It’s time for our weekly break from the gear for a few minutes so we can enjoy another round of reader photos from the Photography Bay Flickr Group.
Check out the rest of the photos below. [Read more…]
When the 5D Mark II busted onto the scene in 2008, the footage from the camera amazed the masses. However, working with the footage in post-production wasn’t the friendliest of tasks. If you wanted to properly edit the footage in Final Cut Pro, you first had to transcode the files using MPEG Streamclip or some other method in order to get a file format that was workable in FCP. Canon later sped up the process by making the Plugin-E1 available for importing 5D, 1D, and 7D footage into FCP – it worked quite well; however, it’s still a time-consuming process.
Then, Adobe introduced Premiere Pro CS5, which allowed us to simply drop files in the timeline and start editing – a big boon for HDSLR editors. It’s a 64-bit program that makes very efficient use of system resources. My 2.5-year-old Windows machine is able to playback color corrected video with effects and no need to render first.
Many NLE users see Apple’s Final Cut Pro as lagging behind. Fear not though. The next Final Cut Pro version is coming and, according to Larry Jordan (producer, director, editor and Apple-Certified trainer), it’s a “jaw-dropper.”
Jordan says he was invited to Apple, along with the “Who’s Who of leaders in the post-production community,” to check out the new version of Final Cut Pro.
Elsewhere, TechCrunch has word of the same preview event and has heard quotes from those who have seen the software program running, calling it “the biggest overhaul to Final Cut Pro since the original version was created over 10 years ago.”
As someone relatively new to the video scene, I’m very anxious to see what Apple has in store for us with this Final Cut Pro update. I mainly work with HDSLR video, simply because that’s what I started with and that’s what I still use on a regular basis. I’ve used Media Composer 5, Final Cut Pro and Final Cut Express over the past year; however, when I chose to buy a NLE as my go-to editing program last year, I went with Adobe Premiere Pro CS5 because of how well it works with HDSLR footage.
While I like FCP’s interface, it’s just too slow no matter what machine I’m using it on (MacBook Pro, iMac or Mac Pro). I’m hoping to see the FCP update step up and match or exceed Adobe’s capabilities with Premiere Pro CS5.
I recognize that there are many other improvements desired by those working on much larger projects than my short ones. However, I would venture to say that the 5D Mark II and its lineage of HDSLRs have been solely responsible for numerous purchases of Premiere Pro CS5. Here’s to hoping Apple jumps on the bandwagon and makes the latest FCP just as attractive for those of us shooting with HDSLRs . . . ’cause I’m Jonesin for a good reason to pick up a new Core i7 MacBook Pro.
Canon UK has indicated on a support page that the Canon 7D, 60D, 50D and 40D have AF problems with certain older Canon EF zoom lenses. [Read more…]
Below you will find this week’s firmware updates. Hit the manufacturer website links for more details and download instructions for the firmware. [Read more…]
Yuri Arcurs is one of the worlds’ top stock photographers – and he’s got the studio to show for it.
A few weeks ago, I asked Canon users what they wanted to see in the Canon 5D Mark III (or whatever it’s called). Better autofocus, enhanced AEB options and dual CF card slots were some of the popular requests for Canon.
The Nikon D700 is a bit of a different animal though. It’s got great AF, but no video options. The photo purists out there would probably be happy to keep it that way; however, I suspect that the inclusion of HD video capture on the D3s likely signals that the smaller-bodied, full frame D700 replacement will get a dose of HD video as well. [Read more…]