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As we forge ahead into the new year, Creative COW is growing again. We are launching three new HD podcasts to meet our members' demands for new tutorials in HD. These versions join our long list of podcasts that have already been available in SD. These new HD podcasts can be watched on an Apple TV system, on your computer, or download for later viewing on your iPad, an iPod or portable device.

Our Adobe After Effects podcast series has long been the world's most popular AE podcast and it's now offered in HD, featuring Andrew Devis, a respected media trainer and producer. The podcast is full of clear, easy to understand tutorials loaded with techniques as well as tips for organizing and speeding up your workflow, dealing with difficult problems, color correction, and much more. Go to Creative COW After Effects HD iTunes podcast page.

Join Richard Harrington, as well as Andrew Devis, in the Adobe Premiere Pro HD podcast series and glean tips and tricks from the pros on subjects such as "Adjusting Exposure with Shadow/Highlight" and "Mastering the Project Manager", streamline your workflow with tutorials on "Creating Custom Workspaces", "Using Effects Presets" and much more. Go to Creative COW Adobe Premiere Pro HD iTunes podcast page.

Boris FX plug-ins for Apple FCP, Adobe AE and Premiere, or Avid Media Composer, add dramatic effects to your projects. Now you can join working professionals in HD, as they use the powerful Boris FX filters now downloadable at the iTunes Store's Boris FX HD page.

You can find the podcasts at the iTunes Store. And watch for the new HD podcasts to join our SD versions on the listings found on our podcasts homepage in the next day or two. But you can get a sneak peek today on the iTunes Store where they've just gone live.
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In the new issue of Creative COW Magazine, we celebrate five years of the kind of industry leading inspiration, information and vision that has made Creative COW the strongest magazine in the world of film, broadcast and professional media production. You can download the full edition in its PDF version now -- available in either our print-friendly single page edition, or our double-page "spread" edition -- online at

On December 19, 2005 when we announced that we would be launching Creative COW Magazine, it caused quite a stir. After all, print was dying and many magazines were leaving the market. Many of you thought we were crazy to be going into print in a market like this. But today, five years into publishing Creative COW Magazine, the magazine has become an industry leading publication with highly respected articles and the support of most all of the major companies operating in this market.

In the 5th Anniversary Edition, you will meet a wide array of industry professionals that include Oscar® winners, Emmy® winners, market leaders, as well as newer starry-eyed dreamers afire with the stories and ideas that fuel them in their own drive for creative excellence.

We had a great time crafting this issue, looking back as well as looking forward to the stories that we have yet to tell. Maybe your story will be one of them? If you have a great story that you think our readers would be interested in, please write us at and let's talk. Bonus points if your story includes a jaw-dropping workflow component.

Thank you to all of you who have made Creative COW Magazine such a great addition to the Creative COW community, a community filled with the kind of people and stories that make each issue of the magazine such an inspiring read. And this one is right up there with our very best. Download it, we think that you'll agree.

OSCAR® is a registered trademark of the Academy of Motion Picture Arts & Sciences. All rights are reserved. EMMY® is a registered trademark of the National Academy of Television Arts & Sciences. All Rights are reserved. There use here does not constitute nor imply endorsement.
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It used to be so easy! Movies are wide, TV isn't, The End. Okay, it was never quite that easy, but now?

The number of aspect ratios in a single project can be overwhelming, and new ones seem to be popping up all the time. As Paul Carlin writes in Creative COW Magazine's "Asset Management and Digital Distribution" issue, aspect ratio format wars have been going on since the very beginning of motion pictures. Understanding how 35mm frame sizes have evolved offers unique insights into 2K, HD, DVD and even good old SD.

The fact is that you'll have more fun, and have fewer headaches, as you learn to "Relax, Stop Bluffing: Aspect Ratios and Workflows."

And while you're at it, be sure to check out the rest of our popular "Asset Management and Distribution" issue, and while you are there, download the PDF version of your choice, the "print-friendly" single page version (great for iPad viewing by the way -- just drag-and-drop onto iTunes and look for it in your iBooks PDF section), or the "spread edition" which lets you see the issue in double page spread format.
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All of us at Creative COW would like to wish you the very best for 2011. We have many ideas and plans for 2011, and we hope that you will be a part of them in the year ahead.

As we look forward to 2011, and the ideas, technology and processes that will help shape it, we know that DSLR Video will be one of the biggest areas of growth in our industry. To meet the need of many just beginning to explore DSLR Video -- or those who wish to expand the knowledge they already have -- we have launched a new DSLR Video podcast.

The new podcast's co-hosts are Richard Harrington and Robbie Carman, two highly respected industry pros who are well known through their books, their role as trainers in many leading industry conferences, as well as being longtime hosts in our forums.

The new podcast's iTunes Store address is:
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January 3rd is not long away and it begins a contest that we wanted to give you all a little "mental head start" on. Why? Beginning January 3rd, we'll be looking for two 10-to-15-second branding videos to become the new intro videos that precede each of our popular online video tutorials and our podcasts.

We'll be introducing the contest on January 3rd (following the New Year's festivities), and it will end on February 28. Not long after that, we will pick our favorite entries and announce the entries that are our two favorites.

The two favorites will become the new intro videos and will each receive our award, which you can see in the image above. (Hey, we didn't want to be filtered out by using words sure to send spam filters into a tizzie!)

So, put on your thinking cap, grab a pencil and your storyboards and get ready -- January 3rd is coming fast.

You may be one of the two who are the face of our new tutorials and podcasts in 2011.
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Dave Stump, ASC, has spent over 20 years as a director of photography, a visual effects supervisor and VFX DP. Along the way, he won an Academy Award for Scientific and Technical Achievement. Add his position as Chair of the Camera Subcommittee of the American Society of Cinematographers Technical Committee to the mix, and you have a unique combination: a rigorous, scientific mind with direct responsibility for evaluating new cameras and technologies for his peers in the ASC, and a guy who is used to doing whatever it takes to get the shot -- the scholarly and the practical.

In his role as Rigorous Scientific Guy, Dave has been part of the Camera Assessment Series (CAS), jointly produced by the ASC, the Producer's Guild of America, and Revelations Entertainment, which is the production company founded by Morgan Freeman and Lori McCreary. The goal is simple: to shoot demanding scenes with the industry's highest-end cameras, side-by-side, to illustrate their strengths and weaknesses.

We knew that Dave has heard reports from his peers in the ASC that are using DSLRs and has been taking a closer look at them for his own work. We asked him how well these new cameras hold up for digital cinema, both technically and in practice. Here's what he told us.
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The creative minds behind the web's existential comedy series "Coma, Period." talk about their craft and the challenges of designing the sounds that represent those heard inside a character's subconscious mind.

Rick Castaneda (Writer/Director) says of the project: When I first came up with the idea to create a web series that took place entirely inside someone's head, the value was immediate -- I could do anything I wanted. Here was my main character, Dan Humford, who had a car crash and ended up in a coma. We've given him the white space of his subconscious, and are letting him interact with all of his deepest desires, the nightmares, and random thoughts that he's had. If we wanted to, we could bring in a T-Rex, and have them talk about their feelings. That's how wide open the show is.

I brought in Lawrence to sound design really early -- actually at the script level -- because I knew that with such a blank white space, with nothing to look at, sound would be more important than ever. Infinite possibility was the first problem we had in sound designing the series -- we could really make the inside of Dan's head sound like anything we wanted to. This wasn't a park -- which you've been to, and you know how it sounds. This is the inside of a person's head. What does that sound like? A desert? A conch shell?

How did they create all of these endless possibilities for the audience?

Read the complete article online at
Subscribe or Unsubscribe brings fresh to you the industry's latest news items in the Creative COW NEWS section featuring the products and technologies you use, as well a look at who's doing what...
  • Broadcast technology companies including: Dalet, Harris, Snell, Softron and Thomson/Grass Valley
  • Distribution technology from companies including Digital Rapids, Harmonic, Omneon and Telestream
  • Film and digital cinema production including Angenieux, Cooke Optics, MARVIN, IRIDAS and Silicon Imaging
  • Cameras from ARRI, Element Technica, Hitachi, Ikegami, Panasonic and Sony
  • Technologies including Asset Management, Color Grading, Live to Air, Previsualization, SAN Solutions and Stereoscopic 3D.
  • This, in addition to post and production gear from companies including Adobe, Apple, Avid, Autodesk, DaVinci, and Quantel.
We're just scratching the surface here. As we mentioned, over 200 pre-categorized "quick linked" terms, plus a robust Search feature to let you dig as deep as you want, into exactly where and what you want. With daily updates and powerful search and sort features conveniently quick-linked, we think you will find the news section worth visiting on a regular basis.

Hey, don't we feature all the news in our newsletter? We try, but we often get far too much news to always feature every item that we receive. In busy news times like NAB, CINEGEAR EXPO, SIGGRAPH, IBC and other major events, we get far too much to include in our weekly newsletters. So, if you want to know the whole story, a quick trip to our news section is a worthy trip to make from time to time.

We also have a RSS feed function that you can tap to bring the news even faster to you. You can find the RSS function link on the news page, just above the "quick links" list of companies and quick search terms. -- it's where it's all happening.

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Image Stabilization in Sony Vegas 10

With version 10, the team at Sony Creative Software added many new features to the already powerful feature set of Sony Vegas. One of the most requested and popular new features added is image stabilization.

In this video tutorial, Creative COW leader Michael Hurwicz explores not only the basics of image stabilization, as well as short-cuts to speed workflows, but includes a workaround for stabilizing unsupported formats like Panasonic MXF files. He also explains how to use "takes" to preview multiple stabilization alternatives.

You can find the tutorial online at:
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There are plenty of advantages to shooting video on solid-state cards, but cards have one particular headache of their own. That's when you have to offload your cards to a backup hard drive while working in the field. Maybe you have to free up card space so you can continue shooting, or maybe you have to hand your footage to a client who didn't bring their own cards. Either way, doing an in-the-field offload usually means bringing a laptop, a card reader, external hard drives and lots of cabling to your location, then finding a secure place to set it all up, and then waiting around as each card slowly copies to the drives.

No one looks forward to this. It certainly never appealing. But instead of hauling around an entire computer ecosystem, or busting the bank on more cardage, you can invest in a portable card backup device, which includes a built-in hard drive or SSD (solid-state drive), is small enough to hold in your hand, runs on battery power, and makes copying cards quick and foolproof.

This review by Helmut Kobler takes a look at two products that he's worked with for the last few weeks.

Read the article online at
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