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SMPTE Color Bars and Media Composer v8.4.1
By: Scott Freeman on Nov 25, 2015 at 6:51:12 pm

Importing SMPTE Color Bars with the proper Color Levels. Import Settings under "Color Levels" select "Do not modify, treat as legal range": In Media Composer v8.4.1 when the user installs the application, SMPTE color bars are installed Macintosh OS: Internal Storage > Applications > Avid Media Composer > SupportingFiles > Test_Patterns > HD_1080 > SMPTE_Bars.tif Windows OS: Internal Storage > Program Files > Avid > Avid Media Composer > SupportingFiles > Test_Patterns > HD_1080 > SMPTE_Bars.tif I hope this is helpful...

SMPTE Color Bars

MXF Sony PXW-FS7 test with workflow round-trip Avid & Resolve
By: Scott Freeman on Nov 25, 2015 at 3:59:33 pm

MXFs with Sony PXW-FS7 test with workflow round-trip I love putting this workflow through tests to hopefully help artist create their art. Testing out metadata linked to video essence round-trip reconform with some MXFs from Sony camera model PXW-FS7. This is what I got so far, I hope it is helpful information. Sony PXW-FS7 camera with small duration mxfs. Thoughts: Keeping native width and height for the round-trip reconform for metadata linked to video essence. Specifications of what testing with - model camera: Sony PXW-FS7 - Media Composer v8.4.1 with Symphony Option with AMA Plugin: SonyXDCAM_64bit v3.4100.0.470 I found...

DaVinci Resolve

RED Online Relink Media Composer v8.4.1 and v6.5.4
By: Scott Freeman on Nov 25, 2015 at 9:51:15 am

Media Composer v8.4.1 and RED AMA Plug-in assigns the first 16 characters of the RED file name to the Master Clip. Media Composer v6.5.4 and RED AMA Plug-in assigns the spanned underscore part of the RED file name to the Master Clip. Spanned underscore if using AMA volume ingest path is appearing as "_001". Spanned underscore if using AMA file ingest path then there might not be an "_001". With the Avid relink command, the user can ignore the spanned part of the name if needed. RED reconform offline sequence to online sequence relink command path: ... I hope this...

auto-reconform RED

Relink command using populated metadata in the source file bin column
By: Scott Freeman on Nov 21, 2015 at 10:30:47 pm

I love testing Avid features and a big feature to test is different ingest tapeless video paths available for the Media Composer Artist. Looking for consistencies for following typical offline editorial sequences to typical online finishing creating deliverables. A start for the computer is to have metadata linked to video essence. In the Relink Command Window to use "Source File" bin column metadata for the master clip identifier, the Artist selects the second option "Tape Name or Source File Name". Ingest path File Menu > Import: Ingest path File Menu > Link to Media with AMA Plugin: Same source file...

source file column metadata used for the relink

consolidate/transcode command embeds side-car metadata into the mxf
By: Scott Freeman on Nov 13, 2015 at 9:52:39 am

Step 1) In the Avid Bin, selecting the master clip, and going to the clip menu, is where the consolidate/transcode is located. When using the consolidate/transcode command, Media Composer embeds current supported master clip metadata into the newly created mxf media file. here is a snap shot of a mxf media file on the storage device as viewed by the operating system graphic user interface: Currently, master clips are either Source File Mob or Tape Mob. This means that in the Avid Bin a master clip has the ability to display metadata in either Source File column or Tape column....

Avid Metadata In the MXF OP-Atom file

video control with bin columns
By: Scott Freeman on Nov 7, 2015 at 2:33:38 pm

After a video link to original tapeless camera masters for an online, Avid has a refresh sequence command. Here is my attempt to go over some of the video controls before using the refresh sequence command. Video codec wrapper combo frame, absolute center of the video source file is held by the Avid in the absolute middle of the video screen by default. Image framing, with Bin-Column-Selections and the artist can sustain quality from the fps video source pixels defined as progressive video or interlaced video for some width and height dimensions. Clips edited, creating a Sequence can be defined...

Pixel Aspect Ratio

G-Tech 4TB G-DRIVE USB 3 Hard Drive
By: David Blake on Oct 27, 2015 at 6:02:52 am

Hi, I'm just wondering how suitable people find the G-Tech 4TB G-DRIVE USB 3 Hard Drive for using to access/store media on for editing purposes on either Avid and/or Premiere Pro CC? I usually need to access native files such as 1080p HD and on occasion 2k and 4K footage. Thanks in advance. David...

file size, DNxHD, mxf
By: Scott Freeman on Oct 10, 2015 at 1:50:04 pm

Some file size questions using DNxHD codec and Avid Native MXF media files that I get asked. And a basic answer. A file has a file size and someone wants to know why? What is the estimate of storage space needed with a particular duration? Is DNxHD 175x a larger file than DNxHD 175? Step 1) In avid click on center duration to find out frames. Here is one frame of video file size reference from my tests to figure out what a file size might be. DNxHD 444 350 X (HD1080p) 2.2 MB DNxHD 220 X (HD1080i) 1.3 MB...

mxf wrapper

switching over the Project > Format > Preset Type: from 1080i/59.94 to 1080p/29.97, what is Avid doing when displaying the Master Clips as progressive video?
By: Scott Freeman on Oct 7, 2015 at 4:07:02 pm

In a 59.94 interlaced project and curious what happens when I switch over the Project > Format > Preset Type from 1080i/59.94 to 1080p/29.97 as far as how Avid handles the video quality of Master Clips to playback as progressive. A lot of time these days, most of my sources are shot as progressive video and become master clips in an interlaced project. I thought I should test out what the Avid does when the user switches a project from interlaced video to progressive video. For Master Clips that have "Field Motion" Bin Column set to "Progressive" the Avid uses...

interlaced video

scott freeman's original art
By: Scott Freeman on Oct 3, 2015 at 6:57:11 pm

At 14 I decided that I should devote my time to creating art. I enrolled in life drawing classes and decided to apply what I learned drawing models to drawing models in my imagination. I wanted to create a person dancing in the rain. out of a color, used some stickers. people learning and educating themselves means so much and thought I should create a college student on her way A drawing challenge, how to draw invisible people. Draw people cloaked in the scene. Here is a cloaked person in the night. I feel like we are all on a...

original art

perfect pull list
By: Scott Freeman on Oct 3, 2015 at 5:04:35 pm

Making a source tape pull list for online tape batch-digitizing. I get asked to help when creating-a-list-is-crashing-the-avid. Parallel tape cart with what avid will ask for tape ingest. Step 1) Duplicate the "Master Online Sequence" into a new bin. Step 2) On the Macintosh, hold down the "control" key and while holding down the "control" key, click on the duplicated sequence to bring up the contextual menu. Step 3) In the contextual menu choose "Commit Multicam Edits" Step 4) Make a New Bin and title it "ingest". Move the new "NoGroups.Copy.01" sequence into the "ingest" bin. Step 5) In the...

pull list

media management: media database links MXF
By: Scott Freeman on Sep 26, 2015 at 2:13:41 pm

If there is ever a question of what folder structure the Avid is using when creating the media databases for mxf links to master clips. Here is a quick way for an answer. In an HD or greater than HD Project (HD defaults to using mxf media files): 1) Go to the "Tools Menu", select "Audio Tool". "Audio Tool" Appears 2) In the "Audio Tool", move the Pointer Icon to "PH". The "Peak Hold Menu" Appears 3) In the "Peak Hold Menu" select "Create Tone Media". The "Create Tone Media" Window Appears. 4) In the "Create Tone Media" Window, select...

Media Database

29.97 fps play as 23.976 fps: cadence removal
By: Scott Freeman on Sep 16, 2015 at 7:04:12 pm

In Avid Media Composer: 29.97 fps Master Clip, the "Field Motion", and a 23.976 frames per second project. 2:2:2:4 cadence: In the Avid Bin, assign the Master Clip(s) "Progressive" by clicking under the "Field Motion" column. 2:3:3:2 cadence: In the Avid Bin, assign the Master Clip(s) "2:3 Film" by clicking under the "Field Motion" column. 2:3:2:3 cadence has specific steps to preserve all horizontal lines that made up the interlaced picture to move as progressive video: In the Avid Bin, assign the Master Clip(s) "2:3 Film" by clicking under the "Field Motion" column. Step 1) Load the Master Clip with...

making a deliverable

quality vs time vs cost, when using a computer you can have all three!!! save time in the online
By: Scott Freeman on Sep 11, 2015 at 4:05:40 pm

quality vs time vs cost, when using a computer you can have all three!!! With computer automation save time in the online/finishing sessions!!! I have been saying this for 20 years, if we can have more computer automated tasks done, that saves precious time for creating the art, thus getting artistry quality in less time!!! My goal has been to automate everything that can be automated since day one of using an Avid Media / Film Composer. This is called using the tools through tests, thus being able to create a workflow/solution to facilitate needs with 100 percent consistent results...


making a deliverable with blur effects: avid technical note workflow solution?
By: Scott Freeman on Sep 10, 2015 at 6:16:43 pm

In a time-crunch to make that televsion episode deliverable, and when using a computer, time is on our side. If ever given the choice to travel at light speed, that is when I will choose a computer to drive!!! A computer environment, all work should be saved, backed-up to three locations. Work should be done without corruption. I tell people sometimes the toughest part of operating a computer is to know when it is functioning correctly or incorrectly. It is my job to know and figure out the fastest way necessary to get the computer back to functioning. example for...

Paint Effect

Media Offline in Sequence, Find Now
By: Scott Freeman on Sep 5, 2015 at 11:59:53 pm

Step 01: Go to the Timeline Fast Menu > Clip Text > and activate Media File Names For any clip with media, the Avid displays the media file name. Any clip without media, the Avid displays Media Offline. Step 02: "Command+F (mac) / CTRL+F (windows)", the Avid "Find" window appears. In the "Find" window select the "Timeline and Monitors" tab and place a checkmark next to the words "Timeline Text". Step 03: In the "Find" window type in "offline" and then click the "Find" button. In the "Find" window, each time the "Find" button is pressed, the Avid will automatically...

avid find tool

The Art of Predicting the Metadata Match of Three: one piece of the metadata puzzle for both external and internal relinking with Resolve & Avid
By: Scott Freeman on Aug 30, 2015 at 4:40:39 pm

Media Composer media manager for DaVinci Resolve reconform sending DaVinci Resolve an Avid Sequence and linked MXF OP-Atom media files. People ask me, how does the Avid embed the "Reel Name" into mxf media files for the round-trip? From the best that my (re)tests are showing me, metadata is the master clip source icon name metadata that Resolve can extract using the "Embedding in source clip file" Reel Name configuration. How I have been using this metadata as a match in and out of Media Composer: In Media Composer: File-based Master Clip's "Source Icon". A Master Clip's Source Icon has...

DaVinci Resolve

AMA "Link to Media..." and then transcode, create sequence with transcode, and then relink back to the original AMA "Link to Media..." master clip
By: Scott Freeman on Aug 27, 2015 at 3:50:46 pm

Step 01: Go to the "File Menu" and choose the "Link To Media..." command. Select a source file on the storage device. A master clip is created in the Avid Bin. Step 02: In the Avid Bin, click on the column heading titled "Name". The metadata in the "Name" column becomes selected for the master clip. Step 03: While the "Name" column is selected, go to the "Edit Menu" and choose the "Duplicate" command. The "Select" window appears. Step 04: In the "Select" window, from the displayed list, click on the "LINK" heading to select it. Click the "OK" button...

AMA to Transcode

Introducing Postgenie, an Innovative a La Carte Approach to Post-Production
By: Chris Tomberlin on Aug 13, 2015 at 8:29:32 am

Outpost Pictures introduces Postgenie( ), a new web-based post-production tool that provides editors with customized shot cleanup and color grading right on the web -- no office visit necessary. Decreasing costs of hardware and software in the film industry have made it easy for anyone to access the tools to shoot and edit a commercial, corporate communications piece, short film, or feature. What's often missing in that equation is the experience to finish a piece in a high quality manner, or even to meet broadcast, web or exhibition standards. Postgenie aims to solve that problem by providing an easy...


Sharing Avid Media Composer Settings
By: Scott Freeman on Aug 5, 2015 at 12:42:05 am

These days with Avid Media Composer v8.4, if someone would like to share settings, it is as easy as... Step 01) In the "Project Window", click on the "Settings Tab". Step 02) While the "Project Window" is selected go to the "File Menu" and select "New Setting File". An "Untitled Setting" window appears. Step 03) In the Avid "Project Window", when the user moves the pointer icon over a setting name, the pointer icon turns into a hand icon. Click on a setting type name and while holding down the click, drag a setting and drop it on to the...

user settings

The Creative Hub Atlanta is now Open. A Co-Op Workspace for Creatives from Biscardi Creative Media
By: walter biscardi on Aug 4, 2015 at 6:09:24 pm

‘The Creative Hub’ from Biscardi Creative Media Launches in Atlanta A Co-Op Creative Space Designed for Indie and Home Based Filmmakers August 4, 2015; Atlanta, GA; – The Creative Hub is now open in the Atlanta area bringing the co-op workspace to the digital creative industry. Targeted to the indie filmmakers and home based video producers, The Creative Hub lives inside the film and television production facility of Biscardi Creative Media (BCM). “I’ve had this concept for a while to bring the co-op workspace to the creative industry,” notes BCM Founder, Walter Biscardi, Jr. “My company started in a spare...


merge ALE metadata with a tape name of 32 characters
By: Scott Freeman on Jul 26, 2015 at 12:29:30 am

A choice of using an ALE to preserve metadata from Media Composer offline master clips and have it match linked Resolve essence in the Avid bin for online. In Media Composer one selects the master clips used in offline with the displayed columns that one would like in the shot log and export the ALE. And then select the master clips in a bin that is linked to the DaVinci Resolve mxf meida files and import the ALE with the import shot log settings of "Merge events with known master clips". An ALE merge in the Media Composer can happen...

ALE Merge

Media Composer Version 8.4 List Tool: EDL metadata pulled as "Reel ID Type TC"
By: Scott Freeman on Jul 18, 2015 at 7:52:46 pm

For the Avid Media Composer v8.4 "List Tool" go to the "Output Menu > List Tool": In an Avid Bin, a specific icon populated with metadata in a specific column becomes the "Reel ID" in the Edit Decision List. If in the List Tool the user selects "Source File/Tape" for "Reel ID Type TC", the Master Clip's "Source Icon" metadata populated in the "Name" column gets pulled as the "Reel ID" Example of two different source icons as displayed in a bin viewed in "Text Mode": Source icon for a master clip using "Source File" metadata name linking: Source icon...

List Tool

24 fps straight to 24 or in a 30 skipping 2's and 7's (AMA Link to Media or Import)
By: Scott Freeman on Jul 13, 2015 at 10:44:54 pm

Timecode metadata frame assignment for each frame of video happens at the moment the master clip is created and displayed in that Avid Bin, the same can be true with DaVinci Resolve Media Pool. There is a Media Composer ingesting to bin choice done by what command the user choose when creating a master clip. I thought I should discuss what I am noticing with timecode frame counting assignment for an Avid Media Composer video track as timecode metadata displayed through-out the Media Composer user-interface. I get asked about ingesting in standard definition projects that are 23.976 fps for various...

timecode metadata assignment

DaVinci Resolve Versions 11,10,9 with Alexa, eight or twenty characters | file name, folder name, or name embedded in the file as "Reel Name" configuration settings
By: Scott Freeman on Jul 13, 2015 at 9:41:33 pm

Making the odds of a reconform extremely good. I dream of a day where I get "all-in-three" from a camera native folder structure and filename. "All-in-three" theory I came up with, is where the file name, the folder name, and an embedded file name are all an exact metadata match for any given source file that might be needed for the reconform. An "all-in-one" folder-file-on-storage-device-exact-same-name-structure enables a state where three different "Reel Name" configurations in Resolve would have the exact same metadata name match results for metadata that allows both a link and a track back to the original source...

Reel Name Configuration

By: Tom Chang on Jun 26, 2015 at 4:40:58 pm

Hello, thank you for visiting my blog. I will added frequent blogs for Bon Monitors / Postium PRM Rack Monitors / VLite LED Lighting. if you havent done so, please visit to see complete line up of products that i am currently distributing....

2015 Chronicles: Under the Dome
By: Mike Cohen on Jun 11, 2015 at 7:30:47 pm

April began with a convention in Nashville, though not really. The conference was actually at the Gaylord Opryland Resort, known by most as the Biodome. If you have never been to a Gaylord, it is an interesting experience. Certainly an amazing structure. I know that they mean well, but these places are simply too big to be practical. But c'est la vie - you go where the business is. This river reminds me of the Chocolate River from Willy Wonka's factory - I expected to see Augustus Gloop float by at any moment. Here we had our exhibit booth and...

2015 Chronicles: Grand Central Surgery
By: Mike Cohen on Jun 11, 2015 at 7:14:59 pm

The very next week after LA, I had a two day conference in NY at the Grand Hyatt, attached to Grand Central Terminal. I love this area of Midtown NY with the juxtaposition of old and new architecture, some of the most iconic NY landmarks and easy access by train. Well, I didn't take the train. My wife came along so between our luggage and some gear I had to take, driving was the only option. Getting to NY is easy, but getting through NY is a challenge given the overly aggressive drivers, especially taxis who honk incessantly. I was...

event AV

2015 Chronicles: Winter Wonderland
By: Mike Cohen on Jun 11, 2015 at 7:03:28 pm

Somewhere in the Feb-Mar timeframe I had a surgical video shoot in Joliet, IL. Actually on the outskirts, but close enough. I flew into Midway on the 6am direct Southwest flight, rented a car and had a meeting with one client for a few hours, and then proceeded down to the hospital for setup. I worked with a technician to figure out the recording function for internal laparoscopic video. Once upon a time it was straightforward to record an analog signal to DVCAM. However in the HD setting, every medical video device has its own flavor of HD, not to...

2015 Chronicles: LA Story
By: Mike Cohen on Jun 11, 2015 at 6:52:58 pm

If you read my post about Los Angeles last year you can refer back to that - same basic deal. This time we used the in-house AV group, and they did mostly fine. Setup was done by about 8pm, leaving time for some sushi before bed. The whole week, each night, Hollywood Blvd was shut down for filming a TV pilot called The Lucifer Chronicles, or some such thing. It was interesting to watch and char with some of the crew between takes. I met up with my buddy Lando for a late night Falafel dinner on Sunset Blvd, and...

event AV

2015 Chronicles: Surgeons of the Caribbean 2: The Magic Cave
By: Mike Cohen on Jun 11, 2015 at 6:36:44 pm

If you read the 2014 entry on the Dominican trips, you will know that I document medical procedures performed by a group of US surgeons who travel to the DR. I had spent December and January preparing for this trip, including making sure everyone on the trip had booked travel and that we all had hotel rooms. Sounds simple enough but a 4 day trip with 7 people has a lot of details to keep track of. Not to mention meeting our driver at the airport and being totally unable to communicate. I should have paid attention in high school...

2015 Chronicles: The Big Apple
By: Mike Cohen on Jun 11, 2015 at 6:26:51 pm

I kicked off 2015 with a 2 day trip to NYC to conduct some interviews. I expected a spacious hotel suite, I got a Residence Inn just off Times Square. While some Residence Inns have a lot of space, this one, not so much. I was by myself so I carefully moved furniture around, including moving the tv wall unit into the bedroom and placing the coffee table on the bed, to free up enough space for a three camera interview shoot and lighting. Worked out ok but it was a tight squeeze. It happened to be my cousin's birthday,...


2014 Adventures Part 15: The Windy City is Particularly Windy in the WInter
By: Mike Cohen on Jun 11, 2015 at 6:20:35 pm

I skipped Part 14, because if you've ready two blog articles about trips to Denver, you've read them all. Use your imagination - it was cold and snowy and productive. Redeye home. That was November. The week after Thanksgiving 2014 it was off to our final conference and trip of the year in Chicago (again). For this one at the Chicago Hilton, we did in fact use the in-house AV team, due to the high cost of labor requirements of the property. It worked out ok, you just need to be very specific about what you need. So the meeting...

2014 Adventures Part 13: Movin on Up
By: Mike Cohen on Jun 11, 2015 at 6:11:03 pm

To a dee-luxe apartment in the sky-high-high. Anyone born after 1990 might not know what this means. Anyway, the very next week I had a shoot back in Chicago. Problem was, it was the week of some big packaging conference with 100,000+ attendees. Chicago has about 108,000 rooms, so we were numbers 108,001 and 108,002. I could have gotten a room at the Palmer House or another swanky place for upwards of $500/night. So I turned to a website I had visited but never used, AirBnB. Kind of like Uber for apartments. Even on this site I had a tough...

2014 Adventures Part 12: The San Francisco Treat
By: Mike Cohen on Jun 11, 2015 at 5:41:31 pm

Rice-a-Roni got it wrong...San Francisco IS the treat. Getting there I took my first 777 - that's a big plane. Here for the annual surgical congress for which we prepare the videos and provide other technical and project management support, San Fran is great in early Fall. Not too hot, not too cool. I stay at the Hotel Nikko just off of Union Square. You go another block or two away from Union Square and it becomes a bit seedy. I had some decent sushi and some really good Italian food all within a block or two of the hotel,...


2014 Adventures Part 11: Political Capitol
By: Mike Cohen on Jun 11, 2015 at 5:24:32 pm

After a nice break from seeing an airport, October brought me to the next round. First stop Washington DC for the Diabetic Limb Salvage meeting. These events are a great opportunity to check out the latest gear and interact with top notch local crews. For example, this doohickie is the thing to have for managing lots of live audio inputs: Same venue, same crew, plus live surgery via satellite, dinner with my brother , a walk past the White House (post fence jumper incident) and a few other decent meals. Next stop, Part 12. Mike Cohen...

2014 Adventures Part 10...Actually 7.5...or 8 3/4...?
By: Mike Cohen on Jun 11, 2015 at 5:20:08 pm

I missed one, but rather than going back to re-number we'll just add it here. It is in fact mid-2015 at the time of writing! This terminal of DIA, by the way, sort of looks like 1980's EPCOT. So mid-July I had another trip to Denver for some more OR training video work. This one also had a requirement for some special effects, though we decided not to hire the effects crew and do it ourselves, since realism was not as crucial. I found several websites where you can buy things like bullet woulds, laceration appliances and makeup, gum arabic...

effects makeup

2014 Adventures Part 9: Windy City Blues
By: Mike Cohen on Jun 11, 2015 at 5:10:03 pm

With only 2 days in the office to get ready, it was off to Chicago for another big medical conference. I don't recall exactly what day of the week it was, though I do remember feeling a little sleepy during dinner the first night. Let's start at about 4am at BDL, which can be quite busy at this hour. Then, 7:30am at MDW can only be described as a sea of people. I usually take the Orange line train from MDW to downtown. While dragging a suitcase around the inner loop is a bit taxing, the city was quite pleasant...

event AV

2014 Adventures Part 8: Bringing Home the Roses
By: Mike Cohen on Jun 11, 2015 at 4:57:37 pm

With a few hours of sleep, I arrived in LA for a two day shoot for a new big project. Subject: Anesthesia. Destination: Pasadena. But first, it was into the belly of the beast (Burbank) to pick up some camera gear from VER. With the van loaded, and me behind the wheel (not a fan of driving in LA, but nor is my colleague who likes it less), we found our way to the luxurious Holiday Inn Express in Pasadena. A decent kickoff dinner at BJ's Brewhouse, and an early call the next day to begin capturing video and photos...


2014 Adventures: Part 7 - Surgeons of the Caribbean
By: Mike Cohen on Jun 11, 2015 at 4:46:49 pm

I'll make this entry on behalf of two similar trips to the Dominican Republic. Some doctors we work with go to the DR a couple of times a year to provide cardiovascular advanced care to the local population. My role was to document some of these procedures for teaching purposes. On both of these trips we flew into Punta Cana - a very tourist-oriented airport and popular vacation destination, most similar to Cozumel with lots of seaside all inclusive resorts. Our first goal was to visit a couple of these resorts in preparation for a medical conference next year. We...


tracking the locking linking metadata to essence
By: Scott Freeman on Jun 9, 2015 at 4:56:59 am

Within Avid, three pieces of metadata in each master clip, directing new DaVinci Resolve video essence with the "Relink Command" to point to the original Media Composer offline sequence metadata. One) "Frames Per Second Metadata" Two) "Timecode Metadata" - assigned to each frame Three) "Identifier Name Metadata" Verify, Create, and Track the locking linking metadata to essence. AMA(Avid Media Access)-Direct-Link in Media Composer v8.3.1 to DaVinci Resolve v11.3.1 to Media Composer v8.3.1 In Media Composer Step 01) Go to the “File Menu” and choose the “AMA Link…” command. Select a source file on the storage device. A master clip is...

DaVinci Resolve

How Long Should We Expect a Tape to Retain It's Data?
By: Tim Jones on Jun 8, 2015 at 10:38:56 am

Over in the Archiving and Backup-Up Forum, a question came up concerning expectable LTO tape longevity. Apparently there are a lot of folks out there making life expectancy claims that are not based upon any real use data. I'll try to visit what our real world, highly abusive QA lab sees in this post. Such claims seem to be a regular decree in looking at tape since back in the Reel to Reel and QIC (Quarter Inch Cartridge) days. Tapes were said to have a life expectancy of "this many passes" or "this many load / unload cycles". As we've...

life expectancy

3rd Emmy nomination for PETER JOHN ROSS and FRAMELINES!
By: Peter John Ross on Jun 4, 2015 at 12:17:01 pm

FRAMELINES and the Tech Tips just got a 3rd Emmy Nomination! Your faithful narrator has been humbled and honored to receive the nomination for a regional Emmy. The Tech Tips have been a passion project for me for the last few years. Making new ones and helping people learn filmmaking make me feel good, a way to give back to the wonderful karma that has been in my world.I hear from teachers and students all over the world, from places like Thailand and Australia, from High School through college level about these videos. It warms my heart to hear from...

Tech Update: DIY 11 & System Recommendations for Video Editing
By: Gary Bettan on May 20, 2015 at 7:59:57 am

We’ve published two new articles on our website that we hope Creative COW members will want to read and bookmark. Our latest DIY build is DIY 11 and it is a creaming fast machine capable of 4K work. Our recommended systems page has been updated to include all the latest guidance for buying and configuring a workstation or computer for video editing. Each of the guides now includes a video you can watch for even more information. 1-system-recommendations-for-video-editing/ Videoguys’ DIY 11: How to Build an Affordable Editing & Streaming Workstation with Balanced Components for the Best Performance For more than...

NLE Worksations

59.94p master clip in a 59.94i media composer project -> with the Avid Field Motion Column
By: Scott Freeman on May 10, 2015 at 8:12:43 pm

Selection for 59.94 progressive video playback in a 59.94 interlaced video project is defined by the "Field Motion" column. Master clips live in an Avid bin, if the user brings up the "Field Motion" column in the Bin, one can click under the "Field Motion" column and make a selection. Here is what "Progressive" or the "Interlaced" selection seems to be doing for a Media Composer 6.5.4 and Media Composer 8.3.1 with a source master clip that is 59.94p and the project is set to 59.94i. An Avid 1080i/59.94 project: Progressive as the selection under field motion in an Avid...


Stepping into the Surgeon's Eyes
By: Greg Ondera on May 6, 2015 at 11:31:53 pm

The First Precept for Shooting Outstanding Surgical Video Some years ago I was involved in the discovery and planning stages of a series of surgical video projects that were going to be created for and by the entire University of California ten-campus healthcare system. The essence of the project was to produce a multitude of surgical procedural programs shot with outstanding teaching surgeons in their fields, a kind of library or encyclopedia of surgical video. It was meant to become a gesture of media unity between all ten campuses. I am sorry to say that the project evaporated after only...

surgical videography

Roundabout synchronize of AV for multi cam edits: Premiere and Audition
By: Ht Davis on May 2, 2015 at 9:40:50 pm

Premiere... ...Audition... ...They do work together. However, Audition often works on the input for the beginning, or on the audio mix for the end of an edit. By that, I mean it usually creates a single mix to use in Premiere, or it allows you to clean up the audio from a video file, rendering the audio to a preview for use with your edit. Here, I'm going to use it a little differently, and I'm going to make some notes for using other helpers like Plural eyes, or WOOWAV. When you shoot constant video feeds with solid WAV output,...

Audio Sync

And then I moved to Los Angeles...
By: Kylee Peña on May 1, 2015 at 10:38:53 pm

So, uh, I moved to LA, you guys. Let’s back up a couple decades. When I was a kid, I read a lot of books that dealt with shy homebodies that took adventures out of their comfort zones for heroic or accidental reasons, or sometimes both. It’s a pretty standard trope a lot of people enjoy. The first such story I read was called “Jenny Goes to Sea”, an old hardback book for new readers my library was throwing away when I was six. I rescued it, enjoyed its old-book-smell, and read it cover to cover many times over the...


Teaser Trailers and Posters
By: Peter John Ross on Apr 26, 2015 at 5:16:50 pm


NAB Diary: Dust Storm
By: Kylee Peña on Apr 15, 2015 at 1:51:12 am

Today was an uncharacteristically windy day in Vegas. The wind created a dusty, almost foggy late afternoon that sent everyone running to the nearest cab or shuttle as they left the convention center for the day. Which is an oddly appropriate metaphor for the way product development seems to be happening for the end user. As I walked around the south hall today and talked with different companies, it's hard not to be overwhelmed by the number of choices pelting you in the face like tiny granules of dirt. It's hard to say which product (or combination of products) is...

Nab show

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