Cut Pro X allows you to import video from a wide range of devices, including many AVCHD-based cameras and DSLR cameras. You can find a list of supported cameras here: http://help.apple.com/finalcutpro/cameras/en/. The list will grow as we continue to test and qualify new cameras.”

  • We also use decks to ingest media too, what about them?
  • Any plans for device control for decks and standard protocols?

Gary thinks that third-party tools will be required for acquisition and playback of tape-based media, and are not yet available. He feels that Log and Capture is gone. Options like serial control will be in the hands of the hardware manufacturers.

  • How about third party capture cards?
  • What about Firewire based capture devices like the AJA IO HD?

Gary says that there is billion dollar ecosystem built around Final Cut Pro. He feels confident that there will be devices and they will be able to do more that output a Mirrored Desktop signal. He is of the opinion that this is the number one priority at this time for Apple. However he wants that just like how most three year old capture cards do not work with FCPX, users should not expect older capture hardware will likely need to be replaced too.

"Some camera manufacturers will need to update their import plug-ins to work with the new 64-bit architecture of Final Cut Pro, and we are working with them to provide these updates as quickly as possible. Until then, you can use your camera manufacturer’s import software to convert video for Final Cut Pro X."

  • Which manufacturers are you working with?

"For example, Sony offers an XDCAM Transfer application that allows you to convert XDCAM video without transcoding so it can be imported into Final Cut Pro X. You can find more information here: http://support.apple.com/kb/HT4724. If you are working with RED cameras, you can use the free RED software REDCINE-X, designed to transcode RED RAW video to ProRes for use in Final Cut Pro X: https://www.red.com/support/all/downloads.”

  • What if we don’t want to transcode to ProRes (defeats the purpose of Raw workflow for many)?
  • What about Arri Alexa?
  • How about camera raw formats for time-lapse?
  • Any plans to recognize the advanced metadata created by high end cameras? Many use FCP7 XML side car files, how do we access this data?

Gary points out that Raw is a viable workflow for many users, however, that long form or documentary projects have always done the Online / Offline process to keep the overall media size somewhat manageable.


Editing


Can I edit my tape-based workflow with Final Cut Pro X?


"Yes, in a limited manner. Final Cut Pro X is designed for modern file-based workflows and does not include all the tape capture and output features that were built into Final Cut Pro 7. Final Cut Pro X does support FireWire import for DV, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. In addition, companies like AJA and Blackmagic offer free deck control software that allows you to capture from tape and output to tape."

  • Are you saying that anything to do with tape, outside DV and HDV, is up to third-parties?
  • What about other decks (such as those from Panasonic) that can use FireWire to pass DVCPRO and DVCPRO HD data?
  • What APIs have you opened up? In other words what features are possible if third-parties choose to use them?


Does Final Cut Pro X support multicam editing?

"Not yet, but it will. Multicam editing is an important and popular feature, and we will provide great multicam support in the next major release. Until then, Final Cut Pro X offers some basic support with automatic clip synchronization, which allows you to sync multiple video and audio clips using audio waveforms, creating a Compound Clip that can be used for simple multicam workflows."

  • By next major release, do you mean version 2?
  • Historically there has been approximately two years between major versions, can you comment on a timeline more specifically?
  • By simple multicam workflows , do you mean two angles?


Does Final Cut Pro X support external monitors?

"Yes. If you have a second computer monitor connected to your Mac, Final Cut Pro X gives you options to display the interface across multiple monitors. For example, you can place a single window — such as the Viewer or the Event Browser — on the second monitor, while leaving the other windows on your primary monitor. Like previous versions, Final Cut Pro X relies on third-party devices to support external video monitoring. We’ve been working with third-party developers in our beta program to create drivers for Final Cut Pro X, and AJA has already posted beta drivers for its popular Kona card: http://www.aja.com/support/konaNEW/kona-3g.php."

  • Will we be able to mirror that second window to two places?
  • What color space is that second monitor going to function in?
  • How can we view a true video signal on that external monitor?
  • Any plans to support a second computer monitor and an external video monitor at the same time?
  • Will devices like the AJA IO Express and IO HD as well as Matrox MXO line work for laptop users and those with limited card slots?

Can I save different versions of my project?

"Yes. Final Cut Pro X automatically saves your project during the editing process, so you never lose your work. If you want to save a version of your project, with or without duplicate media, select it in the Project Library and choose File > Duplicate Project."

  • Will I be able to choose a Restore command to go back to a specific point in time?
  • Can I set a control for how often FCPX saves? Currently it appears that the app is literally saving every keystroke and movement.
  • Can I view separate states of an autosave so I can choose to compare two versions of a project based upon their time stamp?


Are keyboard shortcuts in Final Cut Pro X different from those in Final Cut Pro 7?

"Many keyboard shortcuts for navigation, start/end marking, and tools are the same in Final Cut Pro X and Final Cut Pro 7. Some keyboard shortcuts have changed to support new features. Final Cut Pro X offers powerful keyboard customization, and you can view and modify keyboard shortcuts at any time by choosing Final Cut Pro > Commands > Customize."

  • Is there a way to save my settings to move to another machine?
  • How can a user backup their settings?


Can I use my third-party plug-ins in Final Cut Pro X?

"You’ll be able to use them as soon as they are updated. Because Final Cut Pro X has a modern 64-bit architecture, third-party plug-ins must be 64-bit too. Final Cut Pro X already supports 64-bit Audio Units plug-ins. For motion graphics, third-party developers can build effects, titles, transitions, and generators as templates in Motion 5 for use directly in Final Cut Pro X. Developers can also build 64-bit FxPlug 2 plug-ins for Motion 5, and integrate those plug-ins into templates that can be used in Final Cut Pro X. These templates, together with any associated FxPlug 2 plug-ins, will work in Final Cut Pro X even if Motion is not installed on the computer."

  • In the future, will you release the plugin specifications before the day of software release to give developers adequate time to develop? It is very inconvenient to keep having your tools break because of secrecy.
  • Is there a way to create a bundle installer as well as to protect the work if you develop effects or templates using Motion?
  • Will Apple offer a market place (or open the App store) to help distribute these effects?


Media Management


Can I specify a scratch disk location?

"Yes. When you import media, you can specify the Event and the drive where you’d like to put it. You can also specify where you’d like to put your project. In Final Cut Pro X, a project and its rendered media always travel together in the same folder, so it’s easy to move projects between different hard drives and computers."

  • Many prefer to keep projects on one drive and renders and media on another drive, is this workflow possible?
Currently the only choice seems to be to keep the render files and project files together, which can place a performance hit on your system drive. The alternative is to place your project files on the media drive which makes project recovery difficult after drive failure.

Can I share projects with other editors?

"Yes. You have several options for sharing projects. You can hand over just the project file, and the recipient can reconnect the project to his or her own copies of the Event. Or you can send the complete project and Event as a package to another editor. Final Cut Pro X includes options for duplicating, moving, and consolidating projects and associated media to streamline sharing between editors."

  • Will we gain the ability to trim unused media using handles? This allows a project to be consolidated to a smaller package.

Can I store media in locations other than my system drive?

"Yes. Turning off the “Copy files to Final Cut Events folder” option leaves the imported files where they are currently located. You can also move the project and associated media at any point during the editing process by dragging the project to another mounted hard drive within the Project Library."

  • Can we gain some easy setup options that make this simpler? I find that I need to take 11 steps in order to prevent transcoding. I must uncheck options for both import and automatic rendering?
  • When will we see support for many popular networked drives formats that are not HFS+? Many are also reporting issues with gigabit ethernet, please address?


Can I hide Events that I am not working on?

"Yes. You can hide Events in Final Cut Pro X by moving them out of the Final Cut Events folder. In the Finder, navigate to the /Users/username/Movies folder and create a new folder. Then move the Events you are not using out of the Final Cut Events folder and into your new folder. The moved Events will no longer appear in Final Cut Pro X. If your Events are located on an external drive, you can move the Events to a new folder on that drive, or you can simply unmount the drive."
  • Are you open to other options?
  • How about the traditional concept of a project file?
  • What about the approach of Apple Aperture which uses multiple libraries that can be easily switched between on import?


Export


Can Final Cut Pro X export XML?

"Not yet, but we know how important XML export is to our developers and our users, and we expect to add this functionality to Final Cut Pro X. We will release a set of APIs in the next few weeks so that third-party developers can access the next-generation XML in Final Cut Pro X."

  • Are you saying that it will be the same type of XML that is supported currently by numerous manufacturers industry-wide? Or is this a new version?
  • In order for export to be useable, XML exports would have to be able to conform to the industry standards for inter-device communications
  • Will this ability cost us extra money like the OMF export option or will it be built-in?



Does Final Cut Pro X support OMF, AAF, and EDLs?

"Not yet. When the APIs for XML export are available, third-party developers will be able to create tools to support OMF, AAF, EDL, and other exchange formats. We have already worked with Automatic Duck to allow you to export OMF and AAF from Final Cut Pro X using Automatic Duck Pro Export FCP 5.0. More information is available on the Automatic Duck website: http://automaticduck.com/products/pefcp/."

  • You say when the API’s are available... is that dependent on Apple or another company to make these available?
  • Are these features waiting on the hardware API set as defined for Lion?
  • What is the priority of these features? Is it this version or the “next major release”?


Can I send my project to a sound editing application such as Pro Tools?

"Yes; you can export your project in OMF or AAF format using Automatic Duck Pro Export FCP 5.0. More information is available on the Automatic Duck website: http://automaticduck.com/products/pefcp/."

  • Any plans for native support?


Does Final Cut Pro X allow you to assign audio tracks for export?

"Not yet. An update this summer will allow you to use metadata tags to categorize your audio clips by type and export them directly from Final Cut Pro X."

  • Will this be a bundled feature or one that requires a third-party plugin?
  • Can we actually view and organize tracks in the timeline?
  • What about clips that are reused in different ways?
  • Will this still require a plug-in like the one made by Automatic Duck to fully function?


Can I customize my export settings?

"Yes. Compressor 4, available from the Mac App Store for $49.99, allows you to create a wide variety of custom export settings that you can use in Final Cut Pro X. The most popular export options and formats, including ProRes and H.264, are already built into Final Cut Pro X."

  • What about using the media manager to go to other codecs from companies like Cineform and Avid?
  • What about choice on import for more than two codecs?

PurchaseCan I purchase a volume license?

"Final Cut Pro X, Motion 5, and Compressor 4 Commercial and Education Volume Licensing will be available soon via the Apple Online Store for quantities of 20 or more. After purchasing, customers will receive redemption codes they can use to download the applications from the Mac App Store."

  • What about 5 users licenses? 10 user?
  • How does a company purchase more than one license without using multiple credit cards or iTunes accounts?
  • How many machines can a single copy be installed on?
  • How many users can use it at once?


All in all, a good start in the right direction. Please add your questions below. Hopefully the official Apple document will keep growing.

Comments

How to Render Less in FCPX

Got a great tip from a friend... You can work natively in Final Cut Pro X. You just need to change some settings to overcome its desire to eat up disc space. Start by launching Final Cut Pro X. Be sure to keep an eye out for Abba Shapiro's forthcoming title.

Playback Settings

You need to adjust how media is played back as well as rendered.

Final Cut ProScreenSnapz001
  1. Choose Final Cut Pro > Preferences.
  2. Click the Playback button.
  3. Uncheck the Background render box.
  4. Check use original or optimized media.
  5. Set Playback Quality to Better Performance.

Importing Settings

Now it's time to adjust how media comes into the system.

Final Cut ProScreenSnapz002
  1. Click the Import button.
  2. Uncheck Create optimized media.
  3. Uncheck Create proxy media.
  4. Uncheck Copy files to Final Cut Events folder.
  5. Close the preferences panel.
There you have it... looks like its possible, it just takes some extra work to disable the many preferences that will want to transcode or render.


Comments

Not on Twitter? Now’s the Time.

Screen1-300x219
Apple recently unveiled that Twitter would be tightly woven throughout the next version of their iOS.  IF you didn’t spot this trend, let me put it a new way: welcome to the tipping point.  Apple is about to make Twitter a default method for sharing news, photos, and information with your contacts.  Your phone will literally scan your address book and attempt to integrate Twitter throughout.

Now, some of you already use Twitter…which means you probably fall into three camps. You either love it, don’t know how to use it, or haven’t gotten past the confusing gibberish to even start.  Let me offer some advice to those who aren’t already benefiting.
Start by Following. Click the Who to Follow button and then look through recommended users as well as search for people you know.  Choose 50 people or brands that interest you and read them for two weeks.  See what they talk about and what information you’re finding out that you’d likely have missed if you had to search actively for it.

Keep reading the rest of the article here —
http://www.asmp.org/strictlybusiness/2011/06/not-on-twitter-nows-the-time/
Comments

The Final Straw that was FCPX

There has been a lot of collective wondering going on lately. People keep asking me and many others why we are so upset by the release of Final Cut Pro X. Why is it a bad thing? Both apps can still be installed ... right? The price is more affordable ... right? The needed updates will come eventually ... right?

The release of Final Cut Pro X was the defining moment for many. In my line of work, I get to interface with a lot of video editors and other video professionals. I have spoken at numerous user groups and conferences. As a forum leader and podcaster for Creative COW, I have been hearing complaints for years. I also get to sit in edit suites with clients. The waiting for transcode on import as well as the 32-bit nature of Final Cut Pro 7 has caused a lot of impatient waiting in edit suites around the globe.

Final Cut Pro X was supposed to fix this. At least that was the belief most held. It would be “awesome” we were told. I guess that can mean different things.

People are not breaking up with Apple because of what Final Cut Pro X is. They are ending their relationship because their fears have been confirmed. I present to you a summary of the issues that have people freaked out. Please pass this list on to anyone who asks you what the big deal is. These are my 10 reasons that people are switching.

These are just opinions. Opinions formed by my interactions with many and my professional experiences and connections.


The Long Wait

The release of Final Cut Studio 3 was seen by many as a stopgap. DVD Studio Pro removed its HDDVD features. Color saw a .5 bump up. Other apps saw improvement but nothing “killer.” The biggest feature seemed to be the Share menu (which added several export capabilities and speed). And we got more flavors of ProRes (nice, but nothing that impressed my clients). In terms of life, it was an appetizer to hold us over to the main meal.

Here is the summary of events according to Wikipedia (
http://en.wikipedia.org/wiki/Final_Cut_Studio).

NAB 2007 – Final Cut Studio 2 [14]: Final Cut Pro 6, DVD Studio Pro 4, Motion 3, LiveType 2, Soundtrack Pro 2, Color, Compressor 3

July 2009 – Final Cut Studio (2009) [15]: Final Cut Pro 7, DVD Studio Pro 4, Motion 4, Soundtrack Pro 3, Color 1.5, Compressor 3.5

The pent up demand from 2007 made this feel like a four year wait form many. A wait filled with little communication about the vision or future. In tough economies, people want leadership that is visible and clear. They want to be able to talk to the companies that work with at industry events and trade shows, not just their local shopping mall.



The Warning Signs

There were lots of warning signs that had people concerned about the future of Final Cut Studio. For example:
  • iPhoto got several key features like Faces and Places well before its professional sibling Aperture.
  • Aperture saw its priced slashed several times and its sales soar on the App Store. I think this proved to Apple that make applications approachable and affordable could make them more profitable.
  • The App Store model also doesn’t offer upgrade pricing. Currently, a person must pay nearly $400 to get three applications. In the past, they paid $500 for seven applications as an upgrade (in fact it was only $299 for FCS3).
  • This article here (http://t.co/ET3Qa3w) does a great overview of the demise of Apple’s pro products like Shake, Cinema Tools, Logic, and more.

This of course takes us to the current release. People are nervous when updates to applications like Color, Soundtrack Pro, and Cinema Tools are gone. Broadcasters and large facilities which spent significant resources investing in Final Cut Server are also less than pleased. People aren’t sure what to think when such large holes are left open and no one is talking from the company.


The Market Evolves

There have been a lot of questions about how people could be jumping ship so quickly. How can you go back to Avid? Why are you switching to Premiere Pro? People did not make these decisions overnight.

I myself stopped by both the Adobe and the Avid booths at this year’s NAB. Both companies have also been actively supporting user groups (even groups that use to be exclusively Final Cut Pro). Professionals have been looking over the fence since the release of Final Cut Studio 3.

They want the following features:
  • Native Editing – True ability to import media without having to transcode first. We got that in FCPX sort of... it just keeps transcoding in the background.
  • 64-bit Support – We buy expensive computers, please see those processors and RAM so we can make our deadlines.
  • GPU Acceleration – This too is implemented in FCPX. Unfortunately the hardware requirements were released after FCPX and after many found out that their systems would not be supported by the new application.
  • Support for Third Party Hardware – Final Cut Pro boomed thanks to great manufacturers like AJA, Blackmagic Designs, Matrox, and others. The ability to use a wide range of hardware (as well as storage choices) was the key selling point to many customers. Products like Avid were a closed technology for many years (but even they have changed). Apple says they are open, but shipped a product which for the most part ignores or cripples third party hardware. Folks aren’t mad about the $299, its what that $299 does to the monitor, deck, and capture card (estimated price $10,000–$50,000). I have also heard from film editors and colorist who are baffled why they control surfaces for color grading and audio mixing don’t work.


Open Standards

In a given week, I will use most of these formats: XML, layered Photoshop files, AAF, OMF. I will also capture and output to tape (far more often than I like to).

With Final Cut Pro 7, Avid and Premiere Pro, I can exchange projects. I can go to ProTools, Audition, or Soundtrack Pro for an audio mix. I can send to Apple Color or DaVinci Resolve for color grading. I can export via XML and easily exchange footage with After Effects for compositing or motion graphics.

Professionals want to run around the entire playground, not just sit inside a single sandbox (especially when that sandbox keeps getting smaller).


Open Communication

In today’s market ... it takes vision. New products are not visionary if customers can’t understand them. Customers don’t want to be told what they want, rather they want to feel that their company of choice is listening.

The amount of noise on the net over this release is insane. Look at Twitter with the hashtag
#fcpx. Visit the Final Cut Pro X forum at Creative COW (http://forums.creativecow.net/finalcutprox). Read my response to the New York Times (http://www.richardharringtonblog.com/files/fcpx_response.php).... They changed their review the next day thanks to people like you.

What’s missing in all of this is a statement from Apple. Instead they have responded through a few bloggers and trainers. What people want is a road map. What features do you intend to keep. What can we expect to see in the future. I know its difficult to say when... but something. I really like what Adobe did here –
http://tv.adobe.com/watch/industry-trends/adobes-vision-for-professional-video/. I also like that they are all over social media and blogs and forums. I can interact and I can get answers. That really does matter and is the greatest factor when it comes time to decide where I spend my money.



Native/RAW Workflows

I know we mentioned this point, but it bears repeating. Native and RAW workflows matter. Camera technology is amazing these days. Efficient codecs for storing video in high definition. Several camera even offer raw capabilities (whether shooting stills for time-lapse on a DSLR or market leaders like RED and Alexa).

Last week I got the joy of working with Vincent Laforet (
http://www.laforetvisuals.com) for a few days. We did a bunch of Raw time-lapse and played with RED Epic footage in 5K HDR. My mind was blown away by what we could do with the source material. This is the future. By the way we have something in common, he’s switched to Adobe Creative Suite for his RAW and time-lapse workflow.

But every day at my own shop we are pulling in tons of media shot on Panasonic P2 cameras and DSLRs. I can work with this material immediately in Adobe or Avid.

While some say that you can in Final Cut Pro X, you’ll quickly notice a key difference. The material wants to transcode to ProRes. Even if you import natively, as soon as you adjust or modify it transcodes. It wants to transcode on import, you can disable it. But time and time again, as soon as I work with the files, they begin converting. In the course of a normal edit gigabytes of render files (even unused ones) pile up. Why can’t I pay the render tax on final export instead of filling up my drives with files I don’t want?


An Existing Ecosystem

Apple was a popular solution because it worked so well throughout the facility. We had hardware options for storage, capture, and monitoring. We had a rich system of supporting applications like Plural Eyes, After Effects, Photoshop, and more. We had thousands of plug-ins to choose from.

We are told that we will have those choices. What I hear often is that Apple was so secretive that they have only released some of the technology needed at this point. Most developers and hardware makers got their copies of the software that I did.

It’s a partnership. We bought into Apple because it was the captain with a great team behind it. What we get from others (and even Apple in the past) is support for entire workflows on day one of launch. People don’t want to give up on their total investment just to get a few new features. Especially when those features already exist in other tools on the market.


The Version 1.0 Argument

Most of the Apple Certified Apologists (not my term) keep arguing that this is a version one product. Don’t worry, the features will come. Surely we’ll see XML and multi-camera support and the ability to import projects. What makes you so sure?

  • When you launch Final Cut Pro X it says version 10.0. (For an interesting commentary see Steve Hullfish’s article – http://provideocoalition.com/index.php/shullfish/story/proof_that_fcp_x_is_really_just_imovie_-_directly_from_apple/)
  • When you have 11 years of functionality, you don’t expect to have to start over. (For a laugh, watch this – http://www.youtube.com/watch?v=SgXUh1HrYOw&feature=share.
  • There are paradigms that people want to follow. Just because you invent something new doesn’t mean you destroy the way people have worked for centuries. Good software is flexible, allowing people to work they ways they like. If a new (or “better”) way coms along, you let people choose to migrate at their own pace.


The Walled Garden

So here’s the truth ... when it comes to hardware, I give most of my money to Apple. I’ve been buying Macs since my days at Drake University in 1990. For more than 20 years, I’ve chosen Apple hardware. For ten years, I’ve stood in front of professional conferences and presented off Mac hardware.

I’ve bought every iPod, iPhone, and iPad. I have filled my company with their products as well as my home. I think I’ve convinced more than 100 people to get an Apple TV.

I am an Apple fanboy (but perhaps I am now recovering).

I’ve started to use other people’s stuff. I’ve played with a Droid phone. We have some smoking fast PC’s in the office from Dell that just chew through motion graphics and video production tasks. I have more choice.

Choice isn’t always good ... it can make support difficult. But choice is becoming less and less a factor with Apple products.
  • I cannot choose where I buy their software. The VAR network offered a valuable service of configuring machines and supporting them to many clients.
  • I can only get support on the software on day one from the two trainers they choose to give advanced access to the software.
  • I cannot choose third party tools or hardware with any confidence.
  • I have to wait months (if not longer) for small developers to catch up and get plugins working. Many are choosing not to or are at least taking a wait and see approach.


The Trust Factor

This takes us to the final point. Can you expect that the investment you make today will work in the future? Can you invest in training your employees so they are ready for the future? Can you trust Apple?

I am going to speak no further ... that is a personal decision for you to make.


-Richard M. Harrington, PMP

Comments

Motion Graphic Resource Books

bookstack
A lot of resources are available that can impact your designs. The following list offers a few that we find most essential. This list is not exhaustive, but think of it as my "top picks."

Typography



Color


Design



Comments

Blending Modes in Action – UAP 222



Instructor Richard Harrington demonstrates how to combine two layers based on their content using the Blending Modes tool.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Previous Final Cut Pro Updates Restored

updsates_FCS

It appears that Apple listened on one point (which is great). The software updates have been restored to Apple's website. Previously, many just pointed to the Mac App store to buy Final Cut Pro X. You were able to run the update through Software Updater, but it was difficult to access the files for backup.

  1. Go here http://support.apple.com/downloads/#final%20cut%20studio.
  2. Download the ones you need.
  3. Burn them to disc and put them with your Final Cut Studio install discs.

Thank you Apple.


Comments

A Public Statement on My Relationships and Recent Writings

Due to my recent writings, my thoughts and activities have come under much greater scrutiny. I think it is important that I fully disclose my involvement with technology companies as well as much of my day to day existence.

What is Your Primary Job?

The primary focus of my activities is as the owner of a production company in the Washington, DC area. I started the company in 1999. I have built my company’s infrastructure around Final Cut Pro and have used Adobe Photoshop and After Effects extensively. We also use a lot of other software tools as well.

Our storage networks are primarily Drobo. We use mostly Panasonic cameras and shoot to P2. We do use a lot of DSLR equipment (both from Canon and Nikon). We use AJA hardware for the most part. We are 80% + Mac shop, but we do have some Dell computers (as well as Windows installed on several Macs).

What Other Jobs Do You Hold?

I come from a family of teachers. I have taught university. I have taught online. I have taught at conferences. I usually get paid to teach, but I have spoken and done several free events. I have spoken at Apple stores (both paid and for free). I have worked at Apple’s booth at NAB. I have spoken at Adobe’s booth there too. Both of those positions were unpaid (though Apple covered my expenses, lodging, and airfare).

The bulk of my training has been around teaching video pros and photographers. I have an obsession with slide presentations (and a passion for Apple Keynote). My goal with training has first and foremost been to help people. My secondary goal has been to earn money to support my family. It is an economic reality that I need to make money for my teaching as it takes me away from my company.

Over the last ten years I have written approximately 30 books. These have been predominantly on Apple and Adobe software. I have also written about web video, DSLR video, workflow, and even PowerPoint.

I have made money as a podcaster for Creative COW. I have also been paid to blog by ProVideo Coalition. I have been hired to write for DV magazine, Creative COW magazine, Photoshop User, and Mac Design.

In 10 years, I have been fairly visible. The revenue I make is sufficient (although I certainly cannot quit my day job if I wanted to support my family). I have rarely been supported by advertisers or sponsors. I have made enough money from my training efforts to justify the time and effort (as well as to release hundreds of free podcasts and thousands of blog and forum posts).


Which Companies Have Hired You Recently?

I have been hired by the following companies to produce training or do video production services. This list is in alphabetical order for ease of use.
  • Adobe
  • Apple
  • Creative COW
  • Drobo
  • Focal Press
  • Kelby Training
  • Pearson Education

I have been approached by several others. I have turned down advertisements on my blog.

I have received products from many companies through the years. This ranges from software to review, to products to test. This list is not complete (as I cannot remember everything at my age). These groups have supported my efforts and training with equipment loans, not for resale software, etc. Most of these items are loaned, and have to be returned upon request. Again in alphabetical order.

  • Adobe
  • AJA
  • Apple
  • Artbeats
  • Dell
  • Digital Anarchy
  • Drobo
  • G-Tech
  • Hoodman
  • Matrox
  • Redrock Micro
  • Red Giant
  • Singular Software
  • Wacom
  • Zacuto

What Do You Edit With? 

I started on Avid at KCCI television in Des Moines, IA. Paid for my own classes out of my own pocket and learned it. I actively edited on Avid for about 7 years. I was an Avid editor at dhg Productions and PCI Communications. Also freelanced using Avid for several years (and still have a respect for the product today).

I started with Final Cut Pro on version 1. I still use it a whole lot (and it is the most popular application with our clients). My company did 90% of its editorial work in Final Cut Pro last year. We are migrating new projects to Adobe Premiere Pro in most cases, but have many clients and existing projects that will need to stay in Final Cut Pro 7.

I decided to get over my snobbishness and learn Adobe Premiere Pro about 2 years ago. I struggled, I whined, I complained. Then it got better. I used it for all my DSLR workflow starting with CS5. I’ve now switched to using it about 50% of the time for my work, and I am excited by the growth I see.

My own company is in the middle of being retrained. Like many things related to video workflow, I wrote it down and sell it as a book. If you buy it... I make 50¢. Let’s just say I live off my client work — my book writing is a bad addiction spurned by being bred from a family with 14 teachers in it.

Do You Have an Agenda? 

Heck no. I consider NLE choice like religion. That’s up to you. Except when it’s not. Like a client demands, or the shop you work for switches. I helped a lot of Avid editors learn Final Cut Pro (I mean A LOT). I’ve also started helping Avid and FCP users learn Premiere Pro. Use the tool you like if it’s up to you.

If you freelance... know all three (more money). If your job requires you to learn a new tool, do so. I regularly post links to great trainers, conferences, and educational products (not just my stuff).

I use what the job or the client demands. Do I like Adobe... yes I like where they are going and find it reassuring that they lay out a clear roadmap. I also commend Avid for being much clearer about where they are going and opening up support for AJA hardware, etc.

What I would like Apple to do is communicate its vision with words (not just software releases). I’d like to have time to transition and see both roads stay open while the bridge is under construction. As a pro, I cannot accept dramatic interruptions in my workflow. It saddens me that it is easier to migrate to other manufacturers and keep my Mac computers and AJA hardware working, than it is to migrate to the shipping version of Final Cut Pro X.

Do You Hate Apple/FCPX? 

Absolutely not. When I launched my company I was faced with taking out a second mortgage for an NLE or trying Final Cut Pro. I have been there since version 1. I built my company using Apple hardware and software from Apple and Adobe.

To this day I use both heavily. If you have any doubt.... look at the Final Cut Pro podcasts on Creative COW. I think it's a great tool for some users, really. But its not what I hoped for as it stands now.

I am currently working on training for photographers who want to edit DSLR material in FCPX. I am happy with it for that use, as I know it will be approachable to many photographers who find “traditional editing” confusing. If you like FCPX, I am genuinely happy for you. Getting new software should feel like birthday presents for a six-year old.

Do You Have Agreements with Companies?

I have multiple non-disclosure agreements and I honor them. I have never disclosed details about one manufacturer to another. I have (to the best of my knowledge) never disclosed anything improper to end users. This agreements are a necessity as they give me advanced access to the tools we all use.

This advance access lets me figure out problems. Some companies use this feedback and make their products better. I also can work on training products so they can be ready when the application ships (or as close to possible). These agreements are entered in so I can create a product that is ready when you need it.

My opinions have never been bought. I have never been told what to say. I have never colluded with a company to change the opinion of the market. I have been hired by companies to help them understand the end user. I have written and produced as well as reviewed and commented on efforts that impact the professional video industry.

Why are You so Vocal Now?

I have always tried to be fair in my opinions. And I always try to give software developers helpful feedback about their tools. I have been blogging for more than 5 years and release approximately 5 posts a week. I’m also active on Facebook and Twitter as well as contribute to several photography and Photoshop blogs.

My opinions raised through my writings and podcasts on the Final Cut Pro X release have been from the point of view of a facility owner who now has to retrain his own staff. I am also frustrated that my investment in hardware and training is currently being wasted by a product that seems to ignore both.

I am vocal because there has not been a clear public statement about the issues many pros are raising. I am vocal because there is not a shared plan to address migration. I am vocal because ten years of my company’s work is frozen to an application that may or may not run in the future.

As a trainer and author... these are good times. Lots of work and consulting to do.
  • I recently released a book on Premiere Pro for migrating editors. I had no inside knowledge on Apple’s plans. I decided to diversity my company and cross-train my employees.
  • I am currently writing two books on video editing for DSLR photographers. One is on Final Cut Pro X while the other is on Premiere Pro. I truly believe that both are great products for this segment of the professional workforce.
  • I have had lots of demands from both Apple and Adobe users to help them with problems. If you look at the training products I’ve released in the last 3 years you will see my focus has always been on collaboration. Helping pros and emerging pros to get their jobs done has been my goal.
  • I also weave business ethics and best practices into most of my content as I genuinely want to see our industry succeed.


In Conclusion

I hope this post does three things.
  • First, I have a legal obligation to reveal my professional relationships.
  • Second, I hope it helps readers and listeners understand my motivations.
  • Third, I would like the industry and Apple to engage in meaningful and professional conversations to ensure the long term health of the professional video industry.

These are challenging times. The economy is rough and competition is high. Please continue the debate with respect and integrity. Choose what is right for you. My opinions are not very important, I will be here to help in whatever way I can with the knowledge and skills I have built through the years.

Richard M. Harrington, PMP

Comments

Updates Below (Round Two)

I've posted additional updates to the article entitled My Response to David Pogue’s  “Professional Video Editors Weigh In on Final Cut Pro X”
I will continue to do so as people add useful clarifications and point out verifiable sources.
Thank you for keeping the discussion going and keeping things civil.
Updates here – 
http://www.richardharringtonblog.com/files/fcpx_response.php
Thank you to all my friends for your support and keeping things civil during these difficult times. Remember to keep the focus on Apple (and not attack others in online forums or blogs). Keep posting and pass this article around to those who tell you that you are wrong. Be civil, reversing a "revolution" won't happen with angry words. The initial shock is over... move past anger. Make your opinion known with respectful words. Apple corporate is the one who made these decisions... address the cause of the problem.
Comments

My Response to David Pogue’s  “Professional Video Editors Weigh In on Final Cut Pro X” *Updated June 25*

Before I begin ... let me say this.  
  • David Pogue is a fine gentleman who I have met several times.  He is smart, he is generous in his knowledge, and he is fair. He is not a shill and his article was trying to be helpful (I commend him for getting Apple to answer questions).
  • He is not a video editor. Nor does he try to pass himself off as one.
  • I am sorry this response is SO long. It's technical and it's important I be clear and detailed (I've already been criticized and accused of being an Apple hater or colluding against them).
*Updated – 6/24 8:05 AM – I just got a great phone call and a few emails. I am inserting some updates in Orange. I will add corrections and clarifications as they come in (and I can verify).
*Updated – 6/25 5:26 pm (I am adding additional context and links to article). Also be sure to look at the many comments and answers below the article. Please keep posting issues you find (but keep things civil here). The time for anger is past... let's work to get a clear list of issues and give Apple some context as to what we want and why.
Here is the original article – http://pogue.blogs.nytimes.com/2011/06/23/professional-video-editors-weigh-in-on-final-cut-pro-x/
*Updated – 6/25 5:26 PM – I won't call this winning, because it is not about that. But David now says "Having read through hundreds of comments from professionals, both civil and uncivil, I’m now convinced: Final Cut Pro X may indeed be ready for the future. But for professional video editors, it’s not yet ready for the present."
Please read
http://pogue.blogs.nytimes.com/2011/06/24/the-quarrel-over-final-cut-continues/. Stop beating up on David... but do head over and read it. If you work in pro video, voice your support for his reversal.
I would like to briefly respond.  But before I do, a brief overview.
  • I have been a certified instructor for three of the A’s that make video editing software.
  • I have produced Final Cut Pro tutorials which have been given away for free for years as podcasts through iTunes.
  • I have written several books on Final Cut Pro (as well as other products). 
  • I do use other company’s tools (always have).
  • My opinions here are based on owning a 10-person video production company which has built its infrastructure around Final Cut Pro for 10 years.
  • I am not even going to touch on the challenges of completely retraining my staff and myself on something that is so radically different.  You thought people whined when Microsoft added the Ribbon to Office...go look at what editors are saying in the App Store reviews.  Remember only people who actually BOUGHT the application are allowed to rate it.
*Updated – 6/25 5:29 PM – The comments below this article as well as the forum over at Creative COW are excellent places to see the confusion. The FCPX techniques forum is a great place to get help too.
Hopefully that’s enough context...  Let’s begin. (Red is Pogue’s summary of the complaint.  Blue is his answer (with input from Apple).  Green is my response.

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Complaint: There’s no multicamera editing. In the old FCP, you could import the footage from various cameras that covered an event (say, a concert) from different angles simultaneously, and then easily cut back and forth between them while editing. It was a star feature of Final Cut, and it’s gone from FCP X.”
Answer: Apple intends to restore this feature in an update, calling it “a top priority.” Until it does, here’s a stopgap facsimile of multicam editing: If you drag two clips into parallel timeline tracks, you can choose Clip->Synchronize Clips. By comparing their audio tracks, the program aligns the clips exactly. Now, each time you select a piece of the upper video track and press the V key (“disable”), you are effectively cutting to what’s on the lower video track.”
My Take: Final Cut Pro could previously edit up to 128 angles.  While that is a tad excessive for most, using three to nine angles is very practical.  We regularly cut programs such as talk shows, concerts, and events using this feature.  The method described by Pogue is like telling a NASCAR driver to turn over their car, strap one roller skate on, and push as fast as possible with the other foot.
*Updated 6/24 8:27 AM – In order to edit a lot of angles, you used to have to use several hard drives and they had to be really fast. We'd also off the option of using a a flavor of the Offline RT codec, then easily relinking. It was complex (at times), but powerful.

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Complaint: You can’t share a project with other editors. In professional editing companies, editors routinely exchange projects. But in FCP X, “all of your project organization is now globally contained in the application rather than in your project file. You literally have to give that other editor your entire computer,” writes one blogger.
Answer: Not true. You can share your project, your files, or both. If the other editors already have the raw video files, you can hand over the project file. The other editors can inspect the Project Library; on its Info panel, they can click “Modify Event References” to reconnect the project to their own copies of the media files.
If the other editors don’t have the raw files, the various commands in the File menu let you move the project file, the media files, or both to another computer on the network, to another hard drive or whatever.
My Take: I am glad that some of my initial fears are wrong.  However this command is much less robust than the previous Final Cut Pro media manager.  It seems to lack the ability to force a file to reconnect or to invoke a search if the file says it can’t be found.  The Media Manager seems to also lack ability to trim media with specific handles to make the media smaller.  
Gary Adcock (my genius technical editor) Offers this useful summary

  • Duplicate Project — Functions much like the FCP7 media manager did. You can choose the Project only, Project & all References or Project with just used media.
    • Move Project —
    Will move all media and Associated to new volume. This can be used for uploading a field edit to a desktop system. It too can move just project or project and media
    • Merge Events —
    This can combine two copies of the same project into a single Project file. This can be used to bring last night's changes you did on the train into your desktop at the office.
    • Consolidate media —
    The is the clean your desk command.
    • Organize Project –
    This will consolidate media for the scratch disk only.
My Take: With all of these options there are still things missing. Also despite my best efforts to keep project and media split, a ton of files still end up on my internal drive in the movie folder (especially when I use generators). FCPX seems to be always rendering. So when I tweak an effect, it re-renders and those files keep adding up. In the "old days" you'd get lots of precomputes you'd manually clean up on an Avid (or other system). This problem was solved years ago by all manufacturers it seems. Render files are usually smarter these days. Also, being able to work in real-time and experiment is great. But I want to choose WHEN I render. Otherwise I am using machine power and disk space unnecessarily. I like to render when I leave the room. Not while I'm sitting in front of my nonlinear editing system.
You also have the ability to transcode to only two flavors of ProRes (a proxy file or a high quality file).  Previously you could manage the project to any installed codec (format) that you wanted (including third-party formats).  This made collaboration and exchanging media with others much easier. There are five flavors of ProRes... why can I only choose two of them (let alone everything else).
Gary points out that the transcode settings appear to follow logic.
  • That 8-bit material and DSLR videos files are rendered to ProRes 422.
  • Animation and Uncompressed codecs are converted to Pro Res HQ if 1920 x 1080 or less
  • Animation and Uncompressed codecs are converted to Pro Res 4444 if 2K or larger
  • Turn off the Optimize media check box to cut your re-rendering in half
Gary catches a potentially troublesome problem:
"If you start a project by using the “ prefs based on first clip” and then import content, all renders will be based on that content level. I found this out when starting with PR4444 from Alexa and found all of these huge renders on my system."

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Complaint: You can’t freely organize your media files. “There is no way to customize the organization of the project media,” gripes one blogger.
Answer: You can customize the organization freely if you’re willing to understand the new keyword tagging system. Dragging a clip into a folder essentially applies a new keyword to it.
My Take: I am glad we have these options.    But there are fewer ways to customize the view.  You can’t seem to add custom columns.  There are collections, but not the simple ability to use folders and nests of folders to organizer.  Imagine if you had no folder structure on your Mac hard drive.  Just Spotlight.  You could only organize by tagging keywords onto all your stuff. 
You also can’t organize media while any background tasks are running. Such as rendering, transcoding, stabilizing, etc. Background tasks are frequently happening as things automatically render.  Change a color effect, it renders.  Adjust the size it renders.  In the past you would choose when to render.  Now you have to keep opening the Background Tasks panel and canceling. 
*Updated – 6/24 8:30 AM – You can make folders in events with a right click on the event in the Event Library. It is very different in appearance than FCP 7, but does seem to work better than I thought. I stand by my lack of creating custom columns as well as the challenges of constantly looking from the far left edge of my screen to the right to see the Events Library and Inspector panels. Wish I could move panels next to each other.
*Updated – 6/25 5:57 PM – Turns out you can also drag keywords into folders (and be sure to learn how to use collections too).
Gary says
"I found the keywording for organization is like having Google searching my project, it’s faster and you can sort the materials based on any variety of keywords or even strings of words."
My Take: I agree this is awesome... but I'd also like the ability to use the thousands of projects I've organized already. I'd also like to not let one client see another client's media. The current media browsing seems to be based on the idea that you only have a couple of projects. I may grow to like events... but right now I don't.
Events didn't make it into Aperture (from iPhoto). Projects did. By the way I can have many libraries in Aperture making it easier to isolate client's work from one another (as well as personal projects from work). Maybe FCPX and iMovie could grow a little more distant (as well as over useful documentation like this –
http://www.apple.com/aperture/iphoto-to-aperture/how.html that address how to move projects and libraries in).

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Complaint: No Reconnect command when media is offline. When media is offline, you get a red screen with an exclamation point. There is no Reconnect Media command, as there used to be.
Answer: True. Then again, the old Reconnect dialog box got people into a lot of trouble; they often reconnected a project to the wrong files, or the wrong versions of files.
FCP X assigns a unique behind-the-scenes identifier to every single video clip. When you reconnect the missing hard drive, your project reconnects to its original files automatically, even if you have moved them around or renamed the hard drive. You can’t reconnect to the wrong thing.
My Take: I am glad that some of my initial fears are wrong.  However this command is much less robust than the previous Final Cut Pro media manager.  It seems to lack the ability to force a file to reconnect to a new version (such as an updated graphic file) or to invoke a search if the file says it can’t be found. Finding the information is a little tricky and involves opening a panel. It also appears that you also can’t invoke the re-connect command unless the media is offline.
While the command COULD get you into trouble if you made bad choices.  It also gave you important controls that professionals really needed.
*Updated – 6/25 6:10 PM – Gary pointed out to me that this seems to be a huge change. Previously Final Cut Pro just remembered the file pathways. Now it is actually polling and tracking media via a database. (based on SQL actually). Updated files are automatically included as part of the metadata management. This also means that when you add a new volume to your system, X will poll it, looking for FCP event or content flags in the media. (He is still trying to find out what this file is called and where it is hiding on the drive).
My take: Again this sounds better, but we need to ability to force a re-connect. We also need to be able to backup that database for safety.

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Complaint: You can’t assign audio tracks. “We send all our audio files out for ProTools mixing,” writes one editor in an e-mail. “We always put narration on Track 1 and 2, interviews on Tracks 3 – 6, and so on. So our audio engineers know exactly what’s on which track. But FCP X’s ‘trackless’ design makes that impossible.”
Answer: For now, you can use a utility called Automatic Duck Pro Export 5.0 ($200 to upgrade) to create and manage these tracks automatically when you export to ProTools. Apple says  it will restore this feature to FCP X.
My Take: That’s $200 to upgrade from a full version of Automatic Duck (not a $200 upgrade to FCP).  It’s $500 new.  Gone is also the version to map specific output when going to professional tape formats (a frequent requirement for professional delivery). In fact if its not HDV or DV, tape support seems to be gone all together.
But it's not just ProTools output.  Several of the exchange methods are gone. XML is the biggest deal which would allow this tool to continue to communicate with the now discontinued Apple Color, Davinci Resolve, Adobe After Effects, and many other tools that people use for special purposes and collaboration.
*Updated – 6/25 6:16 PM – Gary says that the XML should work in Lion. Also that the necessary hooks are in FCPX already. He says he can also find output libraries for DPX and Open EXR that are already visible. He also feels that there should be some changes in how hardware can be accessed with Lion.

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Complaint: No custom frame rates or custom frame sizes. Editors are complaining that you can’t specify unusual frames-per-second rates or frame dimensions.
Answer: Not true. When you create a new project, you can specify any frame rate or size you want, right in the Import dialog box. You can also change the frame rate or size when you export the finished product — if you’re willing to spend $50 on Compressor.
My Take: Sorry ... you are 95% wrong.  If you choose custom in Final Cut Pro 7, you have the option to enter just about any size or rate. When I choose custom in FCPX... I can choose from several standard options.  But I can’t enter any value. If you choose Other, your choices are:

  • 640 x 480 or 960 x 540
  • 23.98, 24, 25, 29.97, or 30
Final Cut Pro 7 was resolution independent.  You could enter custom sizes, pixel aspect ratios, and frame rates.  This made it a great tool for producing irregular sized videos for web or presentation use as well as doing things like custom video walls for installations or retail.
Changing the frame rate on export is not what we’re asking for.  Being able to work with a setting that matches footage or lets you work with custom settings as needed is gone.  You also cannot save you own easy setups or sequence presets that let you store the settings you’ve made for easy access.

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Complaint: No support for RED digital cameras. The RED camera is a favorite of filmmakers; it records incredibly high-resolution video directly to a hard drive. But FCP X can’t import its files.
Answer: Apple is working with RED to create a plug-in that will give native RED support to FCP X. In the meantime, you can set your RED camera to shoot and capture video in the QuickTime format, which FCP X imports just fine. Or you can use RED’s free conversion program, which converts its own files into the Apple ProRes format, which FCP X loves because it’s so much faster and easier to edit than the native RED files.
My Take: David, you don’t understand why people choose to shoot RED.  The benefit of shooting raw video is the same benefit as pro photographers choosing raw stills over JPEG.  Shooting or converting to QuickTime throws away A LOT of information and latitude in adjustments.
What pros wanted was the same level of control they get in Adobe Premiere Pro or Red Cine X.  The ability to truly grade color, work with high dynamic range features and more. They also need greater controls on media management and reconnection.  The reason why pros are so furious is that Apple and RED had the closest working relationship in the industry.  People don’t understand why the program would ship without support.
*Updated – 6/24 8:40 AM – It's not just RED... it's other Raw formats too (like Alexa). A few pointed out that we have 4K sequence presets, but no easy workflow for getting in 4K footage.

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Complaint: No ability to pause or fork the Autosave. Final Cut Pro autosaves your work as you go. Editors complain, therefore, that they can’t save different versions of a project as they go along.
Answer: You can duplicate your project at any time, thus freezing it in its current condition. Just click it in the Project Library and choose File -> Duplicate Project.
My Take: David... have you ever been affected when an application like Microsoft Word crashed?  Sure you could open up the last version you CHOSE to save ... but sometimes the Auto-Save comes to the rescue and you get back work you would have lost.
You could choose when and how often FCP auto-saved.  It also stored multiple versions automatically.  This let you go back in time when clients changed their mind.  It also could save you if a project became corrupt.  While these don’t happen every day ... they happen more than we like. The new method requires you to choose to backup, not set an interval.  Isn’t this why Apple invented Time Machine in the first place (which does let you choose how often to backup). I don’t know how Time Machine and FCP project files will work ... but I am less than confident that I will have the same level of control I do now.
*Updated – 6/24 8:33 AM – Several point out Lion's autosave abilities. I can't comment further as I don't have it running since it's not shipping. What about those who can't go to Lion, however?
*Updated – 6/25 6:23 PM – Also, what's big is the ability to run the Restore command which let you choose which backup to use.

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Complaint: Can’t specify the scratch disks. In previous versions of Final Cut Pro, you could choose individual hard drives for storing your project’s render (preview) files. But if you didn’t know what you were doing, things could get messy. For example, you might store the project on one drive, and then render files on another; then, later, you would open up the project when the render-file disk wasn’t available. You would have to re-render the whole project.
Answer: In FCP X, the render files are stored on the same disk as the project, so they don’t get separated. You can still store your files on any drive; you determine that by where you store the project file.
My Take: Duplicate the project also starts to spread files out to more folders.  Those renders, pre-computes, and cache files are with the project.  You choose to duplicate, there’s more to copy.  That means time and disk space.  In the past, these render files were in a folder of your choosing.  Duplicating the project was no big deal as the project just looked at the files in the same folder that you specified.  Less time, less disk space (which in my world means saved money, happier clients, and a greater chance of dinner with the family).
Also this level of control is less than before.  I could choose to but my project files in one place and renders on another.  Like I said before ... most people choose to split their project files to a different location than render files and media files.  This is because the project file is usually small, and you want to back it up (or even keep it on a USB thumb drive for easy portability).  The media and render files on the other hand need to be on a performance hard drive.
*Updated – 6/25 6:27 PM – A new issue:
A trusted colleague (who asked not to be named) raised a huge potential issue. Personally, I have not been able to fully test this, but this person would know.

  • It appears that the new FCPX doesn't work with Apple's (previous) XSAN system
  • You can only save to an HFS+ drive.
  • This also means no go for most networked storage systems as Events appear to be incompatible with a XSAN, AFP, NFS or SMB volume

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Complaint: Can’t output to tape. Videotape is on the way out  — you would be hard pressed even to find a camcorder that takes tape anymore — so it’s not built into FCP X. This is one of several ways that FCP X is clearly a program designed more for the future than the past.
Answer: You can buy tape-deck control programs like AJA VTR Exchange and Black Magic Media Express. AJA and Black Magic are two major makers of add-on circuit boards for professional video editing. These apps work with their boards.
My Take: Tape is NOT dead (although we’d like it to be in many cases).  Tapes don’t demagnetize though like hard drives on a shelf.  They also outlast hard drives in most cases.
TV stations want tape.  My government clients want tape.  My nonprofit association clients want tape. Tape is typically required by the vast majority of clients that professionals serve (those that make their living editing video).  
David... Print is dead.  It’s on it’s way out.  Could the New York Times stop printing newspapers tomorrow?  You may want to (environmental concerns, costs of paper and delivery, those annoying children who throw newspaper and yell that they want their $2 back)?  Print is not dead ... neither is tape.  Are they dying? Yes... a SLOW and PAINFUL death.
When Apple killed the floppy disk, you could still buy them yourself and hook them up.  Even though Apple doesn’t let you burn a Blu-ray disc, they let you buy a burner yourself.  The built in the “hooks” that let hardware and software manufacturers connect.
In the past, companies like AJA and Apple collaborated closely.  When Apple would ship software, new hardware would be out. In fact, old hardware would have updates that made it work too.  These devices often cost $1,000–$5,000 dollars. We have five of these devices in my offices.  They are currently serving as paper weights when we launch Final Cut Pro X.
So you say just use the old version.  But how long will Apple ship updates and support the old software.  What happens when your computer fails and you have to buy a new one.  Will you be able to install 5 year old software on it? 
Never mind the fact that pro customers feel they deserve to get to use a 64-bit editing application.  Why? Because other companies have 64-bit applications on the Mac that edit video quite well AND support the same hardware that Final Cut Pro 7 supported.

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Complaint: Can’t export AAF or OMF files. These formats are successors to EDL. They let you export your project to other programs, like Avid, Quantel or Pro Tools, for more sophisticated editing.
Answer: Automatic Duck ProExport 5.0 adds AAF and OMF exporting to FCP X. There will be other companies offering similar export plugins (including EDL, by the way), once Apple publishes its XML programming guidelines (API).
My Take: Why are pros mad? Because all of these formats (as well as EDL and XML were supported). David, how would you feel if you couldn’t get your photos out of iPhoto?  You could sync them to your iPad ... you could look at them on your Mac.  But printing? Opening the image in Photoshop? Handing it off to a website authoring or page layout tool?  Nope.
These exchange formats allow professionals to collaborate.  Would you like special effects, great color correction, and a superior soundtrack in your next Hollywood film? Not gonna get it (or at least not yet).  We’re told we have to wait for third-party folks.  Who all have to rewrite their tools to standards that aren’t even fully clear or released.
*Updated – 6/25 6:28 PM While we're talking about XML export, how about the ability to send to Apple Color?
Commenters on this blog even point out the difficulty in sending clips to Apple Motion (a previously supported workflow).
I also have heard from many plug-in developers crying foul.   A couple people seem to have had early access and knowledge.  Apple lists two plug-in packages on their site.  What about the 100+ companies that had tools working before?  We now must wait ... and hope these companies can afford to redevelop and redeploy.  We’ll also have to repay for tools that worked just fine because these (often small) companies will have to scramble to redevelop their tools to keep their customers.
*Updated – 6/25 6:29 PM I've been told that some plugins work by "luck" since they were designed with the previous version of Motion in mind. I do not know the validity of this statement. I do know that I have talked and read about many developers who are crying foul.
Speaking of secrecy...  there’s a lot of confusion throughout the reseller community that helped ensure local sales and support for Apple products. The training companies seem to be confused and their trainers are too. I am not allowed to say more here.

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Complaint: Can’t connect an external monitor. Pros work with Final Cut on the Mac screen, but they prefer to view the actual edited video on a dedicated second screen. While Final Cut Pro X works just fine with a second computer monitor — you just choose Window -> Show Events on Second Display (or Window -> Show Viewer on Second Display) — there are complaints that it can’t connect to an external video monitor (TV), which pros feel offers better color fidelity.
Answer: Just as before, you need a Mac Pro with a video-output card in order to connect a TV monitor. Apple expects that the output-card companies will soon offer the necessary drivers for FCP X; AJA, one of the major makers of these boards, already offers beta versions of such drivers. Apple is working with Black Magic to offer drivers for its boards.
My Take: You have several mistakes here ... but I would make the same mistakes if I tried to talk about the professional printing presses your company uses to make newspapers.

  • You do not need a Mac Pro.  Several manufacturers made devices that use FireWire connections.  They also use the Express Card slot (which seems to be on the way out).  We suspect that Thunderbolt will help here too (Blackmagic showed this at NAB this year).
  • It’s not a TV.  We use higher quality monitors.  Often with unusual connections like HD-SDI or professional component connections. We also run the signal out the hardware tools that help us calibrate and legalize the color for broadcast (just like how you have to fix out of gamut images for color printing). The method Apple has now does not let us see a true video signal.  It also doesn’t work if you have two computer monitors and a video output card attached.  It’s one or the other (at least according to the AJA documentation).  Be sure you READ that documentation ... it’s filled with apologies. The signal Final Cut Pro X sends out is not in the correct color space or proper size. David, I’d like you to switch the New York times to consumer inkjet printers...  tell me if that would work for you?
  • What about the others? There are more companies besides AJA and Blackmagic Design. What’s happening there? The lack of information is what scares professionals.  People want a road map ... especially in this economy.  I know companies need some secrecy.  The keyword is some.
*Updated – 6/25 6:33 PM – Gary Adcock responds with greater detail (Gary has consulted and worked with many hardware companies... those who know of him can more than certify this is his expertise.
Gary says: "All of the hardware solutions currently available are not of a quality that pros can accept. Without the ability to control audio and video timing signals direct from within the application all anyone is looking at is an RGB desktop preview being converted back to YUV by the hardware to make that signal viewable via HD/SDi.
Adding 3rd party hardware output to previous versions of FCP forced the application to respond as a professional tool in regard to timing inaccuracies, issues with low performance storage or color issues when outputting content. In FCPX we have only Apple’s word that the output files would conform to SMPTE standards and Practices.
My Take: For those of you who just had their heads explode... it basically means don't plan to submit anything you do to a broadcast station or even expect it to look the same when you play it back on a television. This is just huge! Even bigger here is the question of which hardware can work and which cannot. Unusually the support has come for only certain products in AJA's line. Some of the newer products have not had anything said about them yet. I'm still looking for info on other manufacturer's as well.

**************************************************

Complaint: Can’t import old FCP files.
Answer: As I noted in my column, this is true; your old projects are stranded forever in the older FCP program. You’ll have to keep both programs on your hard drive, and edit the old projects in the old program. When you install the new FCP, your old copy is safely preserved.
My Take: This is partially true. Many users have reported problems with having both on the same system.  Apple even has a very detailed and useful article on the topic (http://support.apple.com/kb/HT4722). 
This document provides critical information.  It’s not called out in the App Store.  It’s not called out in the installer.  Apple could have released it two days before Final Cut Pro X and said “Get ready for Final Cut Pro X.”
Nope... no communication or warnings on how to avoid potentially large problems. In fact I found out about the new software from Twitter.  It didn’t even make it to the Apple home page.  The article I mentioned isn’t on the product page or even the support page in a prominent position.
The application is also not “safely” preserved as you have to move things back and rename things if you want to actually use the applications in many workflows.  Apple says “Note: Final Cut Server, Podcast Producer, Software Updates for Final Cut Studio (2009), and some third-party workflows and tools may require that the Final Cut Studio (2009) applications remain in their original location in the Applications folder.”
Also, would you accept that you couldn’t open up your iPhoto library with future versions of the application?  How about if all the music you imported into iTunes would no longer play and all your organization and playlists were gone. Oh, and what if Adobe decided that Photoshop CS5 (the 64-bit version) couldn’t open up files from the past.
The argument of "finish your project before you upgrade" is crazy. Clients always come back with changes. Filmmakers decided to make updates and re-release. Even hobbyists want to go back and look at something they did and potentially reuse some of their editing. Even if both applications are properly installed, you can’t have them open at the same time. Want to look over a FCP 7 project, you can't launch both apps as it will prompt you to close FCP X.
*Updated – 6/25 6:39 PM Visit https://discussions.apple.com/message/15469892#15469892. Scroll halfway down the page to this post.
FranklyFilm — Re: FCPX, just the tip of the iceberg — Jun 23, 2011 6:35 AM
Mail form Randy Ubillos, the designer of FCP X
“FCP7 projects do not have enough information in them to properly translate to FCPX (in FCP7 all of the clip connections live in the editor's head, not in the timeline). We never expected anyone to switch editing software in the middle of a project, so project migration was not a priority.
Final Cut Pro X 1.0 is the beginning of a road, not the end.”
My Take: I do not know if this is true. It is on Apple's website. I would assume given how widespread it is being pushed around the net... someone would respond or clarify. I hope this is not true, but I have now heard this same information from different sources more than 10 times. This rumor or statement needs confirmation. This is the DEAL BREAKER for many.

**************************************************

The Bottom Line: Apple has followed the typical Apple sequence: (1) throw out something that’s popular and comfortable but increasingly ancient, (2) replace it with something that’s slick and modern and forward-looking and incomplete, (3) spend another year finishing it up, restoring missing pieces.
These are fair statements. Remember your feelings on iMovie ’08 (http://pogue.blogs.nytimes.com/2007/08/17/apple-takes-a-step-back-with-imovie-08/)?  Apple reversed course and continued to make the previous version of  iMovie available.
With Final Cut Pro X, Apple discontinued to entire Final Cut ecosystem in one swoop.  Final Cut Server, Color, Soundtrack Pro, Cinema Tools, and DVD Studio Pro.  "So what" you say ... just use the old one.

  • But you can’t buy the old one from Apple any more.  In fact I have been told that many resellers were asked to ship their stock back to Apple. 
  • Many were waiting to upgrade from older versions until Final Cut Pro X shipped. Now they find out their computers won’t work with the new Final Cut Pro.Several computers aren’t supported due to their graphics cards.  Even machines that are slated to work on Lion may not work with Final Cut Pro X because they lack Open CL compatibility.  Here is the list (http://support.apple.com/kb/HT4664).
  • The exact same time the new product started shipping, the old one went away. Yes, some stores still have inventory, but not Apple (apparently). The existing stock will run out and people don’t know if will be refreshed.
  • There was not sufficient details warning people about compatibility issues.
  • If you go to Apple’s webpage and try to look up old documentation or links about the old Final Cut Pro, it redirects you to the new page.  If you visit the support page and try to download an update to a previous version (often needed after changing machines or doing a software restore). Guess what, its sends you to the App Store to buy Final Cut Pro X. I tried several of the links on the support page (http://support.apple.com/downloads/#final%20cut%20studio).  Go see what happens
*Updated – 6/27 12:17 PM Looks like most of the links are back to working on the support page. That's a GREAT thing.

**************************************************

Professional editors should (1) learn to tell what’s really missing from what’s just been moved around, 
I agree, but the training and support industry is scrambling to catch up.
(2) recognize that there’s no obligation to switch from the old program yet
That is correct.  But pros were told it would be “awesome.”  I guess that word means different things to different people.  And if you need to update your old software, most of the links on the downloads page keep sending me to the App Store to buy the new one.  Subtle, I know.
(3) monitor the progress of FCP X and its ecosystem, and especially (4) be willing to consider that a radical new design may be unfamiliar, but may, in the long term, actually be better.
Most in the Final Cut Pro community like change.  They also wish that the investment in time as well as thousands in equipment would continue to be supported.
David, your article was helpful and answered many questions for me.  I know you can reach me on the phone.  I raise a few more questions that maybe your Apple contacts can answer.
Will I ever be able to import a layered Photoshop file? This is a common workflow that lets editors easily work with graphics.
*Updated – 6/24 8:41 AM – You can import the file (I knew this) but layers are flattened. Motion supports this workflow, but Final Cut Pro X no longer does. This was a common scenario.
What about volume licenses?  How do companies buy multiple copies for the employees to use?  Do they really need to set up an iTunes account for each and need to use elaborate combinations of credit cards or gift cards?
What about educational licenses? Apple gained much of its success from students who learned it in school then moved into the workplace.  Students always got a discount as did schools.  What about them?
What is the intention with the apparent decimation of the previous ecosystem? Are the broken links and missing documents temporary?  Will we be able to buy the application in 2 months (or next year)?  Will there be software updates ... if so for how long?
Will there be physical distribution?  Broadband access is not a reality for much of the world.  I have interfaced with editors in Africa where broadband is scarce.  I have also talked with several who pay by the megabyte for data (and pay a lot).  There are many places in the world where the user will pay far more to download the software than to purchase it. What if I need to reactivate (such as after restoring from a backup) but I can’t get Internet access?
In conclusion, I appreciate your article.  You attempted to get to the bottom of things.  I hope I have opened some new doors here for you to knock on.  Keep making the world a better place for techno geeks.
There are SEVERAL posts in the comments about missing and confusing features. Since I have violated every rule about length of a blog post, I will respond below. Apple (or others looking to develop new products) please see the list below. There are also several other places that have good lists going.
Thank you to all my friends for your support and keeping things civil during these difficult times. Remember to keep the focus on Apple (and not attack others in online forums or blogs). Keep posting and pass this article around to those who tell you that you are wrong. Be civil, reversing a "revolution" won't happen with angry words. The initial shock is over... move past anger. Make your opinion known with respectful words. Apple corporate is the one who made these decisions... address the cause of the problem.

And to leave you with a laugh... the issue made it all the way to the Conan O'Brien show. Most have seen this, if not, go laugh. We all need one right now.
http://teamcoco.com/video/conan-editors-love-final-cut

Comments

Photoshop Layer Comps – UAP 221



Instructor Richard Harrington shows you how to use layer comps, an easy design tool in Photoshop CS5 utilized to manipulate layers.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

New Triple Exposure Podcast Episodes

  • 3expodcast
Have you checked out the new Triple Exposure podcast I am doing with Scott Bourne (@ScottBourne)? The show tackles all sorts of topics related to Time-lapse, High Dynamic Range, and Panoramic photography. It's a totally free show and I hope you check it out.

Free Podcast Feed on iTunes Triple Exposure iTunes Podcast Feed

Non iTunes Free Non iTunes Podomatic Page
Non iTunes RSS Feed

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How the World Sees Copyright (Sort Of)



A humorous take on copyright law. I agree with the principles, but the implementation is awful.


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How to Make a Seamless Transition to FCP X and Lion

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I just want to point you to a great article over at Creative COW that addresses a timely topic.

"Forget all the rumors and speculation about Final Cut Pro X, Creative Cow Contributing Editor David Roth Weiss delivers nothing but facts as he guides you through the steps necessary to partition your Mac system drive with a cool multi-boot setup that will allow you to easily and efficiently switch back and forth between different versions of Final Cut Pro, between different operating systems, or all of the above."

Be sure to head over for the whole article.
A must read.

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Photofocus Podcast Tackles Tough Questions

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I had the chance to be the guest host on the Photofocus podcast recently. Scott Bourne produces a great show that answers questions from the audience. We dug deep on some great questions. Be sure to listen to the show and you can learn about:

  • Panoramic Film Cameras vs. Digital
  • Arial Photography
  • Transporting Hard Drives
  • Cell Phone Cameras Replacing DSLRs
  • Posting Photographs Similar to Another Photographers’
  • Lenses or Camera Bodies – Where to Invest?
  • Filters for Beach Photography
  • Video Camcorders vs. DSLRs
  • Color Calibration for the Web
  • Video Stabilization with a Monopod

You can check the show out here –
http://photofocus.com/2011/06/15/photofocus-podcast-episode-78/

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Adobe Premiere Pro Timeline Shortcuts

Adobe Premiere Pro Timeline Shortcuts


Be sure to check out the new book too – An Editor's Guide to Adobe Premiere Pro
http://www.amazon.com/exec/obidos/ASIN/0321773012/richardharrin-20/


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My Free Ebook on Adobe Camera Raw

This is a re-post... but I was asked to share it again. Here's a free (and really good) way to learn all about the Adobe Camera Raw plug-in. This is a bonus eBook I wrote to go along with the book Understanding Adobe Photoshop CS5. Its yours for free... I hope it helps.

UAP Using Camera Raw


Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Here's a nice review of the book too –
http://www.mymac.com/2011/02/book-review-understanding-adobe-photoshop-cs5/

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Auto Align Command – UAP 220



Instructor Richard Harrington demonstrates how to piece multiple images together into one image utilizing the Auto Align Command.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

My New Photoshop Training is On Sale



by Richard Harrington
Make Photoshop Come to Life in Your Video Production
List Price:
$49.95 $39.95
Automating Photoshop: Photoshop for Video
Get the most out of Photoshop in your video productions, learning Photoshop from COW Leader Richard Harrington. In this DVD, Richard, author of one of the top ranked Photoshop books, focuses on automating Photoshop and other power user techniques for video artists.

Comments

How to Make Your Camera Work with Adobe Camera Raw

I recently came across a great post from one of the developers on the Photoshop team. It's called "Why doesn't my version of Photoshop or Lightroom support my camera?" by Jeff Tranberry.

Jeff offers a logical workflow that explains how to stay current, how to confirm the status of your camera, as well as a workaround using the Adobe DNG converter. It's a great article and worth the read –
http://blogs.adobe.com/crawlspace/2011/03/why-doesnt-my-version-of-photoshop-or-lightroom-support-my-camera.html


Speaking of DNG, be sure to watch this useful video which explains the format.





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Better 360˚ Panoramic Photos Using Photoshop Automation

I've posted a new article over at the Triple Exposure website on 360˚ Panoramic Images.

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“As many explore panoramic photography, they off stop short (at least of making a full 360˚ arc). The truth is that its gotten much easier to make a fully actualized 360˚ image. If enough photos are taken, then a large panoramic image can be made. These photos can then be turned into an interactive panoramic for the web or brought into Adobe After Effects to serve as a backdrop for chroma key footage.”

You can read the whole thing at –
http://3exposure.com/2011/06/10/better-360˚-panoramic-photos-using-photoshop-automation/

Be sure to also download the special Photoshop Action mentioned in the article.

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Adobe Reveals its Video Plans for Next Several Years




Join Jim Guerard, vice president and general manager of Professional Video, as he discusses the massive shifts happening in the industry today, how Adobe is responding through rapid innovation, and the company's pillars of focus moving forward.

It's always great when the companies that make the tools that I use are actually open. Here's where Adobe is going. Listen close to some of the points (it's a tad dry... but trust me... LISTEN to what's being said).

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Managing App Development



Here are my slides from the 7th ANNUAL INNOVATIONS IN E-LEARNING SYMPOSIUM. Sponsored by the Defense Acquisition University and the George Mason University Instructional Technology Program.

With the increase in mobile computing the use of apps has significantly risen. Whether you're targeting mobile phones or tablets, an app can be a cost-efficient way to reach your audience. In this workshop, you'll learn the major steps involved and how to manage application development(even if you're not a programmer yourself).

Join Richard Harrington, a certified project management professional as he unlocks the development process.

  • Learn how to identify your distribution options and register as a developer.
  • You'll also learn how to target your audience and refine the functional goals of your application.
  • Learn how to assemble your development team and efficiently develop graphic and video assets.
  • Discover multiple methods for authoring applications including software as a service, authoring tools, and programming.
  • Learn how to test your apps then submit them to marketplaces for distribution or use ad hoc methods for small groups.
  • You'll also learn practical approaches for marketing your application to your target audience.

You can download the PDF here

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Trying Out Blending Modes

Photoshop001
Blending modes are an integral part of both design and color correction workflows as they let you mix the content of two or more layers. Part of the reason many pass on blending modes is that they are hard to use if you don’t know which one you want. The truth is that the list can get a little long and if you aren't familiar with them, it can get a little confusing.

Here’s a much better way to experiment:
  1. Select the layer or layers you want to blend.
  2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
  3. Press Shift + = (Shift plus Equal) to scroll through the list.
  4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.

Comments

Creating a Panorama – UAP 219



Instructor Richard Harrington demonstrates how to take several photographic images and stitch them together to create one panoramic image.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Robyn Plus Lights and Steadicam



I always like creative music videos. This one is very simple in some ways, yet elegant. It's a single take Steadicam shot. Then toss in some really interesting lighting cues. Cool video concept.

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How to Be Awesome with Photoshop Actions

actions4
The Actions palette provides a video-friendly graphic user interface (GUI) for computer programming. Here’s some general advice to get results quickly.

  • Brush strokes, cloning, and most manual tools from the toolbox do not work. There are several alternatives, such as using a Gradient Fill layer instead of the Gradient tool.
  • To play a single step of an action, double-click on it.
  • Change Your Mode. Button mode lets you launch actions quickly; it’s in the Actions palette’s submenu. You’ll need to disable it to get recording and editing features.
  • Get Accelerated. Set the Playback Options from the Actions palette submenu to play back an action accelerated. Photoshop can process faster than it can redraw the screen.
  • Be Batchful. You can choose File>Automate>Batch to run an action on an entire folder of images. You can batch multiple folders at once. Create aliases or shortcuts within one folder that point to the desired folders. Be sure to click the Include All Subfolders option.
  • Be Safe. Back up your custom actions to two folders, the default location and a secondary backup. This way, a reinstall or upgrade won’t blow your custom actions away.
  • Change Your Rulers. To create an action that will work on all files, you must record some commands with the rulers set to percentage.
  • Size Specific. Use File>Automate>Fit Image to resize images for a specific height or width.
  • Be Careful Where you click. Photoshop will record the names of layers as you select them. This may cause playback issues, because the action will look for specific names.
Use keyboard shortcuts to select layers and such so that the action won’t look for a specific name for that step.
  • Choose layer above Option+] (Shift+Alt+])
  • Choose layer below Option+[ (Alt+[)
  • Choose top layer Shift+Option+] (Shift+Alt+])
  • Choose bottom layer Shift+Option+[ (Shift+Alt+[)
You can also arrange layers with shortcuts.
  • Move the current layer up the layer stack Cmd+] (Ctrl +])
  • Move the current layer down the layer stack Cmd+[ (Ctrl +[)
  • Move the current layer to the top Shift+Cmd+] (Shift+Ctrl+])
  • Move the current layer to the bottom Shift+Cmd+[ (Shift+Ctrl+[)

For more on actions, check out Automating Photoshop – GET IT HERE – http://store.creativecow.net/p/126/automating_photoshop_photoshop_for_video

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DVD Menu Sizes

menu4
A DVD menu can come in two shapes, standard (4:3) or widescreen (16:9). The sooner you learn these sizes (and to accept their limitations) the sooner you’’ be designing your next project.

1. Launch Photoshop CS or newer.
2. Choose File > New…
3. From the New document preset list choose on of the following options:
  • NTSC DV 720 X 480 (with guides) for a standard 4:3 menu commonly used in North America or Japan.
  • NTSC DV Widescreen, 720 X 480 (with guides) for a 16:9 menu
  • PAL D1/DV, 720 X 576 (with guides) for a 4:3 menu used in Europe and other parts of the globe.
  • PAL D1/DV Widescreen, 720 X 576 (with guides) for a 16:9 menu used in Europe and other parts of the globe.
4. Click OK to create the document.
5. The guides added to the document identify the title safe region. All objects meant to be seen must fall onside them. The outside region is similar to the ‘bleed’ area in a print project.
  • Action Safe – The outside box. All elements meant to be seen should fall inside of the inner 90% of the menu. Still design the background edge-to-edge.
  • Title Safe – The inside box. All text elements meant to be read should fall inside the inner 80% of the menu.
6. Start to design.

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Four Tips for Better Video Type

font
Remember when you were a kid watching Saturday morning cartoons? Did your Mom or Dad yell at you for sitting to close to the TV?

“You’ll go blind!”

Well that’s good advice to remember. Type for the Television screen is very different then for print or web. Here are four things to keep in mind:

  • Use a larger point size. Stand up and walk 20 feet away from the computer screen. Can you still read it?
  • Be sure to anti-alias your type. Check the character panel for anti-alias methods for smoother edges at low-resolutions.
  • Layer styles help readability. Don’t over-bevel, but a light bevel can help. Also add a contrasting edge with either a glow or drop shadow
  • Sans serif fonts are often easier to read on television sets. If using a serifed font, be sure to use a true bold version, not a Faux Bold effect.


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Time Repmapping Footage in Premiere Pro

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There are many options to change the speed of clips, including the rate stretch tool, time remapping to achieve a variable speed value, and using After Effects own remapping abilities to fine tune your results.

See it here –
http://podcasts.creativecow.net/adobe-premiere-tutorials-podcast/time-repmapping-footage

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Tweet! Tweet! : Using Twitter to Reach Audiences



A presentation about using Twitter to reach your audience by Rich Harrington, from the RHED Pixel open house.


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Creative COW Master Series: Automating Photoshop with Richard



Now you can get the most out of Photoshop in your video productions. Learn how Photoshop is a powerful video tool, from COW Leader Richard Harrington, author of one of the top ranked Photoshop books ever, Photoshop for Video.

In this DVD, Richard focuses on automating Photoshop and other power user techniques for video artists. Work with panoramic and high dynamic range images, use Photoshop to its full potential by learning to set preferences and tool presets to make your work better…and easier. Refine batch settings, automations, keyboard shortcuts and even image processing… and suddenly Photoshop seems designed for moving, rather than still, images! Discover Photoshop in a whole new way, where images and processes automate!

Topics in this DVD include: Keyboard Customizations and Setting Preferences, Tool Presets, Actions, Layer Styles, Automation and Batch Processing, High Dynamic Range (HDR) Images, Panoramic Images, Adobe Bridge, Smart Filters, Layer Comps, Image Compressor, and Data Sets.

GET IT HERE – http://store.creativecow.net/p/126/automating_photoshop_photoshop_for_video

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What to Look for in a Video-style Tripod

Tripod_NAB

We've got a new post over at my site Triple Expsoure – www.3Exposure.com. The site is all about Time-lapse, HDR, and Panoramic photography.

Scott and Rich discuss video style tripods (which are helpful for both Time-lapse and DSLR video). Many traditional photography shooters are switching styles and trying them out too as they are easy to quickly recompose a shot then lock it down solid for HDR too. Learn about Miller tripods and what features matter (and which are overkill).

Head over to check it out

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10 More Free Copies of iWork Training Apps

pages_app2
I have three new iPad apps out on the market. The teach you how to use the very cool and useful iWork apps for iPad (Keynote, Pages, and Numbers). They are on sale at a special introductory price of $4.99 each.
Here are the links for each app.


And for the loyal blog reader... here are five codes for a free copy (for two of the apps). To redeem these, go to the home page of the iTunes store and click the REDEEM link in the Quick Links column (top right corner).
If you download a copy, please be sure to leave a review on the iTunes Store (it helps a lot).

Pages
N3JP4PH7TF79
M3R63NHXXJTY
M4YMMT6PW6F4
K6LHYARPPNP4
RRYFJK6M4JNL


Numbers
PX3LAEAXENMY
NYWFYMJFNK63
AYMAPF44NX9J
63M9ML9APYEK
FWYPNWKWPA4J


Comments

Toning and Stylizing a Portrait in Photoshop



In this exclusive video, author Rich Harrington uses some of the newer features and Blend Modes of Photoshop to stylize a portrait.

Head over to Tip Squirrel to check out more tutorials.


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A Great Resoure Page About Adobe Premiere Pro and CUDA

I think that this page does a better job with Mercury and CUDA details than does the document that you have for lesson 1:
http://blogs.adobe.com/premiereprotraining/2011/02/cuda-mercury-playback-engine-and-adobe-premiere-pro.html


Here's an update for more goodness with Adobe Premiere Pro CS5.5
http://blogs.adobe.com/premiereprotraining/2011/04/adobe-premiere-pro-cs5-5-improvements-in-cuda-processing-and-the-mercury-playback-engine.html

Here are a few gems from the pages
  • A list of all accelerated effects
  • A list of all supported graphics cards
  • A discussion how mixed media is handled

Be sure to also check out this page on
How to make Premiere Pro and After Effects faster.

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The Visual FX in Thor

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There's a great article over at Creative COW about the visual effects in the new Thor movie.

Article Focus:
Marvel Entertainment's epic adventure Thor has dominated the box office in the last few weeks, with a worldwide gross of $357.6 million. In this cinematic version of the super hero tale, the powerful but arrogant mighty Thor is exiled from the mystical realm of Asgard to live on earth, in punishment for his reckless actions that have reignited an ancient war. Forced to live among humans, Thor's powers are tested when The Destroyer, a monstrous suit of living armor, is sent to earth. In the process, Thor learns how to be a true hero.

In this article in the Creative COW Library, Luma Pictures takes us inside the building of The Destroyer and the Bifrost arrival to earth, the mystical storm that delivers the gods to the other worlds. Let Creative COW's Debra Kaufman take you to the realms of mythology and VFX possibility.

Head over to check it out – http://magazine.creativecow.net/article/thors-vfx-spin-film-to-box-office-heights

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Hypersyndication - How to Publish Your Video to Hundreds of Websites



A presentation about hypersyndication by Rich Harrington, from the RHED Pixel open house.

Comments

Photoshop Layer Organization – 218 UAP



Instructor Richard Harrington explains the importance of layer organization and the tools to assist in organizing a Photoshop document.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Adobe CS5.5 Production Premium Road Show Hits LA, San Francisco, and New York

ADOBE-526-new

Be sure to check out the Adobe CS5.5 Production Premium Road Show. The event is a free, in-depth seminar in LA, SF, and NYC: http://bit.ly/lcfJnT

Join Creative Suite video experts for a free, in-depth seminar that features the new Adobe® Creative Suite® 5.5 Production Premium, the high-performance leader in video production software. Learn how you can produce your best work with game-changing innovations like the blazing fast Adobe Mercury Playback Engine in Adobe Premiere Pro, the new Warp Stabilizer in After Effects, and a high-performance audio tool, Audition—now included in CS5.5 Production Premium.

Registration now open for these training dates and locations:

  • June 2, 2011 - REGISTER NOW Los Angeles, LA Film School, 5:00pm to 9:00pm
  • June 14, 2011 - REGISTER NOW San Francisco, Adobe Headquarters, 4:00pm to 9:00pm
  • June 21, 2011 - REGISTER NOW New York City, The New Yorker Hotel, 4:00pm to 9:00pm


Comments

iWork Training Apps – Free Copies

Pasted Graphic
I have three new iPad apps out on the market. The teach you how to use the very cool and useful iWork apps for iPad (Keynote, Pages, and Numbers). They are on sale at a special introductory price of $4.99 each.
Here are the links for each app

And for the loyal blog reader... here are five codes for a free copy (for each app). To redeem these, go to the home page of the iTunes store and click the REDEEM link in the Quick Links column (top right corner).

Keynote
JY9WT666366Y
RAJYA6A3NEN9
LETLALPMJR66
F4MNJF6KFE79
NJ3WMRLAJNXA


Pages
LMKWHF7Y64FJ
7MNNHYM9TPWR
AWL77K6KEM7N
FYM69WNYWKRH
6WEFJHH6PFJ7


Numbers
6WM34XMAER4K
KETJX3MY6H94
4TWTRMNAL7XK
X3E4MKMEXN4J
6N46T7ANWKEP


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iWork for iPad Videos Back on Sale

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Would you like to learn how to create stunning new presentations, documents and spreadsheets on your iPad or iPad 2, using Apple’s iWork productivity applications? If so, we have you covered with Apple-certified video training on Keynote, Pages and Numbers for iPad. If purchased separately at list price, these videos would cost $44.97.

Save over 50% – get all 3 iPad training videos for just $19.99 – by using coupon code IPADVIDEO at checkout.

You can redeem the offer here –
http://www.peachpit.com/promotions/promotion.aspx?promo=138286

Apple Video Training:Numbers for iPad
Learn to customize existing templates or create documents from scratch, take control of tables and style charts. It's easy to find exactly the information you want, whether it's help with the basics, such as learning the touchscreen controls, or more advanced tasks like working with formulas and calculations.

Apple Video Training: Keynote for iPad
It's easy to find exactly the information you want, whether it's help with the basics, such as learning touchscreen controls, or more advanced techniques like creating tables and charts, or bringing your presentations to life with animated graphics and transitions.

Apple Video Training: Pages for iPad
Whether it's help with the basics, like touchscreen controls, or more advanced tasks like inserting graphics with wraparound text, you'll learn all you need to know to create dynamic personal and professional projects.

These videos are also available as native applications...
and are currently on sale.

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Alignment – Video Typography Essentials

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When it comes to video, there are no hard and fast rules for alignment. As a general practice, however, lower-thirds tend to be left or right justified (which leaves room for a logo or bug on the opposite side). Centered or force justified text is more commonly used for titles or bumpers.

When setting text in an Adobe application, you often don’t just want to click and type (called point text). Instead you can click and drag using the Type tool to define the paragraph area first. This is called Paragraph text and offers greater control over alignment and layout.

You’ll find alignment buttons within the type interfaces of Adobe software. The Alignment buttons attempt to align text left, right, or centered. They also add support for justification, which forces the text to align to both margins through the adjustment of spaces between words.


Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro
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Leading – Video Typography Essentials

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Another property you’ll frequently adjust is leading to better fit your text. Pronounced led-ing as in the metal, not lead-ing as in sheep, leading is the space between lines of type. The name is derived from when strips of lead were used on a printing press to space out lines of text. The left image has too much leading and creates an unwanted visual break between the two lines. The right image has tighter leading, but care was taken to avoid a collision between the ascenders and descenders.

By default, the leading should be set to Auto; however, you can adjust as needed to fit text into your design. If you need to fit more text on the screen, you’ll tighten the leading to produce less space between lines of text. Be careful to avoid setting the leading too tight; otherwise, descenders from the top line will cross ascenders from the lower line. This collision will likely result in a negative impact on readability.

Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro

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Testing Font Readability – Video Typography Essentials

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When using text for video, it's very common to use type that is too small. Because video seems to have two distinct paths these days—traditional and Web—we've developed two quick tests that check for readability:

  • Traditional. When we build graphics for the television screen, we'll often stand up and step back a few feet from the monitor to view our work. This is because TV viewers rarely sit three feet from the screen.
  • Web. Video on the Web has a different set of problems. The two biggest issues you'll face are playback size and data rate. Most Web video is played back with a width of 320 or 640 pixels. This means that up to 83 percent of your information is being discarded (1920 vs. 360 pixels). Additionally, most Web video is compressed to a significantly smaller data rate. We recommend staying in your desk chair but reducing the playback window to 50 percent (or even 25 percent) magnification. You can also change the resolution of the Program Monitor to quarter or half quality.
  • Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro

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Tracking – Video Typography Essentials

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Similar to kerning is tracking, which is the overall space between all letters in a line of text. You can use tracking as a way to condense or expand a block of text so it better fits the onscreen space (after all, you can’t scroll a video monitor to read more). You might choose a loose track to improve readability (especially if you’re using all caps or need to apply a stroked border). Tracking is typically done in the Title Properties panel in Adobe Premiere Pro or the Character panel in other Adobe applications. Tracking, like kerning, is subjective, and you can learn best how to do it by studying professional examples and looking for inspiration and guidance.

The top line is too loosely tracked, whereas the bottom line is too tight. Be sure to experiment with tracking when you need to fill in space on the screen or to make stroke text more readable.

Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro
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Kerning – Video Typography Essentials

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As you work with text, you’ll often need to modify the space between letters. Adjusting the space between individual letter pairs is called kerning and is typically adjusted one pair at a time. Why all the fuss you ask? Well, design pros always check their kerning because kerning the space between letter pairs produces a better optical flow, which can greatly improve the appearance and readability of your text. Knowing how to kern is learned by studying examples of professionally laid out text.

The top line of text has irregular gaps between letters, which creates a challenge when reading the line.
In Adobe Premiere Pro and other Adobe applications, kerning is simple to adjust.

  1. Click to place your cursor or move it using the arrow keys.
  2. When the blinking I-bar is between the two letters you want to kern, hold down the Option (Alt) key.
  3. Press the left arrow key to pull the letters closer or the right arrow key to push them farther apart.
  4. Move to the next letter pair and adjust as needed.

Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro

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Color Choice – Video Typography Essentials

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Making the right text color choice can be surprisingly tricky. The truth is that typically only a few colors work well for text and remain clear to the viewer. The task is made difficult because you need to constrain color choice to meet broadcast standards and because text is often laid over a busy moving background. The use of a contrasting edge makes it easier to read text when laid over moving video.

Although it may seem a little boring, the most common color for text in video is white. Not surprisingly, the second most popular color is black. If a color is used, it tends to be in very light or very dark shades. Lighter colors that work well include light blue, yellow, gray, and tan. Darker colors that hold up include navy and forest green. Remember to keep your text towards the very dark or very light range, or contrast will become an issue when the text is placed over a motion background.

Type on Pattern

When creating text for video, the text will often be placed over a background that contains a full spectrum of color. Achieving proper contrast is the key to preserving legibility. Try applying a stroke, outer glow, or tight drop shadow to get a contrasting edge. The biggest problem with type and video is that there will always be light and dark elements in your scene. It is crucial to add a contrasting edge to any type that will be keyed over a full-chroma, moving background.

Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro

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Serifs – Video Typography Essentials

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When it comes time to classify fonts, there are two major distinctions: serif or sans serif. Serifs are the hooks that distinguish the details of letter shape. Sans serif fonts tend to be more uniform in shape.

For instant clarity, the shape of individual letters in serif fonts tend to be easier to distinguish. Many clients prefer serif fonts because they are more traditional. Often, there are more serif fonts to choose from because serif type has a long history. Serif fonts are modeled after many handwritten texts as well as the initial type used in printing presses.

A potential drawback, however, is that serif fonts can shimmer or vibrate onscreen because they often come to thin or small points. As an alternative, consider sans-serif fonts, which can have a cleaner style and are composed of generally even-weighted lines.


Be sure to check out the new book
An Editor's Guide to Adobe Premiere Pro
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Font Choice – Video Typography Essentials

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Although the font choice on the left certainly says American Southwest, it does not capture the same emotional sensitivity as the choice on the right. Always take the time to explore several options when choosing a font family.

Selecting the right font can be a tough choice (of course it might already be made for you by an art director, producer, or client). Chances are your computer has hundreds if not thousands of fonts. You can easily become overwhelmed with the sheer quantity of options. To simplify the process, you need to approach this decision with a triage mentality and consider a few guiding questions:

  • Readability. Is the font easy to read at the point size you are using? Are all the characters in the line readable? If you look at it quickly and then close your eyes, what do you remember about the text block?
  • Style. Does the font convey the right emotion for your video? Type is a like wardrobe; picking the right font is essential to the success of the design.
  • Flexibility. Does the font mix well with others? Does it come in various weights (such as bold, italic, and semibold) that make it easier to convey significance when using that font?

How you answer the questions for each of the three guiding principles will steer you towards good design. It’s also a good idea to work with your clients, producer, or art director. Instead of scrolling through a list of fonts for hours, interview your clients about the style and mood they want to invoke. If they suggest a boring font, direct them towards an alternative that looks similar but may be better optimized for video.

If you have too many fonts loaded, it can make it difficult to find the right font. It also can lead to serious performance issues, such as an unstable operating system and slow launch times. Consider using a font manager to group fonts into sets for clients as well as activate and deactivate fonts on the fly (without having to relaunch a program).

Finding Fonts Online

Here are a few of our favorite Web sites that offer free and affordable fonts:

Be sure to check out the new book An Editor's Guide to Adobe Premiere Pro

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Video Typography Essentials

typewriter
Proper use of type is crucial in designing effective graphics for video. Often, the text you create will be composited over moving footage, which can make it even more difficult to read. As you design type for video, it is necessary to balance legibility with style, fitting enough information on the screen but not crowding it. If you can combine this functional purpose with a better sense of style and control, you can improve the professional appearance of your designs.

Further Reading on Type
A great book to truly understand type is the oddly named “Stop Stealing Sheep & Find Out How Type Works” (Adobe Press, 2002) by Erik Spiekermann and E.M. Ginger.
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Using 3D Objects in Photoshop

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Want to learn about Photoshop 3D? Read my article over at Tip Squirrel

Using 3D Objects in Photoshop
Photoshop’s 3D Engine is very flexible. It allows you to transform layers three dimensionally. More importantly, it lets you create new 3D elements including primitive shapes (such as cones or spheres). You can also make complex elements can be created using grayscale meshes.

Read the whole article over at Tip Squirrel –
http://www.tipsquirrel.com/index.php/2011/04/using-3d-objects-in-photoshop/

Be sure to also check out the new book
Motion Graphics with Adobe Creative Suite 5 Studio Techniques

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This Week in Photography #198

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Image by: Rakkhi // Creative Commons
On this episode of TWiP, can you tell the difference between the Las Vegas Statue of Liberty and the real one in New York? If so, the US Postal Service could use your help. onOne introduces layers to Lightroom, and Bruce Clarke sits down with photographer Matthew Jordan Smith to pick his brain about all things photography.

Hosts: Frederick Van Johnson, Alex Lindsay, Richard Harrington, Derrick Story
http://www.thisweekinphoto.com/twip-198-viva-las-vegas/



TWiP #198 – Viva Las Vegas
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Motion Control with After Effects



Rich Harrington from RHED Pixel joins Bert Monroy this week at Photoshop World in Las Vegas to show you how to do motion control in After Effects!
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Free Photoshop Classes in Saint Louis

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I'm speaking today and tomorrow at the Creve Coeur Camera Superstore in Saint Louis about Adobe Photoshop and digital photography. The classes are 100% free, but are first come first serve (tickets are handed out one hour in advance.

The store is located at: 11615 Olive Blvd., Creve Coeur, MO 63141 314-567-3456

FRIDAY
Adobe Photoshop® Presented by Richard Harrington
Learn about Photoshop® tools and photo manipulation.
2:00-3:00pm in classroom A
5:00-6:00pm in classroom A

SATURDAY
Adobe Photoshop® Presented by Richard Harrington
Learn about Photoshop® tools and photo manipulation.
8:30-9:30am in classroom A
11:30am-12:30pm in classroom A


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My New Book on Professional Video Editing with Adobe Software Ships Soon

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My brand new book on Adobe Premiere Pro is written and off to the presses. It was written specifically for the many professional editors who already know how to edit using tools like Final Cut Pro and Avid, but need to now learn Adobe Premiere Pro. The book is a fast-paced, but thorough exploration of what an experienced video editor needs. The idea literally came from my own staff who were frustrated by all the existing books and classes on the market.

The official description:
In this intermediate level book three experienced editors take students step-by-step through the entire editing process in Premiere Pro, from file creation all the way through output. Along the way they’ll learn the ins-and-outs of (or “to do things such as”) file management, essential and intermediate editing techniques, color correction, audio mixing and repairing, titling and effects, and delivering their video onto tape, the web, and mobile devices. They’ll learn to work within the Adobe ecosystem as well, getting up to speed quickly on time saving tools such as Dynamic Link, Adobe Story, and more.

As they work through sections, they’ll find references to engaging videos that accompany the book, giving them a visual and audio frame of reference and solidifying their knowledge of the program.

Students will learn to:
  • Quickly organize their existing Final Cut or Avid projects, or create new projects to use right away in Premiere Pro
  • Understand how to use Premiere Pro with other Adobe software
  • Edit their footage the way they like but with tips and techniques from authors with tons of experience in all the editing programs and who speak your language.
  • Put their skills to work immediately by using the accompanying lesson files to work through the steps in the book

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Vigilant Lincoln

Lincoln

A nighttime HDR – Vigilant Lincoln by Richard Harrington

  • Nikon D7000
  • 3 Exposures with bracketing
  • f/2.8
  • 1/200 s
  • ISO 1600
  • Nikon 70-200mm @ 70mm
  • Post-processed with Photoshop – Merge to HDR Pro

Learn more about HDR at Triple Exposure –
www.3exposure.com.

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Adjusting Content Within a Mask – 217 UAP



Instructor Richard Harrington demonstrates how to independently manipulate content inside a masked image.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Triple Exposure is Live!

3exbanner

Are you into Time-lapse, HDR, or Panoramic photography? I've launches a new website with the incredible Scott Bourne called Triple Exposure –
www.3exposure.com.

Photography has been around a long time. One of the reasons for that is the constant innovation and improvement in technique and craft surrounding photography. Another reason is the invention of interesting styles or genres. Enter time lapse, HDR and panoramic photography. While HDR is the new kid on the block, time lapse has been possible since the first motion picture and panoramic photography has been around in some form since the 1840s.

Here at Triple Exposure, we’ll cover these three photographic specialties. We’ll offer tips, tricks, reviews, punditry, training videos, podcasts and anything else we can think of that might interest photographers using time lapse, HDR or panoramic photography.

Be sure to check it out and also follow on Twitter.
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Temporary Banishment of Photoshop Panels

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If you want to hide your panels in Adobe Photoshop, you can quickly toggle them off and on:
  • Press the Tab key to hide all the panels.
    • Press the Tab key again and they return.
    • Press Shift+Tab to hide everything except the Options bar and toolbox.
    • To focus on only on your image, press the F key once to go to Full Screen Mode With Menu Bar mode. Press the F key again to go to Full Screen and hide all the user interface elements. Press the F key once more to cycle to Standard Screen Mode.
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Color Controls in Aperture



In this week's video, instructor Richard Harrington shows you how to use color controls to make precise adjustments in images.

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DSLR Workflows with Adobe CS5.5 Production Premium



Join Rich Harrington to learn how Adobe Production Premium software can enhance your workflow on DSLR video projects.


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Convert Your Fonts

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I just had a need to pull out
TRANSTYPE. This useful utility comes in handy when working on a design project and getting client-provided materials? Oftentimes fonts come over (which is great), except they are for the wrong platform (which isn't so great). Instead of rushing out to buy the font again, you can usually convert it.

This shareware application converts Mac fonts to PC fonts, or vice versa. Simple in concept, clean in execution--this tool has been a lifesaver that has kept many a graphics project on track.



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How to Save Hours of Time in Photoshop

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My brand new Photoshop video training title is done... and its all about SAVING TIME AND MONEY.

Get the most out of Photoshop in your video productions, learning Photoshop from COW Leader Richard Harrington. In this DVD, Richard, author of one of the top ranked Photoshop books, focuses on automating Photoshop and other power user techniques for video artists. Use Photoshop to its full potential by learning about setting preferences and tool presents that will make your work better…and easier. Refine batch settings, automations, keyboard shortcuts and even image processing….and suddenly Photoshop seems designed for moving, rather than still, images!

Discover Photoshop in a whole new way, where images and processes automate!


Topics in this DVD include:
  • Keyboard Customizations
  • Tool Presets
  • Actions
  • Layer Styles
  • Automation and Batch Processing
  • High Dynamic Range (HDR) Images
  • Panoramic Images
  • Adobe Bridge
  • Smart Filters
  • Layer Comps
  • Image Compressor
  • Data Sets.

It's on sale for a limited time at Creative COW – Save $10 of the title for a short time.
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NAB Handouts are Live for Download


NABshow_logo

Here are the promised slide decks from my recent classes at the 2011 NAB Show.
Remember you can find notes from most of my presentations here –
Conference Handouts.

  1. DSLR Workflows From Field to Edit
  2. Practical Project Management
  3. Essential Pre-Production for DSLR Projects
  4. DSLR Workflow for Adobe Creative Suite
  5. Hypersyndication @ NAB 2011
  6. Strategic Budgeting
  7. Giving Your Web Video A Graphic Identity
  8. Delivering HDSLR Video – Web, Disc, and Beyond
  9. Creating_Custom_Backgrounds
  10. More Than 140 Characters Integrating Video, Audio,Photos & Rich Media with Twitter



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Want to Make Your Adobe Software Better?

bugwish


In the world of software development, there's two types of feedback companies need to make their tools better.

Feature Requests – A feature request adds functionality to software. Adobe reads all of these that come in. The more something is asked for, the more likely it is to happen. For example, if every reader of this blog asked for the same new feature, it would become a top priority for the next development cycle.

Bug Report – If you find something wrong with an Adobe application (such as a command the regularly makes it crash) then report a bug.

Please bookmark this page
http://adobe.ly/videowishlist

The more you submit... the more likely the tools you depend on will get better and better.


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Quick Audio Controls on a Mac

Audio_Tip


Need to quickly change your audio options on your Mac? There's a great shortcut to quickly access both Input and Output devices as well as Sound Preferences.

Simply Option+click on the volume button and it will change to your relevant audio controls.

Thanks to Jeff Greenberg for teaching me a great tip.

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Alpha Channels – 216 UAP



Instructor Richard Harrington demonstrates how to use an alpha channel to save selections and to store transparency inside a Photoshop document.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Image11 Photo Contest Opens

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The New York chapter of the American Society of Media Photographers has opened the call for entries for Image11. This is a nationwide photo contest which is open to professional, serious amateur and student photographers residing in the United States.
The rules require the photos were created after January 1, 2010. The deadline for entry submissions is
May 1, 2011.
Entry form and full info at
image-ny.org.
Here are the
rules.

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Three New iPad Apps Ship on iWork

ipadapp2
Would you like to learn how to create stunning new presentations, documents and spreadsheets on your iPad or iPad 2, using Apple’s iWork productivity applications? If so, we have you covered with Apple-certified video training on Keynote, Pages and Numbers for iPad. Our iWork for iPad training is now available as native iPad apps! The training runs in full-screen with clear video and indexed chapters. You can view comprehensive help even without an Internet connection.

The best news? A special introductory price of only $4.99 per app!

ipadapp1


Apple Video Training:Numbers for iPad
Learn to customize existing templates or create documents from scratch, take control of tables and style charts. It's easy to find exactly the information you want, whether it's help with the basics, such as learning the touchscreen controls, or more advanced tasks like working with formulas and calculations.

Apple Video Training: Keynote for iPad
It's easy to find exactly the information you want, whether it's help with the basics, such as learning touchscreen controls, or more advanced techniques like creating tables and charts, or bringing your presentations to life with animated graphics and transitions.

Apple Video Training: Pages for iPad
Whether it's help with the basics, like touchscreen controls, or more advanced tasks like inserting graphics with wraparound text, you'll learn all you need to know to create dynamic personal and professional projects.



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New Album from Girl Talk – NSFW

allday_frontcover


Do you need a great
mixtape to push through your next creative deadline? The eclectic Girl Talk has released another album called All Day (and its free under a Creative Commons license). The album is comprised of hundreds of samples yet achieves its own unique sound.

Free Music... gotta love it.

BTW... Girl Talk is rarely safe for work (but the graphics department at RHED Pixel listens to it anyway).



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Have you checked out Kuler?

If you need to try out different color combinations, be sure to try Kuler from Adobe. This flash-based application lets you browse a wide variety of designer created color schemes as well as create your own. It supports all the major rules from Analogous to Shades. The controls are beautifully designed and the entire application really inspires creativity. In order to access it, you are supposed to have a live connection to the Internet. You'll need to be online to take advantage of the shared and highest rated features, but I've found a work-around for those times when an Internet connection isn't an option. I was able to save a web archive in Safari (File > Save As) which can then be opened up when I am not on the Net. Be sure to check this very cool application out.

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Documentary Photo Effects in Adobe Premiere Pro

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In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington takes a look at how to integrate still photos into your Premiere Pro timeline to acquire the very popular documentary photo effects style with pans and scans.

Be sure to check out the many
tutorials at Creative COW.

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Get Results with the Adobe Media Encoder

cow_ame


Be sure to check out this new tutorial from Creative COW

http://library.creativecow.net/harrington_richard/Premiere-Pro_Adobe-Media-Encoder/1

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington uses the Adobe Media Encoder to go from your finished sequence right to the web, blu-ray, or other outputs with a quick hand-off and jump back into your editing.


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Layer Masking – 215 UAP



Instructor Richard Harrington demonstrates how to hide or mask parts of a layer through layer masking.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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HDR Toning Black and White Images

Rich_Harrington_Photoshop_HDR

I released a new HDR and Black & White tutorial over at www.TipSquirrel.com.

From Bridge, through Photoshop’s HDR Pro and then into Photoshop for finishing touches, Rich covers every step of the way.

Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Free Adobe Creative Suite 5 Ebook

CS5tips

I've written a
free book for Adobe about how to get more done with After Effects, Photoshop, Premiere Pro and more.

”Explore the creative possibilities of DSLR video editing with Adobe Creative Suite 5 and 5.5 software. This paper provides tips and tricks for navigating Adobe Premiere® Pro CS5, Photoshop® CS5, Photoshop CS5 Extended, After Effects® CS5, and other CS5 components to help you along the way."

The book is 100% Free, and contains all sorts of great knowledge.

  • Working in the timeline of Adobe Premiere Pro
  • Get more done with Adobe Photoshop
  • Get organized with Adobe Bridge
  • Working with audio
  • Adobe After Effects Advanced techniques
  • Good shooting practices and Production Techniques
  • Sharing and publishing your video

You can download the free eBook with tips for DSLR and Creative Suite at http://scr.bi/dslrtips2

For more on the fusion of photography and video, check out From Still to Motion.

If you enjoy the ebook, please leave a comment . It means a lot and lets Adobe know people are reading and appreciate the book.




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A Useful Article on Final Cut Pro X

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Over at Macworld.com, industry veteran (and personal friend) Gary Adcock has a
detailed overview of the new Final Cut Pro X. The software was shown at NAB as a sneak peak.

"As a professional user, I was excited by a lot of what I saw Tuesday night—particularly magnetic tracks that keep audio and video from losing sync, auditioning that will more easily separate good takes from bad ones, and non-destructive color correction and filtering. All will be fantastic additions to my workflow. Additionally, metadata will now be harvested on import, allowing for better online/offline workflows, while the application's new content aware environment keeps everything in line for easy alternate versioning (similar to Photoshop's history palette).

As intriguing as the brief demonstration was, we weren't shown enough for me to make a critical judgement on whether this will be a home run for professional users, as Apple's presentation certainly implied, or something less spectacular."

Be sure to read the whole article here – http://www.macworld.com/article/159202/2011/04/final_cut_pro_x_blog.html

I'm reserving my own judgement until I get my hands on the software and try it out fully.

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Time Lapse Part 2: Shooting Techniques for Time Lapse

cowtl2

From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part two in a three-part series on creating time lapse. This episode covers shooting techniques for time-lapse.

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Image Stabilization & Rolling Shutter Reduction with After Effects CS5

With the release of After Effects 5.5, Adobe introduces an entirely new method for stabilizing footage that can also be useful to video editors. The Warp Stabilizer can remove jitter caused by camera movement. The effect is very useful as it can remove both unstable parallax type movements (where images appear to shift on planes). An extra benefit for those shooting with CMOS type sensors (such as those on DSLR cameras) is the ability to compensate for the rolling shutter which can lead to an optical bending of material that has strong vertical lines.

1. Select a clip in an After Effects composition. You can also send clips from Adobe Premiere Pro to After Effects via Dynamic Link.

2. Choose Animation > Stabilize Motion. The Warp Stabilizer effect is applied to the layer. The footage is immediately analyzed between its in and out-points. The analysis process takes two steps and you’ll see a banner across the footage as it’s analyzed. You can also see a progress update in the Effect Controls panel. While the analysis is in progress, you can keep working in the project.

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3. You can enhance the effect with several useful options for the Stabilization Method:

  • Result – You can choose Smooth Motion to retain the general camera movement (albeit stabilized) or No Motion to attempt remove all camera movement.
  • Smoothness – This option specifies how much of the original camera movement should be retained for Smooth Motion. Use a higher value for maximum smoothness.
  • Method – There are four methods available. The two most powerful are Perspective and Subspace Warp. If either method creates too much distortion you can try switching to Position, Scale and Rotation or just Position.

If you want to see just how much the stabilizer is actually doing, set the Framing to Stabilize Only. This will show you black around the edges. If the motion looks unnatural, you can always adjust the Smoothness settings.

4. You can also control how the borders are drawn for the effect. With the Framing pop-up you can choose to simply stabilize the shot. You can also tell After Effects to automatically scale or even synthesize new edge content.

stabilize2

5. If you see vertical distortion or warping in the shot, enable the Rolling Shutter Ripple option under the Advanced category. In order to use these advanced options you need to use either the Subspace Warp or Perspective method for Stabilization. Be sure to experiment with both methods as the choice may vary based on the source footage.nIf you want maximum stabilization quality you can choose the Detailed Analysis option under the Advanced category. This makes the Analysis phase do extra work to find elements to track. This option is much slower, but produces superior results.

6. Use the RAM preview option to preview the effect as needed.





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Gradient Maps – 214 UAP



Instructor Richard Harrington explains how to colorize an image utilizing gradient maps in Photoshop CS5.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Piracy Hurts Everyone in the Video Business

744px-Pirate_Flag_of_Rack_Rackham

As a content creator respect the rights of others. I repeatedly see the rights of others abused all the time in video production. Be sure to preserve the rights of others as you’d expect your rights to be upheld.

  • Music – This is the greatest area of abuse across the video industry. There are affordable stock music options for purchasing or licensing music. You can also hire a composer or use software tools to create your own music. What you cannot do is used recorded music made by others. Giving credit is not enough. I am sickened by the number of videos I see created using copyrighted music and the number of excuses and loopholes others try to give to justify its use.
  • Stock Footage – Make sure the footage you choose to use is properly acquired. There are numerous libraries and sources for licensing footage. Some are buy out libraries, others offer per clip purchases, even still you can find public domain collections. Make sure your footage is properly licensed.
  • Client Provided Assets – Just because the client gives you materials doesn’t mean they are free to use. I’ve faced many instances of clients providing copyrighted materials that they did not have rights to use. Their assurances of “it’s okay” or “this is an internal use only video” would hold no bearing to my being held liable for violating the law. Be certain that what you are given to use is materials that are properly cleared.


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Budgeting Guidelines for Web Video

computermoney

If you’re looking for a pot of gold, you’re chasing the wrong leprechaun. Web video budgets are not the same as feature films or commercial spots. With web video and podcasting, the key to making money is efficiency. Figuring out how to do more with less is the guiding principle. In this section, we explore practices that affect the bottom line.

With web video, you need your shoots to run smoothly and efficiently. You will not be able to get the most out of your shoots if you’ve based your preproduction on bad information. You really want to know the goal of the shoot, the objectives of the shoot, how many episodes you are trying to accomplish, and that the client, the talent, and the director have the same expectations. We have found that we can record more than 25 episodes in a day if we plan properly and the talent is prepared. The bottom line here is efficiency. Be efficient, have a plan, and execute the plan with the minimum number of resources, and you’ll do all right.

To learn how to make great web video check out Professional Web Video.

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Seven Ways to Move Media In and Out of Adobe Premiere Pro

You’ll find seven ways to move media to and from Adobe Premiere Pro. Be sure you understand all of your options so you can make the right decision for your workflow.
  • Dynamic Link – You can hand off media between Adobe Premiere Pro, Adobe After Effects, Adobe Encore, and Adobe Audition. The media exchanges seamlessly and you can easily switch between the two applications as needed as the to projects become linked.
  • Copy & Paste – The easiest way to move media between After Effects and Adobe Premiere Pro is the standard Copy and Paste commands in the Edit menu.
  • Export PRPROJ – From After Effects you can choose File > Export Adobe Premiere Pro project to send to Adobe Premiere Pro.
  • Capture In Adobe Premiere Pro – Use this command in After Effects to switch to Adobe Premiere Pro and capture media files.
  • Import PRPROJ – You can import an entire Adobe Premiere Pro project into After Effects. This brings an individual or all sequences in as media files. All edits are preserved, but After Effects treats the Adobe Premiere Pro sequence as a single media file. Changes in Adobe Premiere Pro will update the corresponding media file in After Effects.
  • XML – Using the XML format, Adobe Premiere Pro can both import and export an XML file that links to media assets.
  • AAF – You can import the Advanced Authoring Format from Avid editing systems. You can also export using this format to send a project onto an Avid.

Keep your eyes out for our new Premiere Pro books that's in the works.


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Keep it Short

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I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

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Time Lapse Part 1: Gear You'll Need

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From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you the first in a three-part series on creating time lapse.

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Designing Custom Gradients – 213 UAP



Instructor Richard Harrington explains how to create and design a custom gradient in Photoshop CS5.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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The Five W’s for Refining a Show Concept

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Here are some simple questions for making your web video better. Be sure you can answer these.

  • Who—Who is going to watch the show? Who is going to host the show?

  • What—What topics will the show cover? What genre or format will it use?

  • Where—Where will the show be recorded? A studio? On location?

  • When—When will the show come out? Daily? Weekly? Monthly?

  • Why—Why would a viewer subscribe? Why would they come back?

To learn how to make great web video check out Professional Web Video.

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Better Black and White Conversion

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In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington explores how to make a better black and white image with a combination of filters.

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Free Photoshop Training for iPhone and iPad


Need some Photoshop training? Check out our iPhone and iPod touch apps.They are on sale right now at a special price of free for a limited time only.

  • Terry White made it his pick of the week.
  • Jeff Revell at PhotoWalkPro write a very detailed review too.
  • My son thinks it's cool that I used his picture in one of the lessons

If you haven't tried our new training apps, what are you waiting for?

How about our sale!

Understanding Photoshop Quick Fixes is
Free | iTunesWeb Demo
Understanding Photoshop Creating Panoramic Photos is
Free | iTunesWeb Demo
PocketGeek is Free - http://itunes.apple.com/us/app/pocketgeekrh/id375757375?mt=8

These apps are a lot of work, but I want to see them succeed. Tell your friends and try them out (the feedback has been overwhelmingly positive).

  • Includes training videos edited specifically for the iPhone, iPod touch, or iPad.
  • Offers easily viewable screens, with zooms and close-ups of the action.
  • Every lesson includes hands-on files that you download to your computer. There’s no need to merely watch, you can try out every technique on your own.
  • Test your knowledge with interactive quizzes. Score yourself as well as check your answers with video responses.
  • Search throughout the application by keyword and your own bookmarks.
  • A quick reference guide is also included to help you build your Photoshop knowledge.
  • Interact with the trainer with comments and a Twitter client.





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The Video Industry is Usually Work for Hire

helpwanted
In the video industry, it is very rare for a video professional to retain rights to the footage. Video productions are usually a complex and collaborative process that involves more parties and financial involvement than a typical photo. As such, the videographer of director of photography is rarely the copyright holder.

Here are a few points to consider.
  • Cash is power – Whoever pays for a production is typically the copyright holder. This can be a client, television studio, or independent producer. The standard in the world of video is work for hire.
  • Unused footage – Most funders will expect that all footage you shoot while on assignment is theirs. On the road to an exotic location for a client? Even if you’re just there to shoot a 60 minute interview, they may expect that all the footage you shot will belong to them. Be sure to clearly spell out your expectations and read any agreements before you sign them.
  • Request portfolio permission – Be sure you get in writing your rights to show work samples. This may be limited to client selected portions or can be denied all together. It is best to negotiate your rights up front so you can show your work.
  • Self-funded productions – Nothing keeps you from pursuing other models of production. There are certainly self-funded and distributed projects as well as the opportunity to shoot and license your own stock footage. The limitations on this front are really based on traditions. Because video production and distribution has been such an expensive undertaking, the power usually lies in the hands of the network or studio model. Be prepared for an uphill battle if you want to change the status quo.

I'll present more on this at the
ASMP Strictly Business Conference in Chicagp – April 1–3
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Wireless Microphones Explained

wireless
A wireless microphone goes a long, long way towards a flexible production. This setup also makes it easier for a small or one-person crew where the camera operator is also running audio. It’s much easier to work with moving talent then to have to chase after them with cables connecting you–less tripping and more recording.

There is potential of radio interference, when working with wireless microphones, so be sure to get a unit that offers the ability to use different frequencies. Most kits include a lavaliere microphone, an XLR adapter for other microphones, and a wireless receiver to plug into the camera.

You need to be aware of a recent development regarding the use of wireless RF microphones. As of June 12, 2010 the FCC has made it illegal to use any equipment that operates in the 700 MHz band. This set of frequencies has been reassigned for use by emergency personnel only. Many wireless mics previously on the market operated in this frequency range and must be replaced. More information about this ruling can be found on the FCC website at
http://www.fcc.gov/cgb/wirelessmicrophones.

Be certain to actively monitor your audio with headphones. Besides interference, there are a few common problems. One is that batteries can wear out, which can introduce dropouts and noise. The most common problem though is human error. With two off switches (one on the microphone and one on the receiver) it’s easy to leave the microphone turned off. Remember, you plug into the camera and listen to what the camera is recording to know you are getting good audio.

For more on video production check out
Professional Web Video and From Still to Motion.

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History Brush – 212 UAP



Instructor Richard Harrington demonstrates how to paint backwards in time using the History Brush in Photoshop CS5.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Photoshop Layer Styles Shortcuts

When it comes to Photoshop layer styles, how do you add shortcuts to a technology based on shortcuts?
styles

The designers at Adobe managed to squeeze a few in. Here’s the most useful shortcuts related to layer styles.

  • Double-click on a layer in the layer’s panel (except on the name), and you will be in the Layer Style dialog box.
  • To edit a specific effect, double-click that effect’s name in the Layers panel.
  • Turn effects off temporarily by clicking on the eyeball icon next to it.
  • Copy and paste layer styles by right-clicking on the effect icon in the Layers panel and choose Copy layer style.
  • You can also paste a copied effect to multiple layers that are selected or linked. Just right-click on the Effect icon and select Paste Layer Style.
  • You can move a layer style from one layer to another by dragging it.
  • You can Option + drag (Alt + drag) a layer style from one layer to another to copy it.


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ASMP Strictly Business Hits Chicago April 1–3

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I'll be speaking at the final stop for the ASMP Strictly Business 3 conference. It brings together an extraordinary level of industry expertise with some great classes and workshops.

FULL CONFERENCE DETAILS
When and Where
April 1 - 3 Allerton Hotel 701 N. Michigan Ave Chicago, IL
Hope to see some of you
there.

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My Photoshop World Schedule

I hope some of you can join me at Photoshop World.
attendingbanner2011

Always happy to catch up and hear ideas and look at great work. The conference starts this Tuesday!


Tuesday, March 29th
1:00 - 6:00 – Creating Video With DSLR Cameras

Thursday, March 31st
1:00pm - 1:40pm – Wacom Booth – Using a Tablet for Video and Motion Graphics
2:00pm - 3:00pm – Peachpit Booth – Nondestructive Color Correction

Friday, April 1st
8:15 - 9:15 – Advanced Motion Control 3D
11:30 - 12:30 – Peachpit Booth – Getting Started with DSLR Video
2:15 - 3:15 – Getting Started With Premiere Pro

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TV Networks Thinking More Like Web Marketers

astv
CBS and Nielsen are pushing for a new way in tracking TV viewership. TV has finally realized that age and sex don't seem to be good predicators of audience behavior. After extensive research, they are pushing for a model based on what people buy and what makes them buy than demographics.

The new categories they are suggesting are:

  • TV companions: For this group, TV is almost always on and is like a member of the family.
  • Media trendsetters: Early adopters of technology and new content, and also 39% multicultural.
  • Sports enthusiasts: Made up mostly of men, but most guys aren't classified here. This group also likes action-adventure programming.
  • Program passionates: Highly involved with favorite shows, and the biggest DVR time-shifters.
  • Surfers and streamers: Most open to watching alternative content on TV and most often using laptops or tablets to multitask while watching TV. They skew young, but include a large component of 50-plus people.
  • TV moderators: Those who enjoy being experts and leading others' choices.

Here's a detailed article on the change – http://adage.com/article/mediaworks/cbs-viewers-age-sex-matter-marketers/149534/

What do you think? To me it seems more like they are catching on to how the web has worked for years.

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How to Calibrate Your HDSLR with Color Bars

A quick post on how to calibrate a HDSLR camera with color bars.

Proper tutorial later. We we're so excited about what we figured out that we just flipped on the laptop iSight camera.



Here are the bars for download – 
www.richardharringtonblog.com/downloads/Color_Bars_Start.png

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iPad Screen Rotation Lock Returns

I always like when Apple listens to customer feedback. With the launch of OS 4.1, the switch on the side of the iPad went from a lock switch to a volume switch. This really came into play when showing photos and passing an iPad or trying to read a book while laying down in bed. Sure you could access the switch through the voodoo magic of double tapping buttons, swiping, and finding an icon (Street Fighter II was easier). But now, the switch works again as expected... just go to preferences and change its behavior.


Customize the switch on the side of your iPad to lock the screen rotation or mute the volume. Just configure the side switch in Settings.
iPad Side Switch

Silent or screen rotation lock


switch

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Apple Updates Aperture to 3.12

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Apple just released a small update to Aperture that addresses many small (but important) issues.

Here are the highlights:

iPhoto Compatibility

Resolves an issue that could cause Aperture to quit unexpectedly when importing large iPhoto libraries.
Aperture now correctly handles albums contained in folders when importing iPhoto 9.1.1 libraries.
Improves reliability when importing iPhoto 9 libraries that include slideshows containing text slides.
RAW images imported from iPhoto 9 libraries no longer show the Reprocess brick in Adjustments.

Import

Addresses an issue that could cause Aperture to stop responding when attempting to process damaged images.
Olympus E-5 images with a 3:4 aspect ratio now import with the correct rotation.

Library

Addresses an issue that could prevent referenced images from being reconnected.
Resolves an issue that could cause Aperture to quit unexpectedly when switching libraries.

Adjustments

Resolves an issue that could cause your Mac to become unresponsive when using brushes.
Resolves an issue that could cause Aperture to quit unexpectedly when using Retouch.
Addresses an issue that could cause the white balance value for certain RAW images to be displayed incorrectly.

Other

Fixes an issue that could cause Aperture to quit unexpectedly when panning a zoomed image.
Addresses compatibility of exported XMP Sidecar files with third-party applications.
Resolves an issue that could cause Aperture to quit unexpectedly when using Align to Beats in a slideshow.

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Using the Mixer Brush – 211 UAP



Instructor Richard Harrington demonstrates the new Mixing Brush Tool in Photoshop CS5.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Adobe Launches DSLR Video Resource Page

DSLRpage

Adobe has launched a DSLR Video resource page –
http://www.adobe.com/products/creativesuite/production/dslr/

I helped put together some of the free stuff for your enjoyment. Here are some direct links:


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Photoshop Actions That Help the Video Pro

actions4
Entire Web sites and commercial products have been developed that significantly extend Photoshop’s ability as a video tool. Here are a few of my favorites.
  • ActionFX – One source that has both free and for-sale actions is the diverse Web site, ActionFX (http://www.actionfx.com) Members have access to thousands of Photoshop actions, as well as other add-ons.
  • PanosFX – A great site that is really becoming one to watch is PanosFX (http://www.panosfx.com). This site has some incredible free actions as well as some very affordable and powerful tools for sale.
  • Adobe Exchange – Adobe offers several user contributed actions on their website, check out http://tinyurl.com/adobexchange.

Be sure to check out the book
Photoshop for Video.


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Slide Decks from RHED Pixel Open House

openhouse
We recently held an open house at RHED Pixel for our clients. During the event we gave several informational presentations. We recorded these and intend to edit and release over the next few months. In the meantime, here are the slides.



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Useful Videos About Documentary Editing

A colleague of mine, Steve Audette has posted some useful videos about the art and theory of documentary editing. Steve is a lead editor for WGBH public television and a very talented editor. Be sure to check some of these options out.

Here's one on After Effects:




Here are three more:

"Thoughts on Documentary Editing part one"
http://vimeo.com/13853751

"Thoughts on Documentary Editing part two"
http://vimeo.com/14002312

An Overview of After Effects for Documentary Editors
http://vimeo.com/18281019

Avid ScriptSync for Documentary Editors
http://vimeo.com/17502817
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A Creative Timelapse Project I just Finished



22 hours of activity + 5 cameras = 2 Minute timelapse about the impact of diabetes.
RHED Pixel team turned the post in only 9 hours!

Thanks to
Biosector 2 for the great job.
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Creative HDR with Nik HDR Efex Pro



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In this video, Richard Harrington takes a look at an HDR workflow. Using Bridge, HDR Efex Pro and Photoshop he demonstrates techniques and tips for all HDR photography.
If you’d like to try Nik Sofware HDR Efex Pro there’s a free trial on their
website.

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Adobe Sneak Peek

I love when Adobe can't keep a secret. Be sure to check out this page to learn about some of the new things Adobe has in store.

These are short, and many are aimed at mobile platforms, but this is a good glimpse into the future.

Here's one of the videos – Don't miss the rest. –
http://tv.adobe.com/show/adobe-technology-sneaks-2011



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The Business of Intranet Web Video

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Creative professionals know the impact that video has when it comes to changing minds, hearts and attitudes. Nothing is more compelling or effective than powerful visuals combined with meaningful words. With all of this possibility for persuasive message delivery, why then is video in the workplace frowned upon so often? Many corporations have blocked access to most web video portals. Some even go as far as to remove media player software. Their concerns seem to focus on reducing wasted time and protecting employees from inappropriate materials.

Read the whole article over at Creative COW for free –
http://magazine.creativecow.net/article/the-business-of-intranet-web-video/


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Selecting Storage for Editing

storage

When it comes time to edit your video, the hard drives you use are going to have a huge impact on the performance of your system. No matter how much RAM you have or how powerful of a video card, you just won't get real-time performance if your drives are a bottleneck.

Important Factors

There are three factors when choosing a disk for video editing:
  • Speed. The speed of drive is the biggest factor on what media you can play off it. Drives like internal laptop drives or bus-powered USB drives are generally not fast enough to edit HD video.
  • Capacity. When you start to edit HD video, you'll quickly use up disk space. For example, each minute of video shot on a Canon 5D Mark II is about 320 MB. In order to get the storage you need, you may invest in multiple drives or drives that are striped together for a performance RAID.
  • Redundancy. The last thing you'll want to happen to your video footage is to lose it. Most video creators choose to back up their footage to two or more drives or to use additional methods like Blu-ray Disc. Look at redundant drives (such as RAIDs)

Drive Technology

Be sure to consider your options when looking at hard drives.
  • Internal Drive Solutions. Many computers support multiple drive slots. Consider placing a fast SATA drive internally into your computer as a performance disk. Keep this as only a scratch disk and avoid installing application or system files on it.
  • External and Portable Drive Solutions. There are several different drives available once you've maximized your internal storage. You'll find both single and multiple drive solutions available. Look for units offering connections like FireWire, USB3, or eSATA.
  • Networked RAIDs. You'll find several professional drives that allow multiple users to connect simultaneously. These solutions are important if you work in a multiple editor environment and need to share projects or assets.

For more on DSLR video, check out From Still to Motion.

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Mastering DSLR Frame Rates

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In this DSLR podcast Robbie Carman and Richard Harrington discuss the various frame rates available on today's DSLR Cameras such as the Canon 7D. Learn what rates to use for proper film looks, slow motion and other special effects, PAL or NTSC. http://podcasts.creativecow.net/dslr-video-podcast/dslr-frame-rates Subscribe for free at the COW – http://podcasts.creativecow.net/dslr-video-podcast Subscribe for free on iTunes – http://itunes.apple.com/us/podcast/creative-cow-dslr-video-podcast/id409873...

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Corner at Night (Timelapse)

A shot produced using two second exposures at night. Post-processed with Adobe After Effects. Here is a video on some of the techniques used – http://vimeo.com/12936923
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My Schedule at NAB Post|Production World Conference

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Here is my schedule at NAB Post|Production World Conference. The conference runs April 9–13. The early bird price is still in place.

http://www.nabshow.com/2011/education/post_prod.asp

Saturday – April 9th
12:00 – 1:15 DSLR Workflows From Field to Edit
1:45 – 3:00 Practical Project Management Techniques
5:45 – 7:00 Essentials Pre-Production for DSLR Projects

Sunday – April 10th
11:45 – 1:00 Creating a Healthy Partnership with the Director of Photography
2:00 – 3:15 DSLR Workflow for Adobe Creative Suite
3:30 – 4:45 Hypersyndication Strategies: Getting Your Video on As Many Screens As Poss.
5:00 – 6:15 Strategic Budgeting: How to Create Accurate Budgets for Video Projects

Monday – April 11th
3:30 – 4:45 Delivering HDSLR Video – Web, Disc, and Beyond
5:00 – 6:15 Switching to Premiere Pro – A Class for Experienced Editors

Tuesday – April 12th
3:30 – 4:45 Giving Your Web Video A Graphic Identity
5:00 – 6:15 Creating Custom Backgrounds

Wednesday – April 13th
2:00 – 3:15 Motion Control 3D: Bringing Your Photos to Life in Three Dimensions
3:30 - 4:45 Work Faster in Photoshop: Get More Done with Automation Scripting
5:00 – 6:15 More than 140 Characters: Integrating Video, Audio, and Rich Media w/Twitter

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Social Media Trends for 2011

Learn 5 New Trends to keep an eye on for 2011.
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Color Calibration Tools for Video

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When shooting in the field, it's often worth the effort to calibrate your camera. By manually setting your white balance, you increase the chance of proper color. Each camera is a little different (so look up the specifics in your manual). What we want to talk about now is using a consistent source to white balance during both the production and postproduction stages.

Here are two tools that are affordable and portable, and can help you calibrate cameras in the field and double-check color balance in post:

  • QPcard (www.qpcard.se). A cheap and easy way to address color calibration is to use a fresh calibration card when shooting. One option is the disposable QPcard. Priced at less than $5 per card, this is a great investment in accurate color. Simply use the adhesive strip to adhere one to your clapboard at the start of each day of shooting, and you’ll have a great source for checking color balance in post. With a white, black, and neutral gray surface, it is very easy to use the Three-Way Color Corrector when color correcting. In most cases, it will only take three to calibrate each camera.
  • Photovision One Shot (www.photovisionvideo.com). This calibration device offers a black, white, and gray stripe to color calibrate. The other side is a white reflector to help bounce light on set. What’s great about it is that it is reusable and can fold to a small size to fit into a camera bag. Various sizes are available, from 6-inch targets to wear around your neck to 34-inch targets for large multicamera events.

For more on DSLR video, check out
From Still to Motion.

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Creating Custom Brushes – 210 UAP



Instructor Richard Harrington demonstrates how to accurately select color utilizing the Eyedropper Tool in Photoshop CS5.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Comments

Boost your productivity with your new iPad 2!

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Would you like to learn how to create stunning new presentations, documents and spreadsheets on your iPad or iPad 2, using Apple’s iWork productivity applications? If so, we have you covered with Apple-certified video training on Keynote, Pages and Numbers for iPad. If purchased separately at list price, these videos would cost $44.97.

Save over 50% – get all 3 iPad training videos for just $19.99 – by using coupon code IPADVIDEO at checkout.

You can redeem the offer here –
http://www.peachpit.com/promotions/promotion.aspx?promo=138286

Apple Video Training:Numbers for iPad
Learn to customize existing templates or create documents from scratch, take control of tables and style charts. It's easy to find exactly the information you want, whether it's help with the basics, such as learning the touchscreen controls, or more advanced tasks like working with formulas and calculations.

Apple Video Training: Keynote for iPad
It's easy to find exactly the information you want, whether it's help with the basics, such as learning touchscreen controls, or more advanced techniques like creating tables and charts, or bringing your presentations to life with animated graphics and transitions.

Apple Video Training: Pages for iPad
Whether it's help with the basics, like touchscreen controls, or more advanced tasks like inserting graphics with wraparound text, you'll learn all you need to know to create dynamic personal and professional projects.

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Visual Contrast for Interviews

Adobe Premiere Pro CS5042

As you watch your video are you noticing that almost every person in it is looking in the same direction? Unfortunately, this seems to happen a lot unless you consciously pay attention when shooting and remember to adjust lighting and backdrops between interviews.

Don’t worry; a simple built-in effect can save you. Use a Vertical Flip effect to reverse screen direction. You don’t need to maintain a L-R-L-R-L-R visual order throughout, but try to get some visual intercutting by changing the direction your subject looks.

Be careful not to flip a screen with text, recognizable logos, or a clock in it. Also be sure to be consistent with all appearances of a person throughout the edit.


For more on DSLR video, check out From Still to Motion.

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Writing a Video Treatment

treatment

The treatment is considered a standard part of the development cycle for most film and television productions. The truth is that all kinds of video producers can benefit from creating a treatment. The goal is to write a single document that defines the video’s concept and summarizes the creating approach to be taken. The best part of making a treatment is that is formalizes the creative process for the producer. The major benefit here is that the document can then be shared with others as you work with other creative professionals, get approval from a client, or even seek funding or approval.

We recommend the following approach to developing a treatment:
  1. Define the Goals and Set Parameters. What is the core message you are trying to convey. Who do you want to watch the video? What’s the desired outcome you’d like to create (volunteering, purchases, political change, or a good laugh?) What’s your budget and how long will the video run.
  2. What’s the Concept? You’ll want to be able to quickly summarize the thene and objective for the video. Describe to others the core message and frame its delivery method.
  3. What’s the Approach? Now’s the time to lay out the specifics. This is generally a narrative summary of the journey the audience is going to take. In a way, it might resemble a book report you wrote in school. A clear summary that reveals all of the important details which will be presented to the viewer. Describe specifics that will elicit response by the audience including music choice, shooting style, and editing approach. Describe the emotions you will solicit along the journey and how the audience will feel at the journey’s end.
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DSLR Fundamentals on March 23 in DC

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Join Richard Harrington, a Director and Editor as he shares practical workflows for DSLR projects. Seems a lot of attention gets spent on shooting DSLR video, but there's a lot more to a complete production. Learn essential planning techniques including planning for storage, synchronization, and gear selection. Rich will also demystify post production with a particular emphasis on native editing. Learn how to transcode less and edit faster (no matter which NLE you choose).
Register here –
http://dcfcpug0323.eventbrite.com/event/1372291561
Use the code DCDSLR for free admission

Wednesday, March 23, 2011
6:00 PM

RHED Pixel
180 S Washington St Falls Church, VA

For more on DSLR video, check out From Still to Motion.
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There’s No Replacement for Mic Placement

micplacement
Having a good microphone is nearly worthless if you don't put it in the right position. The closer you can get the mic to the source of the audio the stronger the signal. Skimp on taking the time to position and test your mics and you run the risk of noise and hollow sounding audio.

Here are a few guiding principles when it comes to microphone placement:

  • Too far away. Extend your thumb and pinky finger in opposite directions. This is a good target distance for the microphone to be from the mouth of your subject. You can't get this close all the time, but do your best.
  • Getting too close. While proximity is important, you can get too close. If a microphone is too close to the audio source, the signal can become overloaded and distorted.
  • Microphone rub. Be careful where you attach a microphone (especially if using a lavaliere mic). Try to avoid having the microphone rub against clothing.
  • Consider the pickup pattern of the mic. Different microphones have different purposes. Make sure if you’re using an omnidirectional microphone, to place it so it can best capture the “whole” scene. Likewise, if using a shotgun microphone, angle it to capture the directional audio it’s capable of recording.

For more on DSLR video, check out
From Still to Motion.

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A Tour of the Apple Factory (Humor)



Yes, it's funny and a little offensive. Yes, I love Apple and am counting the days until my new iPad 2 arrives. But if you can't laugh at yourself, who can you laugh at.

Comments

Getting the Right Audio Mix

Adobe Premiere Pro CS5041
When you're working in the Timeline, chances are you'll use multiple audio tracks. Over time you'll have interviews, environmental sounds, music, and sound effects. And they all add up. The natural tendency of most editors is to start to raise the volume across the board, making each element louder than the next.

There’s a lot of confusion when looking at the Audio Meter. Unlike the analog world, you
DO NOT want to mix to 0 db. What this means is that you’ll likely need to adjust audio clip by clip in the Timeline.

  • For a digital mix, you should aim the volume to be near –12 dbfs. This works for tape-based output as well as DVD, and Blu-ray Disc (all non-broadcast environments).
  • Many broadcasters request -20 dbfs as reference with peaks up to -10 dbfs.
  • If you’re going to just output to the Internet, you can mix it hotter for playback on computer speakers. Boost the volume during the compression stage with a Normalize effect.
  • If you’re “seeing red” in the audio meters, then your audio is distorted. This is bad and will create unwanted distortion.

For more on DSLR video, check out
From Still to Motion.
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Straighten Your Photos in Photoshop

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If your photos are crooked, they can look very distracting when edited together with your video. Thin, crooked lines look very poor, in fact they can vibrate or flicker on-screen. If a photo is not straight (because it was shot at a slight angle), it is easy to fix.

  1. In Photoshop, select the Ruler Tool (I).
  2. Locate a line or surface that you think should be horizontal (or vertical).
  3. Click and drag a line to measure the angle.
  4. In the Options bar click the Straighten button.
  5. The correct value is used to rotate the image and it is automatically cropped to avoid any gaps at the edges.

For more on Photoshop check out
Understanding Adobe Photoshop and Photoshop for Video.
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Importing a Final Cut Pro Project into Premiere Pro

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Video editing is often a collaborative process. You may find that you need to work with someone else’s editing project that was started using Final Cut Pro. Fortunately, Adobe Premiere Pro is a very flexible editing solution. You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap.

  1. In Final Cut Pro, mark an In and Out point within a sequence for the range you’d like to export.
  2. Choose File > Export > XML. In the dialog that opens, choose Apple XML Interchange Format, version 4 (or newer) and click OK.
  3. Specify a location for the new XML file (such as your project folder) and click OK. The XML file is very small and references the original media on your drive. It will only take a few seconds to write.
  4. Switch to Adobe Premiere Pro and create a new project using a preset that most closely matches the video format you’ve been using.
  5. In Premiere Pro, choose File > Import. Navigate to the XML file you created and click Import. Premiere Pro creates a sequence and adds the media and a report to the project.
  6. Begin to update the edit or work with the imported project sources.

For more on DSLR video, check out From Still to Motion.

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Audio/Visual Sync for DSLR Cameras

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DSLR cameras lack actual timecode, which makes it harder to synchronize multiple angles or audio and video sources. This means you'll have to use an audio or visual cue to match your video and audio tracks when recording synced sound to a high quality audio recorder.

Here are a few tips for the field to make editing easier:

  • Use a clapboard. There's a reason film productions use a clapboard. When picture and sound are recorded to two different systems, it makes it easy to synchronize, because there is a visual and audio cue point. If using multiple cameras, be sure to point all cameras at the clapboard for the initial sync and to re-sync if any camera stops recording. The benefit of using a slate carries through to tapeless acquisition as well. Just place the slate in frame before you roll. Then you can actually see the slate when viewing clips as thumbnails. This will make it easier to identify takes when browsing your Adobe Premiere Pro bins.
  • Use a slate application. Several applications exist for smart phones that allow you to load information about the production. They can also generate a countdown slate and sync point.
  • Use an audio sync point. You may need to sync from an audio sync point. Be sure to expand your waveforms in the Premiere Pro timeline so you can see similar patterns. The sync point might be a clap, the start of applause, or the first word of a speech. Just—just find something in common on all tracks.
For more on DSLR video, check out From Still to Motion.

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Photoshop Eyedropper Tool – 209 UAP



Instructor Richard Harrington demonstrates how to accurately select color utilizing the Eyedropper Tool in Photoshop CS5.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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How to Repair and Retime Video Footge

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There are several reasons that footage might need repair. Archival sources (especially those that are tape-based) can wear with time or equipment failure. Rushed crews or poor preproduction can also impact the quality of a shot through inadequate lighting. Environmental conditions, such as a sunset or inconsistent cloud cover, can wreak havoc with footage as well.

Although the reasons may vary, you'll find a useful collection of tools in After Effects. The footage we'll show you is bad (in this case purposely so).

Check out the
full book chapter here for free.

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Playing Fairly and Pricing Fairly

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The world of video is going through a revolution when it comes to pricing. When I started my career, tape decks were more expensive than cars and a complete editing system cost more than my townhouse. Oh how the world has changed.

The video industry is experiencing a race to the bottom. Gear keeps getting cheaper, which is a good thing in many ways. The problem lies in the cost barrier. Just as many photographers been frustrated by every schmo who buys a DSLR thinking he or she is a pro photographer, so have video professionals felt about photographers thinking they are video pros. Add to this sudden influx hundreds of schools pumping out graduates from media programs and you have a cluttered workplace.

I do not say the above to be protectionist or confrontational. The fact is that the video industry needs to evolve and will benefit from fresh talent and fresh ideas. Just don’t piss in the pool after you jump in.

Take a look around you and see what business practices others are following. Here are a few that I wish more would follow for the good of the video industry:

  • Price fairly – Different businesses will need to charge differently for their services. Still, be sure you price services so you can survive for the long term. Be consistent with your prices and be sure to cover related costs like facilities, insurance, and equipment.

  • Don’t do spec work – There is a lot of pressure to do unpaid work in the video field. Taking spec jobs to prove capabilities or show interest in a client. Look at other professions, they don’t face these same pressures. If you truly need to expand your portfolio, seek out legitimate nonprofit organizations and make a donation of your time and skill.

  • Don’t badmouth your competition – Your only true competition is yourself. Speaking ill of your peers will only lower the standards of the industry as a whole.

  • Your problems are your problems – Always pay your subcontractors (even if you haven’t received client payment). Similarly, you should not accept excuses from others above you in the client chain due to delayed payments. Make sure you responsibly keep payments flowing to those you hire.

  • Act more like a lawyer and less like an artist – I’m not saying shelve your creativity... but remember that you are a trained professional with a code of conduct. You need to remember the important aspects of client management, professional communication, and ethical business practices if you want to succeed in video for the long term.


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Spot Color Channels – 208 UAP



Instructor Richard Harrington demonstrates how to use Spot Color Channels in Photoshop CS5, while explaining the importance of using the Spot Color Channels tool before professional printing to reproduce your client’s corporate colors consistently.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Low Light Shooting Strategies for DSLR Video

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In this video tutorial, Robbie and Richard discuss low-light shooting strategies, including controlling your aperture, ISO, lenses, and shutter speed.

Lighting should be your first step, but capturing gorgeous images with DSLRs in low light situations is not only a possibility, but an artistic venture with the amount of control offered by these cameras.

Watch the episode for free or download here –
http://podcasts.creativecow.net/dslr-video-podcast/low-light-shooting-strategies

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Create a New Presentation on Your iPad



Learn how to get the most from Keynote on your iPad. Be sure to check out the full length title
here.

Apple Video Training: Keynote for iPad, Online Video from Peachpit Press.

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Exploring 3D Mesh Objects

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In this podcast Richard Harrington shows how to create your own 3D Objects in Photoshop and then import them into After Effects as true 3D Models.

Watch it for free or download it here –
http://podcasts.creativecow.net/photoshop-tutorials-podcast/exploring-3d-mesh-objects


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Photoshop's 21st Birthday

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Today is Adobe Photoshop's 21st birthday... Since I'm in New Orleans with a few Adobe employees, I hope we can properly celebrate. I wanted to point out the many great Photoshop resources I have for you that are FREE. I hope you can enjoy the wonder of Photoshop.


And for the next week (until February 27). Our iOS apps are
FREE (yes FREE).


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Find Special Typographic Characters on a Mac

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Need special characters (like å é î ø ü) but can’t remember where they live on the keyboard?

Mac OS X has a great feature for this—the Keyboard & Character Viewer.

  1. Go to System Preferences > Language & Text > Input Sources, and enable the Keyboard & Character Viewer.
  2. Check the box for Show Input menu in menu bar.
  3. Notice the new icon in your menu bar (likely a flag that matches the language). When needed, simply click it and choose Show or Hide Character Palette.
  4. The palette automatically floats above your active application.
  5. Be sure to check that you’re using the same font in the text generator or other application.
  6. Double-click or drag to use the special character.

This panel is really useful as you can search by category using the lefthand column. Be sure to also try searching using the bottom search field as well as you can search by name or keyword. Lastly the View menu offers additional filters, I find the All Characters and Glyph views most useful.


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HD Video: Frame Rate or Field Rate

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Sometimes we miss the good old days where choosing a frame rate was an either/or decision. When it comes to HD, one area of confusion that we get asked about a lot is the difference between frame rate and field rate. It’s common to see numbers like 720p60 or 1080i60 as part of a description.
  • The first part describes the vertical resolution.
  • The P or I describes whether the footage is progressive or interlaced.
  • The last part describes its frame or field rate.

In HD video, frame rate and field rate are often used interchangeably and it can be hard to tell what someone is talking about. Here is an easy way to think of it.
  • When an HD format is interlaced, the number generally describes field rate (1080i60 would describe 60 fields per second).
    • When an HD format is progressive, the number generally describes frame rate (720p60 would be 60 frames per second).

The interesting thing is that field can describe frame too! This is because field rates are double that of frame rates. So 1080i60 footage has a frame rate of 30fps. Got it? Well, it’s not that simple. Most of the time numbers like 60 or 30 really represent fractional field rates (59.94) or frame rates (29.97) for backward compatibility with NTSC television.

Math—oh, how we hate you.
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Designing with Adobe Kuler – 207 UAP



Instructor Richard Harrington demonstrates how to design with the Kuler tool in Photoshop CS5 by interactively choosing color based on color analogies. ;
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Age is Just a Number

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I have seen myself go from being an upstart kid to a balding professional. But I have learned this... age is just a number. I have worked with wonderfully talented “kids” throughout my career. I have also chosen to surround myself with those who are more experienced than me. Both parties have added to my understanding of this medium and its creative applications.

While the guild system of old is all but destroyed, you can still preserve its spirit. Seek out others who you want to work with. Ignore their age and instead look at what they have to offer to the creative process. An open mind goes a long way. I continuously learn things from even the youngest employee or crew member. I also have learned to listen when someone else has something to say.

Video is a collaborative medium and one that has undergone a century worth of change in the last ten years. Bluntly... shut up and listen. Put any preconceived notions you may have about age or experience aside and open yourself to opportunity.

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Rediscovered Gem: World Builder



I recently stumbled back across this great video. Perhaps it was meant for Valentine's Day. The storytelling and visual FX work are both top notch.

A strange man uses holographic tools to build a world for the woman he loves. This is a short by filmmaker Bruce Branit.

Enjoy... and remember to tell those you love how important they are.

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Photoshop's Calculations Command – 206 UAP



Instructor Richard Harrington demonstrates how to create an alpha channel through combining more than one individual channel details by utilizing the Calculations Command.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Animating with the Puppet Tool

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In this video tutorial Richard Harrington shows a quick technique used to animate and selectively warp an image inside of Adobe After Effect. Richard uses masking and refine edges to prepare the animation inside Photoshop.

Plus, I actually make a monkey dance (really)!

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Video is a Team Sport

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This is the hardest message for most photographers to accept. You cannot truly make a professional video in isolation. Am I saying that one person can’t do everything? No. But can they do it well? Consider the following.

  • Video projects often have firm deadlines – Whether it’s an air date, a live event, a corporate meeting, or a project launch. Deadlines are standard in the world of video, having a team means bench strength and safety in numbers.

  • You’ll make more money doing what you do best – How many photographers are magazine publishers? Do they sell the advertisements and write all the stories? What about when publishing a book... do they fire up their personal printing press? The point here is that a photographer should do what they do best. That tends to be direct the talent, pick the locations for shooting, lens the project, and carry their creative vision through the editing and graphics stages. I am not saying you should avoid editing or motion graphics, but you may be pretty slow (especially when you first start). I say try anything three times… but if you find you hate the work or you are turning down other jobs... then its time to move on. You can always find people who want to do parts of the job you are weakest at… plus they’ll likely be far faster than you. This will let you shoot more and line up more business through your contacts.

  • The creative mind is like a hive – Adding additional people that you trust can really lead to a better product. I find that having other professionals around keeps me from slipping into my old habits. It also leads to creative discussions that push the envelope and lead to a better outcome.

I'll be presenting two full sessions to help professional photographers who want to move into video. Come learn the ins and outs of business at the
American Society of Media Photographer's Strictly Business 3 Conference (Philadelphia & Chicago).

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Free Adobe Creative Suite 5 Ebook

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I've written a
free book for Adobe about how to get more done with After Effects, Photoshop, Premiere Pro and more.

”Explore the creative possibilities of DSLR video editing with Adobe Creative Suite 5 software. This paper provides tips and tricks for navigating Adobe Premiere® Pro CS5, Photoshop® CS5, Photoshop CS5 Extended, After Effects® CS5, and other CS5 components to help you along the way."

The book is 100% Free, and contains all sorts of great knowledge.

  • Working in the timeline of Adobe Premiere Pro
  • Get more done with Adobe Photoshop
  • Get organized with Adobe Bridge
  • Working with audio
  • Adobe After Effects Advanced techniques
  • Good shooting practices and Production Techniques
  • Sharing and publishing your video

You can download the free eBook with tips for DSLR and Creative Suite at http://scr.bi/dslrtips2

For more on the fusion of photography and video, check out From Still to Motion.

If you enjoy the ebook, please leave a comment . It means a lot and lets Adobe know people are reading and appreciate the book.




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Three New Apple Video Training Titles about the iPad (Plus Free Copies)

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In these new online videos, author and trainer Rich Harrington provides a complete tour of Pages, Keynote, and Numbers. Each complete video features more than 40 segments dedicated to performing a specific task. Apple Video Training: Pages for iPad – In this Apple-certified guide to Pages for iPad, master trainer Rich Harrington takes you on a comprehensive tour. You’ll learn everything from customizing existing templates by adding your own graphics, charts, and styles to creating documents from scratch. Featuring over 40 videos, each one is dedicated to a specific task in Pages. So it's easy to find exactly the information you want whether it's help with the basics, like touchscreen controls, or more advanced tasks like inserting graphics with wraparound text. You'll learn all you need to know to create dynamic personal and professional projects.

Apple Video Training: Keynote for iPad – In this Apple-certified guide to Keynote for iPad, master trainer Rich Harrington takes you on a comprehensive tour. Featuring over 40 videos each dedicated to performing a specific task in Keynote, you’ll learn how to create professional-looking presentations quickly. It's easy to find exactly the information you want, whether it's help with the basics, such as learning touchscreen controls, or more advanced techniques like creating tables and charts, or bringing your presentations to life with animated graphics and transitions.

Apple Video Training: Numbers for iPad – In this Apple-certified guide to Numbers for iPad, master trainer Rich Harrington takes you on a comprehensive tour. Featuring over 40 videos, each dedicated to performing a specific task in Numbers, you’ll learn how to transform your data into organized, professional-looking documents. You'll learn to customize existing templates or create documents from scratch, take control of tables and style charts. It's easy to find exactly the information you want, whether it's help with the basics, such as learning the touchscreen controls, or more advanced tasks like working with formulas and calculations.

FREE COPIES
Below are 15 digital voucher codes for use on Peachpit.com. Each code can be used once and will give a user access to the Keynote for iPad Online Video. First come, first serve.
Here are instructions for use:
  1. If you have a Peachpit.com account, go to www.peachpit.com/account and log in. If you do not have a Peachpit.com account, go to www.peachpit.com/join and create an account.
  2. On the Account page click the link for "Enter your code here" that appears under "Digital Product Voucher" in the right column.
  3. Click Submit.
  4. The video will be listed under Digital Purchases on your Account page; click the title to generate the download.

Here are the codes:
C480B2D1B339
5117A9666C22
B55F3EDC865C
9B04F9EE176D
E5F1DA0B86DE
084EAD80FCF5
94854B88CCC3
1C53E2BD2A99
BD13454A71B8
22549F722643
DF2828603F4F
1173EB1BF840
C68323582AB3
9403997FEA3E
A3C1B42746A1
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Selecting with a Channel – 205 UAP



Instructor Richard Harrington demonstrates how to make an accurate selection utilizing the color channel details of an image.
Be sure to also check out the new book – Understanding Adobe Photoshop CS5

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Mastering the Photomerge Command (Part 1)

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Photomerge is a specialized “mini-application” within Photoshop that assists in combining multiple images into a single photo. You can access it from either Photoshop or Bridge. Depending on the resolution of your sources and the speed of your machine, it can take a while to complete.

Read the full tutorial at TipSquirrel –
http://www.tipsquirrel.com/index.php/2011/02/mastering-the-photomerge-command-part-1-2/


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Edit to the Beat in Adobe Premiere Pro

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In this Premiere Pro
tutorial Richard Harrington shows how to edit a group of video clips quickly to sync them to an audio clip by using markers and the automate to sequence command.


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Master Adobe Camera Raw – Free Ebook

This is a re-post... but I was asked to share it again. Here's a free (and really good) way to learn all about the Adobe Camera Raw plug-in. This is a bonus eBook I wrote to go along with the book Understanding Adobe Photoshop CS5. Its yours for free... I hope it helps.

UAP Using Camera Raw


Be sure to also check out the new book – Understanding Adobe Photoshop CS5

Here's a nice review of the book too –
http://www.mymac.com/2011/02/book-review-understanding-adobe-photoshop-cs5/

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Photoshop World Orlando 2011 Dates and Info

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I've been speaking at Photoshop World for seven years now... it truly is a great event and a ton of fun. Here are a few important updates for you to know.


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I've Seen the Future?

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For this week, I will be posting several blog entries in advance. I am taking a proper vacation, one that will include little social media, blogging, or email (and lots of rum drinks, sun, and ocean breeze).

It is time for a family getaway... I'll recharge my batteries, get some great photos, and be back real soon.

In the meantime, please enjoy the posts from the future. I've put a particular emphasis on your economic well-being... so I hope these resources help.


-Rich

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Maximizing a Production Day

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We typically build our production days around a 10-hour schedule. This allows about 7 hours of time for shooting and the other 3 for setup, breaks, and teardown. The important thing here is to pace yourself. Make sure you what you want to accomplish each hour you’re on set so you can measure progress or take corrective action.

While we try to maximize the day, we don’t try to kill the crew … there’s a difference:
  • Make sure you have enough help to load gear in and out so you get off to a good start. For that matter, be sure to use a rolling cart to cut down on wear and tear on your body and speed up moving times between locations.
  • Be sure to allow time for meal breaks. Keeping people from eating will only make them cranky and less productive. Try to bring some snacks and drinks on the set to keep people comfortable and from wandering off.
  • Keep the schedule reasonable. We try to not to let the client schedule the first interview for 8:00 a.m. We’ve often had to convey to the client, “If you schedule this for 8:00 a.m., it means we have to leave our houses at 4:30 a.m. in order to have to everything set up on time.”
  • We routinely have to remind clients that an eight-hour day does not mean eight hours of interviews. We also have to point out that it is a contiguous eight hours. You can’t schedule a crew to start at 9:00 a.m., then give them a five hour break in the middle of the day, and want them tape something that goes until 10:00 at night.
  • Be sure to work with your clients and gently educate them. Sometimes we’ve had to say, “Yes, we can do this. But we’re going to have two crews and we’re going to have a changeover period here and the second crew will step on to the set and continue into the night.” Be smart: Respect your clients and your crew if you want the best results.

To learn how to make great web video check out Professional Web Video.


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All the Creative COW Podcasts on One Page

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Just wanted to let you know that you can now find all the
Creative COW podcasts on one page. I am a co-host on several shows.

  • DSLR Essentials
  • Photoshop for Video
  • Adobe Premiere Pro
  • Adobe After Effects
  • Final Cut Help

There are HOURS of free video training here.... plus several other topics. Be sure to check out the
page. Most shows are available in both HD and SD versions.


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Motion Graphics Salary Survey

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If you'd like to better understand the different compensation levels available to motion graphics designers, there's a good report that was just released.

The report analyzes different pay available based on experience, job title, and region worked. There's also good data about tools used (software and hardware) as well as working conditions. As they say, knowledge is power... and the report offers a good glimpse into the factors that can influence better pay and working conditions for designers.

The Motion Graphic Design Census is an unofficial web-based survey written by Bran Dougherty-Johnson and Jake Sargeant and hosted by Motionographer in 2009. Whether you're a designer or a business owner, this is good data for benchmarking.

The 2010 Census is available now.

The 2011 Census is currently collecting data.




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Essential Questions to Ask at the Beginning of a Project

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Through the years, we’ve learned a lot of lessons the hard way. While every project is unique, it often seems that the problems remain the same. Here are a few questions we always encourage asking at the start of any video project:
  • Who is our customer? Projects often have many parties involved. Be sure that you know who you’re responsible to keep happy.
  • What is the purpose? You need to know what the video is trying to accomplish.
  • How will we measure success? Determine which factors will be used to judge the success of the project.
  • What do we want to say? Identify the goal of the piece and the message that the audience should walk away with.
  • What resources do we have? Decide who will be assigned to the project. Establish if there are any assets or resources available to the project that should be utilized. Make sure there are no assumptions being made about what you have to work with
  • What is the budget? Never discuss approach without having an idea of your financial constraints. Creative types often get swept up into big ideas without knowing what the project can support.
  • What are the deadlines? Equally as important as budget is schedule. You need to understand any major milestones so you can schedule work and adjust your approach to match the available time.
  • Are there any customer requirements? Never make assumptions. It’s always a good idea to ask the clients if they have any specific needs or requirements for the end product. You’ll often be surprised how important details can go unspoken until the very end of the project.

To learn how to make great web video check out Professional Web Video.



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Five Great Resources on Copyright

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Do you understand your rights as a content creator? Here are five great resources to learn more (and they are all free)



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Want Better Web Video? Keep it Short.

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Here’s a simple idea: Keep your web videos short. It is better to have ten 4-minute episodes than one 40-minute episode. We try to keep our web videos to less than 10 minutes (in fact less that 5 in almost all cases).

Web videos tend to be consumed during things like work breaks, downtime, and airplane flights. Others will use them during commutes on the morning train or the subway. Think of web video and podcasts as portable, on-demand learning or entertainment. Remember that your audience is often watching web video on portable media players with small screens. Be sure to keep the total run time low to avoid viewer fatigue.

In the training videos we produce, we try to limit topics to one per episode. And if a single topic takes more than 10 minutes to explain, then we’ll split the video into two or three parts. This way the viewer can download Part 1 and start watching it while they’re waiting for the rest to download or be released. There’s nothing wrong with multiple parts. That’s the whole concept of serializing a web video into an actual series that builds up a subscription and viewership base.

To learn how to make great web video check out Professional Web Video.

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Making Selections in Photoshop with Calculations



Learn to perform Channel Operations. Instructor Richard Harrington shows you how to make great selections using channels in Photoshop.
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Your Right to Take Photos of Federal Property

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Like to take pictures? Well you may have run afoul of shooting photos of federal buildings (which is pretty easy to do in DC where I live). Here's a useful federal directive that you should print out and put in your camera bag.

Federal Protective Service Information Bulletin of Aug. 2, 2010, emphasizing "the public's right to photograph the exterior of federal facilities" from "publicly accessible spaces such as streets, sidewalks, parks and plazas." It also states that in a field interview, "officers should not seize the camera or its contents, and must be cautious not to give such 'orders' to a photographer to erase the contents of a camera."

Download it here –
http://documents.nytimes.com/photographing-federal-buildings-from-public-spaces


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Don't Miss the ASMP Strictly Business Conference

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I'm speaking at ASMP's Strictly Business Conference. There are two stops left for this great show on business for photographers.

REGISTER HERE FOR PHILADELPHIA or CHICAGO
“The American Society of Media Photographers invites you to the Strictly Business 3 Conferences, the newest generation of this highly acclaimed series.”
FULL CONFERENCE DETAILS
Your registration includes 4 meals, 2 receptions, 2 keynote presentations, 6 workshops and bonus evening sessions. This packed schedule will inspire you and direct your career!
When and Where
February 25-27 in Philadelphia April 1-3 in Chicago
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Shooting DSLR Video Precon Returns to Photoshop World



You can sign up here –
https://photoshopworld.com/register/
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Easy Path to P2 Software


I was on a shoot last week and I was trying to remember where to find the latest P2 and AVC Intra drivers from Panasonic. Seems like these keep getting updated and moved around, meaning its not always easy to find where this software lives.  Sure you can bookmark the page, but seems like I always need it when I’m in an edit suite or trying to help someone else out through their problems. So, I have solved the problem once and for all (I hope).

I used the URL shortening service TinyURL.com to trim the long URL.
While the software is available at
https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/download.htm that is just too hard to remember. We used the TinyURL service to shorten it to http://tinyurl.com/p2swdl. Just think P2 Software Download and you’ll remember it.

Check it out –
http://tinyurl.com/p2swdl


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How to Not Screw Up Your DSLR Memory Cards in the Field

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I had a revelation today on how to handle my memory cards while shooting in the field. You see when shooting DSLR video, I can burn through a lot of cards. Plus I typically have a couple of camera angles going off at once. An easy mistake to make (but deadly nonetheless) is reformatting a card that you've already shot to. So here's my surefire plan to keep things straight.

  • Right Pocket – The right pocket contains all of my empty cards that I wiped before the shoot. All cards are erased before you get on-set so you know if you put the card in and it has something on it, then that's footage that needs to be backed up.
  • Left Pocket – The left pocket contains all of the cards that have been filled up while shooting.

You're probably saying.... "Ummm... what's the big deal?" Well here's the killer memory jingle to not screw things up.

"The Cards in my
RIGHT pocket are the RIGHT ones to use.... The Cards in my LEFT pocket should be LEFT alone."

Okay... I won't win a Pulitzer for that... but hopefully it'll keep me from accidentally screwing things up when shooting.


For more on the fusion of photography and video, check out From Still to Motion.


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Making Selections Uisng Photoshop Channels



Here's a great one from the vaults. Instructor Richard Harrington shows you how to make quick but accurate selections using channels in Photoshop.

Be sure to check out my two Photoshop books –
Photoshop for Video and Understanding Adobe Photoshop CS5.

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Create Accurate Budgets with a Free Video Budget Template

budget
For video production, the budget is truly king (especially these days). It is important that you create a detailed, line item budget so you have a clear idea of the work involved and the costs associated with the project. Many clients will expect this level of detail in your pricing. You may also find it helpful to share a line item
budget with your production team members so they know how much time is budgeted for each task.

  1. Open the file Budget_Template.xls. You’ll either need Apple Numbers (part of iWork) or Microsoft Excel. The templates are filled in with several standard labor items for video production tasks.
  2. Add rows for tasks as needed since this document is by no means exhaustive. Be sure to add any items you frequently need and delete any items that you never use from the starter template.
  3. Adjust the rates for your services. It is beyond the scope of this book to tell you how to price your services. You should do a little market analysis and see what your competition charges for items as well as look at your own internal costs.
  4. Once the rates and task items match your internal needs, save the document as a Budget Master for your company.
  5. Locate the file on your computer and press Command+I to access its properties.
  6. Select the Stationary Pad and Locked check boxes. Now your master budget cannot be overwritten, and when you double-click it, a new blank budget opens as a clean slate.
  7. When you’re ready to use the budget, double-click the file to open a new budget. Enter the quantity for all items you expect the project to need.
  8. Instead of deleting unused items, simply right-click on a row and choose Hide Row (Numbers) or Hide (Excel).
  9. If you want to discount items, just adjust the discount amount in Column E.
  10. All items will be subtotaled by category with a budget summary at the bottom of the spreadsheet.
  11. Save your budget, and then print or email it as needed. Be sure to save a new version for every change in case you need to compare budgets later in the project.


For more on the fusion of photography and video, check out From Still to Motion.
To learn how to make great web video check out Professional Web Video.


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How to Calibrate DSLR Video Cameras

calibratecams
Oftentimes you'll find yourself using more than one camera body while shooting footage. This may be to get an extra angle or to avoid having to change lenses in the field. The closer your camera settings the match, the more seamless it will appear when you edit the different footage together. Ideally the acquired footage will match as closely as possible. This means that you to adjust both the aesthetic and technical properties.

Aesthetic Matching

Look inside the camera and check your menu settings. You'll typically find several options that will aesthetic properties of the footage. Ideally, you'll closely match these settings across multiple cameras: