A year ago, Manuela Santana migrated to Premiere Pro CS6, but unusual circumstances made her return to FCP.
A year ago, professional editor Manuela Santana abandoned FCP X and migrated to Premiere Pro CS6, but has just returned to FCP. This article will explain why an unusual discovery about footage shot with FiLMiC Pro made Manuela go back to FCP. Read the full article free in ProVideo Coalition magazine…
Now that we can record “stereo” 48 kHz audio with FiLMiC Pro, learn how to make FCP X treat it as Dual Mono.
As I have covered in several recent articles and videos, it is now possible to record “stereo” 48 kHz audio using FiLMiC Pro on an iPad. However, most often pro video producers need to use that “stereo” recording as Dual Mono. Among those cases, sometimes we need to deactivate one of the two channels completely, while other times we need to have access to each one as independent monophonic sources, and be able to manipulate them separately. Ahead you’ll see how to do this using FCP X 10.0.8 and 10.0.9. Read the full article free in ProVideo Coalition magazine…
A real life, in field comparison between the popular Electro-Voice RE50N/D-B and the Audio Technica BP4002 microphone.
In this short video, we compare the sound quality of the popular Electro-Voice RE50N/D-B and the Audio Technica BP4002 microphone. Both are dynamic omnidirectional handheld mics. Ahead you’ll see and hear the difference, plus see a review of why omnidirectional mics generally are most prominent for field handheld interviews. Read the full article free in ProVideo Coalition magazine…
Now users of FiLMiC Pro on iOS devices will get true audio confidence in their ears, instead of just on screen.
I am delighted to see that FiLMiC Pro’s palindromic upgrade to version 3.3 finally includes external live audio monitoring via headphones, especially for cases when the renowned sub-US$5 app is used with an iPod Touch or iPhone (which can’t currently work with the DUO-CAPTURE EX field mixer from Roland I recently covered, the way an iPad can). Even when you use an input device with a built-in monitoring output like the DUO-CAPTURE EX with an iPad, direct audio monitoring from the recorder always gives the operator the maximum confidence. FiLMiC Pro version 3.3 also adds wireless monitoring and remote control from another iOS device via a companion app called FiLMiC Remote. Read the full article free in ProVideo Coalition magazine…
Ahead are the components I recommend to build a video production kit around the iPad 4. Pick the items you want among these. I have published several articles about them in ProVideo Coalition magazine. Also remember to use the FiLMiC PRO app which is from the AppStore in your iPad.
The DUO-CAPTURE EX audio mixer connects digitally to the iPad, at 48 or 44.1 kHz.
The US$199 DUO-CAPTURE EX from Roland (like the excellent hybrid microphone I’ve applauded in several articles and ebooks) connects digitally to the iPad, selectively at 48 kHz (for video and very specialized audio applications) or 44.1 kHz (for general audio applications). This practice fortunately bypasses the iPad’s analog circuit and uses the same high quality VS microphone preamps I have covered previously when reviewing two other Roland interfaces in 2011 (the OCTA-CAPTURE and QUAD CAPTURE). Read the full article free in ProVideo Coalition magazine…
Download it today free, even if you don’t (yet) own an iPad.
Back in February 2012, I first wrote about Avid Studio for iPad, including its initial features and limitations. Then in April, I published iPad video journalism comes of age at NAB 2012 and in June, Flaw in Avid Studio & iMovie for iPad makes them more appropriate for broadcast news than for new media. Later that month, Avid announced that it would divest its consumer businesses and streamline its operations. One result of that divestment is that Corel Corporation quickly rebranded the Avid Studio for iPad app as Pinnacle Studio, re-released it to the Apple iOS App Store, and added some of the missing features I had covered previously. Avid Studio for iPad is temporarily free. Ahead I’ll cover the upgrade details, reiterate the missing features, and include some screenshots.
Read the full article free in ProVideo Coalition magazine.
Part 1: a general first look
Yesterday, Google announced its firstbranded tablet, the Nexus 7, with a 7-inch diagonal, 1280×800 screen, and the latest 4.1 Android OS operating system. With a base price of US$199 for the 8GB model (or US$249 for the 16GB model), it is perfectly positioned to be a “Kindle Fire killer”… or at least for a few more weeks, since Amazon is expected to update its entire Kindle line during the month of July. This first look article will review the multiple “Nexus advantages” (known by die-hard Android fans) compared to other Android devices, and what we should know about it as content creators and consumers. Whether or not we actually end up producing any content with one, we need to understand the Nexus 7 as it shapes the market as a delivery platform.
Frequent readers of ProVideo Coalitionmagazine know that I have already published a few articles about the use of the iPad for journalism, thanks in part to the HD camera and higher performance in the 2012 model. Previously, I have complained about how much it “Hertz” me that currently the three leading iPad video apps record video with an inappropriate audio sampling rate. But that’s not the focus of this article. Ahead, I’ll point out another common flaw that currently exists in both Avid Studio for iPad and iMovie for iPad that ironically makes them more appropriate for traditional broadcast news editing than for new media.