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FCPX round-tripping, ACES/IIF support, AAF support for Media Composer, new conform features and additional hardware support -- including new 15" MacBook Pros -- are all part of a feature-rich free upgrade for DaVinci Resolve users.

A "dot" release isn't usually reason for celebration, but Blackmagic Design has unveiled a surprisingly large number of new features in its DaVinci Resolve 8.1 software update, including FCPX round-tripping, ACES/IIF support, AAF support for Media Composer, new conform features and additional hardware support, including new 15" MacBook Pros.

Debra Kaufman explores this new update and you can read it online at:

magazine.creativecow.net/article/blackmagic-design-packs-a-punch-with-davinci-resolve-v-81
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In this video tutorial by Sam McGuire, you will explore how to control Final Cut Pro X from an iPad.

Need to make a quick edit while on the road or export a project from a remote location? Using an iPad, Skype, SoundFlower, LogMeIn.com and your primary Final Cut station, you can edit from anywhere you have a network connection.

Admittedly this is not the only way to complete this task but Sam's described method provides stability, flexibility, and quality.

This tutorial describes how to set-up the various tools involved and the basic functionality of the system.

You will find it online at http://library.creativecow.net/mcguire_sam/FCPX_iPad
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Yesterday we opened our new front door page at www.creativecow.net, which is the first part of the site to wear the COW's distinctive new look. Over the next few months we'll be changing out each area of the site, one by one. Next week, we'll recode our "About Us" section. Following that, we will be focusing on the overhaul of our "Forums" section. We have already finished the design of many areas and have others in development.

"Each area of Creative COW will get a long awaited and long planned upgrade that is going to be far more than cosmetic," says Creative COW CEO Ronald Lindeboom. "Over the last three years, Abraham Chaffin and I have developed many new and powerful features that we have held back simply because the old interface would have become even more cluttered. We have needed a new interface for years but if it was going to be what it needed to be, it meant redesigning every system that makes up Creative COW. In the end, we redesigned even the very network itself. It's been a huge undertaking and we can finally begin to share our vision with you all."

What will Creative COW keep and what will we throw away?

To this question, Lindeboom says, "What we did right with the old interface was to make something that was very solid, customizable, and which most people could use simply. We think it's one of the big reasons it has grown to well over a million-and-a-half unique visitors a month. But the world has changed a lot since we went live 10 years ago and the New COW will reflect and support many of those changes. We are building unique highly fluid 'channels' that easily flow in and out of each other to a degree that we have not seen anywhere else on the Net, with primary navigation optimized to each area's enhanced 'channel interface.' We are using a strategy of primary, secondary and tertiary navigation. Put the most important stuff for that area up front, with things that are secondary or tertiary in the hierarchy handled appropriately."

To support the efforts that Lindeboom and Abraham Chaffin have been putting into the re-engineering the site's network infrastructure and every system that supports Creative COW, the company hired three-time Emmy® award winning artist and designer, Sean Mullen, who has come aboard as our new Creative Director.

"Working with Sean is great," says Lindeboom. "When Abraham and I introduced our new systems to Sean, he immediately saw what we were going for. When we explained the concepts to him, he began designing a look that takes our functionality into an elegant feature-rich intuitive simplicity. Sean and I have been working with Abraham to build in many powerful hidden features that appear at the time you need them. We are calling the interface, 'relief at the point of pain.' All of us involved in the project hope that you find it useful, powerful and nice to look at."

If you haven't yet visited the new front door, visit it online now at www.creativecow.net
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While the debate has raged over whether or not film is dead, ARRI, Panavision and Aaton have quietly ceased production of film cameras within the last year to focus exclusively on design and manufacture of digital cameras. That's right: someone, somewhere in the world is now holding the last film camera ever to roll off the line.

Do camera manufacturers believe film will disappear? "Eventually it will," says ARRI's Bill Russell. "In two or three years, it could be 85 percent digital and 15 percent film. But the date of the complete disappearance of film? No one knows."

Phil Radin, Executive VP, Worldwide Marketing for Panavision believes the question of when film will die, "Can only be answered by Kodak and Fuji. Film will be around as long as Kodak and Fuji believe they can make money at it," he says.

For more, please read the whole story online now in the Creative COW Library.
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At IBC 2011, leading members of the Society of Motion Picture and Television Engineers (SMPTE) and the European Broadcasting Union (EBU) met to discuss what's in-store for the upcoming Forum on Emerging Media Technologies. The unprecedented joint symposium will take place May 14 and 15, 2012 at the Intercontinental Hotel in Geneva, Switzerland.

"Understanding and predicting the future of media technology will be the key to successful decision-making in the years ahead," said SMPTE President Pete Ludé. "This can impact where R&D budgets go." He also pointed out that "standards are the basis of interoperability, which is why SMPTE is working with the EBU."

One of the goals of the Forum, said Ludé is to "bridge the gaps between AV and IT professionals, at a time of monumental shifts across the digital media ecosystem. This will help motion-imaging scientists, researchers, engineers, and business decision-makers understand where they need to focus their energies and investments."

You can read the entire report now in the Creative COW Library.
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Final Cut Pro X has some useful and powerful tools that allow users to organize even larger projects.

In his first tutorial for FCPX, Andy Neil shows you how to set up folders, organize collections, tag and sort shots, search tagged shots, set-up keyword short cuts, tag files on import and many other tricks to helpu you get the most out of your Event Browser and Library.

To join Andy Neil's class now in session, please visit library.creativecow.net/neil_andy/FCPX-Event-Browser
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When Debra Kaufman joined the Creative COW editorial staff back in March of 2011, she arrived just in time to give us the great coverage of NAB 2011 that so many of our members read, enjoyed and commented on.

For IBC 2011 in Amsterdam, we flew Debra over the Pole to The Netherlands so that she could file her reports for our members regarding the many things she saw, and the announcements made, during IBC 2011.

In our Library you can find Debra's reports that she has written, which are located online at:

Debra Kaufman's IBC 2011 Reports
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If you have ever done a multi-camera shoot where you needed to match camera colors, or if you have done a single camera shoot where the lighting conditions changed, then BCC Color Match could save you hours and hours of time. This Boris Continuum Complete filter quickly matches the color and luma values from the highlight, midtone, and shadow areas of two separate clips.

In this article from Creative COW's Sony Vegas Pro Series, Vegas Pro expert John Rofrano unlocks the secrets behind quickly and powerfully matching the color and luma values of your various source files used in your projects.

You can find the article online at: library.creativecow.net/rofrano_john/Sony-Vegas-Color-Match
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In this tutorial, Andrew Devis shows how to create parallax with a single item. Parallax is when items in a image appear to move in different ways to other parts of the same image. For example, the foreground items in view appear to move at a different speed or perspective to the background items in that same view. This can also be used to create the illusion of depth as different parts of an image can be projected to appear in different planes to other items. By using camera mapping we can project the image or footage onto screens we have set up which are at angles such that some items in our image or shot are at a different perspective to other items. This means that when we add a camera move into our scene parallax is achieved as the screens move in a different perspective to each other. Although a little tricky to set up at first, once used a few times this effect can really bring flat images to life and give a real sense of depth to your work.

You will find the video tutorial online at library.creativecow.net/devis_andrew/AE-Camera-Mapping
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Color grading is something that many editors do on a daily basis, and over the years there have been a number of third-party plug-in packs out there (such as Magic Bullet, Filmlight's new Baselight FCP plug-in, Color Finesse, and many others) that address the need to give dramatic color effects to your productions.

Recently, GenArts released their new Sapphire Edge plug-in for users of Apple tools like FCP, as well as Sony Vegas. How does it stack up against its competitors? What are the pluses and the minuses?

In this video review, Kevin McAuliffe gives you an overview of GenArts Sapphire Edge plug-in pack, and breaks down his likes and dislikes of this brand new entry into the color grading world.

Check it out online at library.creativecow.net/mcauliffe_kevin/GenArts-Sapphire
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