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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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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
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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:
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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
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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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