Color Grading Central Tutorials

April 10, 2012Blog

Looking for color correction and color grading tutorials? At Color Grading Central you get instant access to DaVinci Resolve tutorials. They’re currently giving away (3) 6 Month DaVinci Resolve Training Memberships valued at $197 USD. For details on entering the contest giveaway visit the site to learn more.

Install 10.6.8 on Thunderbolt Mac Mini & Promise SANLink

March 20, 2012Blog, Tips

With the new SANLink Thunderbolt to Fibre Channel adapter from Promise shipping recently. I wanted to add a couple Mac Mini machines to the XSAN for Tosh.0.   The problems?  The XSAN is running 2.2.2 on OS X 10.6.8.  That means the Mac Mini’s, which only ship with OS X 10.7, wouldn’t be a good … Read More

Final Cut Pro X – What Now?

August 11, 2011Blog

Along with Larry Jordan, Norman Hollyn, Michael Cioni, and Michael Kammes, I will be speaking on a panel at Keycode Media about the future of Post-Production in a Final Cut Pro X world on August 18th, 2011.  Hopefully we will be able to de-bunk some of the misconceptions about what FCP X is and its place in … Read More

Qmaster Distributed Encoding on an XSAN

June 20, 2011Blog, Tips

A lot of people have set up their systems to utilize compressor’s Qmaster feature on their own system in order to use all available processor cores when encoding videos. But what if you have multiple machines with access to file-level shared storage, like XSAN.   All client computers can have access and write access to … Read More

Composite Modes in Final Cut Pro

June 1, 2011Blog, Tips

Working with Composite Modes Final Cut Pro composite modes determine how the brightness and color of one clip visually interact with those of another clip layered beneath it in a sequence. When you edit a clip into your sequence, it defaults to the Normal composite mode, meaning that it is a completely opaque layer that does not … Read More

Digital Video YUV Color Space

May 4, 2011Blog, Tips

The YʹCbCr Color Model   In the RGB color model, all three channels contribute to the perception of brightness. In the early 1950s, this was a problem when developing a three-channel color television system that would be compatible with existing black-and-white televisions. The solution was to encode a single channel that represented luminance—light intensity as perceived … Read More

Secondary Color Correction with After Effects

April 4, 2011Blog, Tips

Recently, I graded a set of short documentary films by director Doug Pray for Stamp Films & Philips Electronics for the Wake Up The Town campaign. The films were set in the town of  Longyearbyen, Norway and covered a study on the effects of the living in the Arctic Circle, where winter means almost four months … Read More

DV Rebel Tools

April 3, 2011Blog, Tips

Seriously. Go get these.

Final Cut Pro 8

February 24, 2011Blog

As posted at According our very own people familiar with the matter, a small group of video editors were on the Apple campus recently in order to preview the new version of video editing software, which is in the same space as Avid and Adobe Premiere. Apparently Apple is still putting the finishing touches … Read More

Final Cut and After Effects round-tripping

October 29, 2010Blog

Interlacing is a technique developed for transmitting television signals using limited bandwidth. In an interlaced system, only half the number of horizontal lines for each frame of video are transmitted at a time. Because of the speed of transmission, the afterglow of displays, and the persistence of vision, the viewer perceives each frame in full … Read More