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OK, I'm guessing that you don't come here for tips on cross-platform editing between Final Cut Pro and Premiere Pro Windows, but here's a piece of news you may find useful. By way of background, one frustration I've always had with the Final Cut

A rant about MPEG-LA's continued lack of transparency about H.264 royalties.

If you're buying or configuring a computer for CS4, either on Mac or Windows, you should check out this Affordable HD article at Digital Content Producer, here. The article compares single and dual processor performance at various RAM levels on both

I've never been a big fan of 64-bit operating systems, but some recent comparative trials with Adobe Media Encoder and Premiere Pro showed that 64-bit computers - both Windows and Macintosh -- had a huge advantage over 32-bit Windows. If you're in th

So, you’ve been shooting in high definition for a while now, and you are ready to start posting HD sample clips on the web that actually reflect the quality of the footage you’re capturing in your camera and editing in your NLE. You ha

With the CS4 upgrade introduced in Q4 2008, Adobe patched some necessary feature gaps (think AVCHD), supercharged the CS4 Production Premium creative workflow (think more Dynamic Link), and launched several new groundbreaking features (think audio

As you’ve undoubtedly heard, Adobe Creative Suite 4 (CS4) Production Premium delivers some awesome productivity benefits, particularly the ability to send Premiere Pro sequences to both the Adobe Media Encoder (AME) and Adobe Encore for rend

This article illustrates when and where you can optimize quality by shooting in progressive rather than streaming mode.

I've been spending a lot of time comparing codecs lately, and I always feel a little uncomfortable when I encode the test files since I assume that the actual codec vendors know how to wring the last bit of quality out of their respective codecs