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Production News:
• Media 100 to Demo Resolution Independent HD/SD Editing Solution for Mac OS X at NAB2003
• Future Media Concepts and Apple Bring FCP training to Chicago on April 3rd 2003
• Matrox to Demonstrate Multi-Monitor Technologies at NAB
• Apple, IDG Launch 'Create' Conference
• IBM to Intro Digital Video System For Broadcasters at NAB 2003
• Fast DV Tape Scans with TEPX Video Logging Software
• AIST Cinegy Non-Linear Production Software at NAB 2003
• Bitstream Releases Font Collection
• CustomFlix Announces Bundle Deal with Boris Graffiti
• TrendWatch Fast Fact: #1 New Biz Opportunity
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Software efficiency in hardware benchmarks
Let's face it: Software development, for the most part, isn't all that it can be. Recently Adobe inadvertently underscored this problem when it posted an article on its site (using data taken from benchmark studies conducted by DMN's own Charlie White), showing how a single-processor 3.06 GHz Dell Precision Workstation dramatically outperformed a similarly equipped dual-processor 1.25 GHz Macintosh G4 at rendering compositions in After Effects 5.5. So what's the problem? Software that isn't written to take advantage of the hardware. That's a big problem.
Director Jon Amiel's goal was to put science back into science fiction
When director Jon Amiel began work on his new science fiction thriller, Paramount’s The Core, which opens March 28, he started with a promise to the actors, and to himself. “I made a promise that we would work on character, in great detail, and with as much care and attention to detail as [we] would if they were making The Hours or any other character-driven movie,” he said.
Editing "Hell on Heels" on an Avid|DS HD System
Opportunity comes in all shapes and sizes. For editor Jeff Krebs, opportunity came -- and almost left -- in an overnight shipping container. Here's a user story showing how Jeff used an Avid|DS HD system to meet a tight deadline.
Color Correction Freebie
What happens when you don’t white balance correctly and it comes time to edit? You use Final Cut Pro’s Color Correction Filter of course. What do you do when there is nothing in your shot that represents true black and white? You panic! Don’t panic too much, here is a freebie just for you… or rather your cinematographer.
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