Adobe Premiere Pro Creative Suite 4 (CS4) is out and shipping in all its glory. You’ve probably heard lots about it. In this review, I’ll pull the major points together and review CS4’s new features within the workflow of a typical project, from preproduction planning to rendering and authoring. First, some housekeeping details. Premiere Pro…
DetailsTo me, YouTube has been like the proverbial elephant; my impression depended upon where I touched it. Before I touched it at all, I dismissed the site as grist for those with too much time on their hands. Then, after a magical night sampling rock
DetailsThis article details codec usage, and the resolution, data rate, and frame rate used by many of the top sites on the Internet.
DetailsStreaming 101 defines file-related
terms like bandwidth, frame rate, data rate and resolution, and then delivery
options like streaming and progressive download. This article describes codecs and streaming architectures, and then common
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This article details the encoding parameters used by ESPN to produce the VP6 encoded files for the standard Flash Player offered on www.espn.com.
DetailsIf you’re considering buying a new affordable HD camcorder, you should have at least three formats in mind: tried-and-true HDV, up-and-coming AVCHD, and the ever-more-affordable DVCPRO HD. By a stroke of good fortune, I have three such camcorders in hand right now, and I thought it would be a good time to discuss their relative…
DetailsSo there I was, testing Adobe Creative Suite 4 (CS4)’s AVCHD compatibility. I created a simple project, about 4 minutes long, two picture-in-picture overlays with simple rotation and color correction. I had two eight-core systems: the Windows workstation, a 2.83GHz HP xw6600 running Windows XP (32-bit version) with 3GB of RAM, and a 3.2GHz Mac…
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DetailsOK, 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.
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