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Join Debra Kaufman as she goes behind the lens in the latest installment of her film vfx series, as Captain America: The First Avenger is brought from the realm of comic book imagination and 2D art, to the 3D world with stunning visual effects. Get the inside story of how thirteen VFX houses contributed to this new Marvel super-hero franchise as they share their stories with Debra Kaufman.

With Captain America: The First Avenger, the latest Marvel Entertainment super-hero has joined the pantheon on screens worldwide. Ninety-pound weakling Steve Rogers (Chris Evans) becomes Captain America through the experiments of Dr. Erskine (Stanley Tucci) and uses his super powers to face off against Nazi renegade Johann Schmidt, who becomes the formidable villain Red Skull (Hugo Weaving).

The movie comes with a lot of firepower behind the lens: director Joe Johnston previous helmed Jumanji, Jurassic Park III and The Wolfman, and brought along experienced fantasy-film cinematographer Shelly Johnson, ASC, who lensed Jurassic Park III, Sky High and The Wolfman. Joining them was visual effects supervisor Christopher Townsend, who worked on Percy Jackson & The Olympians: Lightning Thief, X-Men Origins: Wolverine and Journey to the Center of the Earth.

Here is your chance to go inside the making of Captain America: The First Avenger
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One of the areas we've been working on in our effort to make Creative COW more useful to its members, is our all-new Career Center. It is much more than just a job board and in it you will find a lot of features to not only find jobs but bring more business to your door. Cost? Nothing. Hey, we're the COW and it's how we do things.

Jobs are categorized by type, by qualification, by pay level, by locale -- and if you wish to offer a job but don't want a ton of calls or visits to your door, we have given you the ability to make your post anonymous so that you can get replies and reply without being obligated to answer each and every inquiry. Also, all conversations are now between the one offering the job and the one replying -- no one else can read what you are saying between each other. No "gang" conversations anymore. You can only read the conversations that you own, all other conversations are private.

If you are looking for a job, a single click adds your reel and/or your resumé to any of your job offer replies. Simply set up your account once and then just choose what you wish to include in your replies.

Our Services Offered area is also broken out by geographical region and by your category of service offered. If you take the time to visit our Service Listings, you can quickly drill down and sort by nation, state, city, or dig down by categories. List your company and the services you offer, or find services that you need.

If you are searching for something in particular, the Career Center is powered by a fast search engine to help you find things quickly.

Welcome to the all-new Creative COW Career Center, online at jobs.creativecow.net
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In the days following the roll-out of FCPX, there has been a running gun battle between those who love where Apple is heading, and those who see it as Apple walking away from one of its most loyal customer bases, professional editors.

Helmut Kobler has used Final Cut since 2000 and has written numerous books on Final Cut, he has been testing Adobe Premiere Pro CS5.5 and recently used it in an actual paying production for one of his clients. In this article he gives Creative COW readers both the good and the bad: what is there, and what is missing -- at least from the vantage point of Final Cut users.

In the end, Helmut concludes that for many Final Cut users looking for a new home, Premiere Pro CS5.5 gave him a lot to like and not much to miss -- with many great capabilities and features that stand up not only against the new feature set of FCPX, but score very favorably against Final Cut Pro 7, as well.

To read Helmut Kobler's report, you can find it in the Creative COW Library at: http://library.creativecow.net/kobler_helmut/FCP-vs-Premiere-Pro
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Many Creative COW members have already downloaded the new Final Cut Pro X and have begun the experimenting with the new features and capabilities of the new FCPX.

Kevin McAuliffe begins with five new tutorials that you can watch to help you enhance your skills in FCPX. All in his clear and easy-to-follow way. We have been getting many nice comments about Kevin's work in the Library and if you haven't taken the time to join Kevin, set a few minutes aside to learn about Final Cut Pro X with Kevin.

Kevin McAuliffe is a freelance senior level video editor working in HD post production in Toronto, Canada, where he has been in the television industry for 12 years, cutting on Avid Media Composer 5 and Apple's Final Cut Pro 7. Kevin's high definition onlining credit list includes concerts for Coldplay, Sarah McLachlan, Barenaked Ladies, Snow Patrol, Sum41, Il Divo and Pussycat Dolls, to name a few. Kevin is also an instructor of Advanced Final Cut Studio at the Toronto Film College.

Kevin has been kicking the tires and pulling the wraps off of FCPX, join him in this new series from Kevin P. McAuliffe and Creative COW. You will find them online listed on Kevin's COW homepage at http://leaders.creativecow.net/leaders/mcauliffe_kevin
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Gary Adcock has been using Final Cut from the very beginning and he's been a fierce FCP advocate for just as long. So, when Apple pulled back a bit of the secrecy surrounding FCP X, Gary Adcock was the perfect member of the COW to dig deep into the workings of FCP X. Want proof? He has years of experience as a deadline-driven editor dealing with massive amounts of footage and was one of the first editors to master tapeless workflows, so much so that he began teaching and training tapeless production for Local 600, as well as assisting Dave Stump A.S.C on the Camera and Metadata subcommittees of the ASC's Technology committee. Gary has also been the Tech Chair for NAB's Director of Photography Conference. From this background, Gary seems the perfect guy to dig into an app that aspires to meet the needs and demands of the highest-end pros.

Or does it? What if Apple told you that FCP X wasn't meant for you?

Gary goes beyond his own knee-jerk reaction to this latest release of Final Cut, to get under the hood of FCP X, and he likes a lot of what he sees.

In Part 1 of his look at FCP X, he starts with an area in which FCP has historically struggled most, yet which matters most to editing professionals: media management.
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When Apple introduced FCPX at NAB 2011, the rumor mill flew into high gear. Many of the experts were scratching their heads and even some who made the claim about "knowing" proved to have little real idea of what it would be in the end. Only once users begin banging on what is -- and isn't -- there, will the real questions be answered.

Creative COW Contributing Editor David Roth Weiss says that one of the best ways to avoid the trap of jumping too soon, is to build another system drive or partition your Mac system drive with a cool multi-boot setup that will allow you to easily and efficiently switch back and forth between different versions of Final Cut Pro, and between different operating systems.

David Roth Weiss delivers nothing but facts as he guides you through the steps necessary to truly be ready for the great new features of FCPX and OSX Lion, without burning the bridges you will likely need to stay productive and profitable.

Get Ready to Rumble in the Creative COW Library at http://library.creativecow.net/weiss_roth_david/FCP-10-MAC-Lion
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While some still argue that it's a fad, George Bellias has made 3D the core of his company's business. It's not the future for him. 3D is the now. In fact he says, "When I decided to integrate stereoscopic editorial and finishing to my business, I had a strong belief that 3D was the future. Two years into it, 3D is no longer the future. It is the now. When you are a small company, it is all about finding your niche. 3D is mine. I still find it hard to believe that my little post-production studio has been around for 17 years. I find it even more amazing that two years ago, I had an opportunity to do one 3D project, and that now 3D editorial and finishing makes up more than 50% of my work -- and 2011 already looks like it could be even more.

"I think my business is probably like most small post studios out there. We have a limited number of longterm clients that we have built relationships with over the years. We are very cautious about our equipment purchases because every dime we spend is money out of our own pocket. Our spouses have put up with years of explanations on how some new piece of gear was going to revolutionize our world. After years of hard work and perseverance, we ultimately find our niche and get known for being accomplished in that type of editorial.

"For me, that turned out to be editing live music projects. It first started with promos and trailers, and eventually led to editing large multi-cam concerts. Being a lifelong musician, this was a dream come true. The trick was not just knowing how to edit and finish a concert but how to handle all of the miscellaneous deliverables to the band/artist, management, record label, and production company. Meanwhile, I had to keep the editorial process moving forward and still deliver the final master on time and on budget."

Want to learn more about the way that 3D is changing George Bellias's business? Then read the full article at:

http://magazine.creativecow.net/article/3d-post-a-business-model-in-progress
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Marvel Entertainment's epic adventure Thor has dominated the box office in the last few weeks, with a worldwide gross of $357.6 million. In this cinematic version of the super hero tale, the powerful but arrogant mighty Thor is exiled from the mystical realm of Asgard to live on earth, in punishment for his reckless actions that have reignited an ancient war. Forced to live among humans, Thor's powers are tested when the Destroyer, a monstrous robot, is sent to earth. In the process, Thor learns how to be a true hero.

This fantastical action-adventure was helmed by renowned British actor/director Kenneth Branagh and stars Australian actor Chris Hemsworth as Thor, the ancient Norse god; Tom Hiddleston as Loki, his chaotic brother; Natalie Portman as Jane Foster, Thor's love interest and Anthony Hopkins as Odin, the father of Thor and Loki.

In this article in the Creative COW Library, Luma Pictures takes us inside the building of the Destroyer and the Bifrost, the mystical storm that delivers the gods to the other worlds. Let Creative COW's Debra Kaufman take you to the realms of mythology and VFX possibility.

You will find it in our library at http://magazine.creativecow.net/article/thors-vfx-spin-film-to-box-office-heights
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Kevin P McAuliffe is currently a freelance senior level video editor working in HD post production in Toronto, Canada. He has been in the television industry for 12 years, and cuts on Avid Media Composer and Apple Final Cut Pro. He also spends a lot of time working in Adobe After Effects, which he has been using since version 3.5 (yes, 3.5!). Kevin's high definition onlining credit list includes concerts for Coldplay, Sarah McLachlan, Barenaked Ladies, Snow Patrol and Pussycat Dolls, to name a few. Kevin is also an instructor of Advanced Final Cut Studio at the Toronto Film College.

Recently, Kevin began working with Creative COW and has both long-form training tutorials in our library, as well as his Video Quick Tips series. In this tutorial, Kevin takes users into a quick way to place video inside text, a technique popularized in movies like Rocky.

People often dismiss doing effects in Avid Media Composer, as they think that a compositing application can do a better job. Well, as you will see in this Quick Tip, Media Composer can create some very complex animations very quick, very easy, and in some cases, just as good as After Effects.

You will find this tutorial in our library at http://library.creativecow.net/mcauliffe_kevin/Quick-Tip-Avid-Rocky-Effect
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All of us on the Creative COW Team are proud that Creative COW Magazine's visionary publisher, Ronald Lindeboom, has received recognition as one of the prestigious 2011 FOLIO: 40, honoring the 40 "individuals creating a new chapter for the magazine industry."

FOLIO: is the print magazine industry's leading trade journal and of the award, Ronald Lindeboom says, "It was a total surprise. We hadn't entered anything, we never do because we are just too busy working. We had been interviewed by FOLIO: but I thought it was merely for a story they were working on. To be recognized by your peers for your work is always a high honor. But to be a small publisher named among giants like National Geographic, Time Inc., Forbes, Hearst Magazines, The New York Times, Mother Earth News, Mashable, Bloomberg Businessweek and many other long recognized institutions, is truly humbling. Many have missed the point of what we are doing at Creative COW, so it's doubly rewarding to see a venerable journal like FOLIO: recognize the value of what we are doing here at Creative COW."

If you'd like to read the section from the April issue of FOLIO: Magazine, it is now online at http://bit.ly/2011-FOLIO-40

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