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PPC at Cine Gear 2013: GoPro Video

PPC at Cine Gear 2013: GoPro Video

By Vince Gonzales | June 11, 2013

David Newman, Senior Director, Software Engineering for GoPro, talks to me about the company's new Hero 3.

PPC at Cine Gear 2013: GoPro Video from Createasphere on Vimeo.

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See What the Experts Had to Say about the Palm Springs Photo Festival

See What the Experts Had to Say about the Palm Springs Photo Festival

By Jeremiah Karpowicz | May 08, 2013

PPC author Vince Gonzales stopped by the Palm Springs Photo Festival to talk to some of the people who made the show a success.  Individuals who ran workshops, portfolio reviews and lectures told him about what made the event such a unique gathering, and our camera was there to record it... Read More

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Discover What the Palm Springs Photo Festival is All About

Discover What the Palm Springs Photo Festival is All About

By Jeremiah Karpowicz | May 07, 2013

Vince Gonzales attended the Palm Springs Photo Festival to experience what so many photographers have been raving about.  He talked with Jeff Dunas, founder and director of the Palm Springs Photo Festival, to find out the origins of the festival as well as what attendees can expect to... Read More

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Introducing Transmedia Coalition

The first major online resource covering cross-platform, transmedia storytelling and more

By Jeremiah Karpowicz (Via TMC - Transmedia Coalition) | March 03, 2013

Createasphere is proud to announce the launch of Transmedia Coalition, which joins the highly successful online communities ProVideoCoalition.com, ProPhotoCoalition.com and DAMCoalition.com as an industry-leading news resource. TMC will feature exclusive content provided by prolific... Read More

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Cinegear 2012 - Easy Focus

New Wireless Focus Assist Grants Clarity With A Simple Touch

By Clint Milby (Via PVC - Pro Video Coalition) | June 26, 2012

Focus is key, there's really no way around it. Barring aesthetic choice, losing focus can be disastrous. So it's no wonder that there are many choices when it comes to follow focuses. Easy Focus, however takes the cake in terms of versatility and ease of use. Read More

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The Smoke and Mirrors Behind Sweden’s Brokendoll

Brett Richards Tells Why His Post Is Up In Smoke

By Clint Milby (Via PVC - Pro Video Coalition) | December 20, 2011

Winner of numerous ProMax awards in 2011, Sweden-based, boutique production company Brokendoll has garnered acclaim with their self-described "visually intense" high end productions for advertising, television and web. You might think a company with this level of initial success would also have goals of growing, but according to Brett Richards, Brokendoll is intent on keeping their footprint small to maintain the quality of their productions, "It is important to the quality of the production that we have the right team on each job, so we avoid large, in house teams to maximize our flexibility." Read More

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Quick Look: Three New E-Mount Primes

Sony's new 24mm, 50mm, and 30mm macro lenses for NEX cameras.

By Adam Wilt (Via PVC - Pro Video Coalition) | December 17, 2011

The 50mm f/1.8, 30mm f/3.5 macro, and 24mm f/1.8 lenses, with hoods.

Sony has three E-Mount primes coming out right about now, and I had a chance to play with prototypes of them attached to an NEX-FS100 LSS camcorder. Here are my impressions, and a short test. Read More

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The Adobe Premiere Pro timeline for Final Cut Pro users

Editors spend so much time in the timeline it's worth an in-depth look

By Scott Simmons (Via PVC - Pro Video Coalition) | November 07, 2011

When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you're moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won't be totally lost as there are a lot of similarities between the two application's timelines. But there are some important differences as well. Let's take a closer look at the Premiere Pro timeline if you're moving from FCP 7. Did I mention how much time editors spend working in the timeline? Read More

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PMW-F3 vs AG-AF100 vs 5D MKII

Comparison of Gain & Sensitivity and now updated with a Latitude comparison

By Matthew Jeppsen (Via PVC - Pro Video Coalition) | March 21, 2011

Here's a quick side-by-side candle-lit comparison of the Sony PMW-F3, Panasonic AG-AF100, and the venerable Canon 5D MKII DSLR. The test footage was shot by Dennis Ersöz. This video clip very neatly shows how the native sensitivity of each camera compares, and also how clean the gain/ISO is at high levels. Watch below. Read More

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Switching to Adobe Premiere Pro-A 4-part switcher series

See why Final Cut Editors have made the switch to Adobe Premiere Pro

By Michelle Gallina (Via PVC - Pro Video Coalition) | November 19, 2010

More and more Final Cut editors are using Adobe Premiere Pro CS5 to make them more efficient. If you're wondering if Adobe Premiere Pro is really worth the switch, check out the four-part web series (replay links are listed below) featuring Final Cut editors and how and why they use Adobe Premiere Pro CS5. You'll learn the real story on Adobe Premiere Pro's Mercury Playback Engine, what it means to edit DSLR footage natively, and how you can remove bottlenecks in your pipeline when working with Adobe After Effects and Photoshop. To follow up the series, check out the Q&A session to see if your burning questions were answered. Don't forget to check out the resources we have for Final Cut and Avid editors here making the switch to Adobe Premiere Pro. We have also created a 7-part video series that answer a ton of questions. Check it out on AdobeTV. For information on hardware support, we have a special site just for that purpose and even have benchmarking data to give you the real scoop on Mercury. Finally, for all things revolving around HDSLR video editing, Adobe has created a site that is full of free video tutorials and tips & tricks. Read More

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Quick notes: First PMW-F3 Movie; NXCAM 35 Pro Camcorder

Some chaps in the UK have shot a short with an PMW-F3, and Sony announces a pro large-sensor NXCAM camcorder.

By Adam Wilt (Via PVC - Pro Video Coalition) | November 17, 2010

Things are really heating up in the large single sensor camcorder world. Read More

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DSLR Workflow Pt 2 - Keying, Time Remapping & Stills in Premiere Pro CS5

By Jason Levine (Via PVC - Pro Video Coalition) | May 21, 2010

For this piece, we'll take a look at using the new Ultra Keyer in Premiere Pro with some Canon 7D footage. What's great about this is the fact that the green screen was unevenly lit, and with minimal effort, I'm able to pull a rather impressive key, literally in seconds.Following that, I'll show you the easiest way to time-remap footage (both speeding-up and slowing down) directly inside the timeline. One thing that I neglected to mention was that you can (of course) keyframe time changes (but you'll see a little tool-tip pop-up during the video). Once keyframed, you can adjust the ramp of the speed/duration into the time change as well. Powerful stuff, and very easy to apply.And lastly, I'll showcase the ease of the new 'Export Frame' option, ideal for taking digital stills from your HD-DSLR video, and lightning fast in CS5 (thanks to the fact that we no longer go thru Media Encoder to process stills; just click 'Export', choose the format/location, and you're done).

DSLR Workflow in Premiere Pro CS5 - Keying, Time Remapping & Stills from Jason Levine on Vimeo.

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Native DSLR Editing in Premiere Pro CS5

By Jason Levine (Via PVC - Pro Video Coalition) | May 05, 2010

Now that CS5 has officially been announced, launched, and available for download and purchase, I figured it was time to blog about one of my favorite features in Premiere Pro...Native DSLR editing. A few months back, while on Press Tour in Singapore I purchased a Canon 7D. Having only worked with some 5DMKII footage (during our demo-asset creation phase) I was really psyched to 'get my hands dirty' and see what these cameras could do on the video side. And more importantly, really test the power and push the boundaries of the Mercury Playback Engine. Read More

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