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Most awards for NAB are picked at the show. Not the Creative COW Blue Ribbon Awards. Our members deliberate live online, where they poke, prod and dig deep to decide which tools are the ones that still matter after the lights have died down and everyone has packed up and gone back to their studios. Over a half-million people logged into Creative COW during the week that NAB was happening and we have followed their posts and comments.

Some might say that the only "real" way to find the Best of Show at NAB is to be there. Maybe, maybe not. Once you're in the room, the goal is typically to see everything possible, and decide which products strike you as most interesting while you're standing in front of them. It may be easier to get the big picture from afar, though. The 500,000 people who came to during NAB told us exactly which companies, products and technologies were compelling enough to reach beyond that big room in Nevada. That's critical, because the importance of the NAB Show to our industry doesn't end at the walls of the convention center. It begins there.

Which is why the Creative COW Blue Ribbon Award is unique: it acknowledges that the real-world expertise of thousands of potential paying customers outweighs the opinion of a handful of magazine editors -- which is why we never vote in the Blue Ribbon Awards. The only vote that counts is yours.

So, what did you vote for this year? What will be the products that matter in the days ahead? Here are your choices for 2012...

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MEN IN BLACK 3 is getting rave reviews at the theaters and in the press, and Creative COW's Debra Kaufman had the opportunity to speak with Visual Effects Supervisors, Jay Redd, and Ken Ralston about their adventures with aliens and the Men in Black.

Five-time Academy Award winner and visual effects pioneer Ken Ralston was Visual Effects Supervisor on Men in Black 3. Ralston, who is Senior Visual Effects Supervisor and Creative Head at Sony Pictures Imageworks, was also recognized with an Academy Award-nomination for his work on Alice in Wonderland 3D. During his tenure at Sony Imageworks, Ralston has collaborated with director Robert Zemeckis on Beowulf, The Polar Express and Cast Away. He also received a Special Achievement Oscar for the visual effects in the 1984 Star Wars: Episode VI -- The Return of the Jedi. Other film credits include the Back to the Future trilogy, Jumanji, Forrest Gump, Who Framed Roger Rabbit and several Star Trek films.

Jay Redd, also Visual Effects Supervisor on Men in Black 3, has spent more than a decade at Sony Imageworks during which time he was Visual Effects Supervisor on Monster House and The Haunted Mansion. Previously he was Digital Effects Supervisor on Stuart Little 2 and honored with the VES Award for Best Character Animation in an Animated Film. Redd is also credited with helping to create the title character for the first Stuart Little film. Before Imageworks, Redd spent four years at Rhythm & Hues where he worked on Waterworld and Babe.

Join us as we go inside the making of MEN IN BLACK 3, online now at

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Adobe's new CS6 release is the most powerful and important Adobe upgrade ever. It's clear to many users at Creative COW that Adobe has been listening to professional editors and has made great strides to bring Premiere Pro to a level of features, functionality and interface that professionals are giving very high marks.

If you've just upgraded and want to get started using Adobe Premiere Pro CS6, please join Andrew Devis as he explores Premiere Pro CS6. He has already covered many topics in the series and there are more on the way.

You can find the Adobe Premiere Pro CS6 series online now at:
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Television commercials say that "What happens in Vegas, stays in Vegas." But this time, what happened in Vegas at this year's NAB Show expo is coming back telling some great stories. Especially for those who are looking at the various colorgrading systems.

In his exclusive report for Creative COW members, post guru Dennis Kutchera shares what he saw and learned in his search for a new colorgrading system -- following many years of using Avid Symphony as his system of choice.

He spent the entire show looking at colorgrading systems and here's his report after spending time with DaVinci, Baselight, Assimilate, SpeedGrade, as well as the new grading tools from Avid and Autodesk. We think you'll learn a lot from Dennis, benefitting both from his Vegas quest and from his years of post experience. (Did we mention he's been a longtime Avid and FCP editor, using Media Composer since 1993 and FCP not long after it shipped.)

You can find Dennis Kutchera's report online in the Creative COW library at:
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As a longtime Final Cut Pro user, David Lawrence has been looking for a new NLE, since FCPX isn't an option for his editing style and does not meet his needs. When word leaked out of a CS6 trial release, David took Premiere Pro 6 for a spin. And in this report for Creative COW, he shares his first impressions.

He opens his report stating: "Like many of you, I've been itching to get my hands on Adobe Premiere Pro CS 6.0 ever since Adobe's official announcement and demo videos. As a longtime Final Cut Pro user, NLE change has been a given ever since the Final Cut Studio EOL last June. The big question has been 'change to what?' I've written extensively about the Final Cut Pro X timeline and why it's not right for my style of editing. Since FCPX isn't an option for me, I've spent all year watching and waiting to see what other NLE vendors might come up with.

"The buzz on Premiere Pro CS6 was growing months before NAB. Conan O'Brien's boys stoked the fires with a viral promo teasing a fresh new interface, solid professional workflow, and easy Final Cut Pro transition. When Adobe finally showed their cards at NAB and word went out of a leaked CS6 trial release available from a secret Adobe URL, I jumped at the chance to take Premiere Pro 6 for a spin. Would it live up to the hype? More importantly, would it live up to my particular workflow expectations and needs?

The short answer is yes. Yes it would indeed."

To read David Lawrence's first impressions, visit his article online at Creative COW.
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One of the biggest announcements hailing from the 2012 National Association of Broadcasters expo last week was the first real look at Adobe CS6. Last year at NAB 2011, Creative COW members picked Adobe Premiere CS5.5 as the Best Video Editing System for 2011. User reaction to CS6 was even more positive than last year and Adobe looks to have its biggest, most innovative launch ever set for even greater success in 2012.

Adobe CS6 is the first release from Adobe that leverages all of its applications across a powerful web-based architecture called Adobe Creative Cloud. Think of it with the same kind of ease of use you've come to expect when downloading apps from the iTunes Store or the Google Android Marketplace. Download and install your applications from the Cloud. Then manage your applications and work with your files on the Cloud. Collaboratively. Easily. Powerfully.

CS6 not only introduces Adobe's most powerful video production tools ever, but they have also taken it a step further by giving users the most powerful tools for working to deliver your projects to smartphones and tablet devices around the world. Taking your media into new markets with unparalleled ease unmatched by any other suite of tools.

You can watch the one hour presentation which starts at the top of each hour at or if that link should not work for you, you will find an archive of the broadcast on Adobe TV at on Tuesday, April 24.

There is simply far too much to cover in a newsletter but you will find the highlights in the official news announcement in the COW's news section at but we recommend that you take the time to watch this program -- this really is Adobe's biggest ever new version roll-out and you will see why during the one hour program.

Is it worth the time to watch? We watched it and found it very informative and very exciting news. We think that CS6 is a real game changer. We think you will, too.
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Today's Creative COW Newsletter is filled with a wide reaching array of announcements from many of the industry's biggest companies. You will find news from Panasonic, AJA, Canon, Sony, Matrox, JVC, Bexel, ARRI, NVIDIA, EditShare, JMR, Broadcast Pix, MOTU, Boris FX and many many others.

It's been a busy show and there is a lot to report. So here is a lot of the news that has come in so far and you can find much much more online in our news section at

To discuss any of these news items, either visit the item by clicking the link or visit and discuss the news in that product's related forum.

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Well, the NAB Show 2012 expo and conference is well underway after the first day of the expo and in the first couple of days there have been some truly groundbreaking announcements to report. Today's newsletter contains many of these important announcements and you can watch for even more news over the next few days as others share the news about their latest and greatest. We will send out a daily recap for the next few days and will then return to our regular weekly newsletter schedule.

What are the biggest surprises so far? On Sunday, Autodesk announced their new Mac-based Autodesk Smoke that will sell for $3495. Yes, you read that right: Autodesk Smoke for Mac, priced at $3495. In this authorized pre-announcement peek, the COW's Walter Biscardi looks at what this means to many longtime Apple editors. You can read Walter's report and take part in the active discussion.

Then first thing Monday morning, Blackmagic Design introduced their new BMD Cinema Camera featuring a 2.5K image sensor with 13 stops of dynamic range. You get a built-in SSD recorder, open standard uncompressed RAW and compressed file formats, compatibility with quality EF and ZF mount lenses, LCD touchscreen monitoring plus metadata entry, all packed into a hand-held design. The new camera will sell for around $3000. This news brought BMD's website down for much of the day due to huge traffic. To join the discussion, here is a great discussion in one of our forums and you can search for other conversations taking place throughout Creative COW.

The forums are alive with people talking about these two big news items but these two items are not alone by any means and in this issue of the Creative COW Newsletter, we have a lot of news for you. There is much, much more that you can find online at
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From the first air race in 1909 to the present day, spectators have been thrilled by the tremendous aerial acrobatics and speed performances that adept pilots and their beloved aircraft are able to achieve. "Air Racers 3D," produced by 3D Entertainment in association with L.A.-based Pretend Entertainment and Stereoscope, is an in-depth exploration of the fastest motor sport on Earth at the annual Reno National Championship Air Races & Air Show, and commemorates this century-old sport in IMAX 3D.

The first air race was held in Reims, France in 1909, and an American named Glenn H. Curtiss won the prize with a top speed of 46 mph and two laps of an air "track" completed in 15 minutes. He was the first champion "air racer" in a long line of many. The National Air Races in the U.S. settled in Cleveland, Ohio in 1929, in which airplanes race simultaneously around a closed ovoid course marked by pylons.

Today, competitors soar around those pylons at heights as low as 50 feet above the ground, reaching speed of over 500 mph. Biplanes, jets, and a variety of performance planes follow the basic rules: fly low, go fast, turn left.

The COW had the opportunity to get into the cockpit with the makers of Air Racers 3D. Now, you can go along for the ride in this informative feature that you can find in the COW Library at
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