Owen Wexler
Forum Replies Created
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Just checked the project settings and I am using sRGB and linear workflow.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Not necessarily, knowing multiple editing systems is good because sometimes the job will demand it. I learned on FCP but I know Premiere Pro and Avid too, and good thing… because my job is at a TV station that uses Premiere Pro exclusively. I had learned Premiere Pro for an internship and was using it on certain projects already and good thing because I wouldn’t have my job right now if I had just stuck with FCP. I am brushing up on my Avid skills too in case I wind up at an Avid house at some point in the future. Editing systems are not wives and the market demands knowledge of different systems.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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I’m late with this response I know but:
Go into the City Night comp itself, turn motion blur on for everything then turn on motion blur for the comp. Once you go back into your main comp, motion blur will be on for every instance of the City Night comp.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Amen man, there’s no sense being married to one editing system, it’s just software. The individual operating that software on the other hand, that’s the important thing.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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“An Editor’s Guide To Premiere Pro” by Robbie Carman and Rich Harrington is also a very good book. I’ve been learning things about Premiere Pro that I didn’t know in close to a year of using it regularly from that book.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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DaVinci Resolve
Autodesk SmokeThere’s two reasons to stay on Macs right there.
Plus, Macs are still more stable and reliable than Windows PCs.
If Apple abandons the Mac Pro line I’ll be singing a different tune of course.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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That’s Godwin’s Law, and I hereby invoke it on this thread.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Yeah demand for Mac Pros isn’t going anywhere. There is still software post professionals need that isn’t cross-platform, such as DaVinci, Smoke, and let’s not forget the very much still functional previous iterations of FCP. There will still be demand for Mac Pros for a long time.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Right now I alternate between FCP7 and Premiere Pro CS5 depending on the needs of the project… often I will use PPro for offline and then XML over to FCP/Color for online and color grading, I have used this workflow particularly with DSLR projects in the past.
After FCP7 stops working with my hardware or OS (whenever that is) I will switch fully to Premiere Pro. I am also looking at moving to DaVinci Resolve now that Apple has EOLed Color.
I am comfortable with Avid as well and will use it when the situation calls for it.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Right now I alternate between FCP7 and Premiere Pro CS5 depending on the needs of the project… often I will use PPro for offline and then XML over to FCP/Color for online and color grading, I have used this workflow particularly with DSLR projects in the past.
After FCP7 stops working with my hardware I will switch fully to Premiere Pro. I am also looking at moving to DaVinci Resolve now that Apple has EOLed Color.
I am comfortable with Avid as well and will use it when the situation calls for it.
Cinematographer – Editor – Motion Graphics Artist – Colorist