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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
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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:
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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
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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
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One of the TV season's brightest new arrivals was HBO's medieval fantasy series Game of Thrones, an adaptation of the popular novels by author George R.R. Martin. The TV series, created for HBO by David Benioff and D. B. Weiss, debuted April 17th and was honored as Outstanding New Program at the 27th annual Television Critics Association's TCA Awards in Los Angeles. The series was also picked up for a second series two days after its premiere episode aired.

HBO's Game of Thrones is a rich palette of colour and display. Ireland's Screen Scene Post Production took on the task of enhancing the balance between worlds so vastly different, that colour play was a powerful component to straddling the extremes. Debra Kaufman looks into the slew of talent that brought these fantasy realms to light.

View the story online: "Coloring Game of Thrones".
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How many times have you wanted to know the font that is being used, either for a future project, or because you need to replicate it now for a client? For many people, matching fonts can be time consuming and hard to achieve.

In this video tutorial, Kevin McAuliffe looks at WHAT THE FONT from and shows how simple it is to use and how effective it can be in your font searches. He also explores a method to debug results when you are unsuccessful in your search due to the complexity of an image. He then looks at the downloadable iPhone app that you can use in your font searches.

Check out this latest tutorial by Keven P. McAuliffe, online now.
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Whether you are new to editing, or are thinking about making a switch, these five tutorials will have you up and editing in Avid Media Composer. Kevin P McAuliffe, a Media Composer editor for over 15 years will teach you capturing & importing, project organization, editing, titling & effects and outputting.

These tutorials will give you the ability to sit down in front of any version of Media Composer, and be up and running in minutes. And, for Final Cut Pro 7 editors who are thinking about making the switch, see FCP7 and Media Composer side-by-side, and learn how simple it really is to make a switch. This is one week on the Cow you don't want to miss!

View Kevin McAuliffe's "Wanna Switch?" tutorials at
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One of the fastest growing areas of Creative COW is our new Services Offered directory, another complimentary service for Creative COW members. List your company and the services you offer, with 1.7 million unique monthly visitors worldwide, you may soon find yourself with new business opportunities and resources -- and it's all at no charge.

Sort it by category or by city or country, look for partnering companies in areas where you may have an upcoming job. It's another way to use Creative COW to open new doors for your business.

Find it online at
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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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