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May 12, 2011

Table of Contents

500,000 David Robin Fans Can't Be Wrong: "The Time (Dirty Bit)" Parody Goes Viral
The Business Coach: Are You a Heretic?
New Photoshop Touch Apps for iPad Now Selling in App Store
NewTek Takes TriCaster Show on the Road, Showcases Portable HD Live Production
Schneider Augments Century Line with New Lenses for Canon XF305/300, JVC GY-HM700, Sony EX3/EX1
Red Giant Intros Magic Bullet Grinder 1.5 DSLR Transcoding Solution

500,000 David Robin Fans Can't Be Wrong: "The Time (Dirty Bit)" Parody Goes Viral

david robin | filmsWhat's the greatest movie of all time? On a good day, you can get just about any film fan to weigh in on that question. What's the greatest wedding video of all time? That's a bit more esoteric, and unless you're a recent bride who would effusively answer, "Mine!" or you make wedding films yourself, it's statistically unlikely that you would even have an opinion on the topic. But "The Best Wedding Video of All Time?" was exactly the question raised by The Huffington Post in a May 6 online article. The video in question was a wedding-day music video by five-time EventDV 25 all-star and concept filmmaker-to-the-stars David Robin of david robin | films. The Huffington Post article was both recognizing and propelling Robin's piece in its bid to become the most watched wedding video ever, which would be reason enough to celebrate. But even more remarkable from our industry's perspective isn't just how many views the clip has enjoyed (500,000 and rising at this writing, which was prior to the national media press it had coming over subsequent days) but the fact that it's the first wedding video to go viral at this level that was actually produced by a professional event filmmaker. With appearances in the works for Inside Edition, CBS' The Early Show, and (possibly) Good Morning America—and with a Today show spot having aired on May 12—the opportunity this video presents for Robin and the event filmmaking industry is unprecedented.

Officially a parody video for the Black Eyed Peas' song "The Time (Dirty Bit)," Robin's film was shot at the beachfront wedding of Emre and Joya, two southern Californian network TV professionals who handle website and social media operations for NBC.com. Like the dozens of other Wedding Day Music Videos (WDMVs) produced since The Graham Fenton Experience unveiled its first at WEVA Expo 2001, Robin's "The Time (Dirty Bit)" was shot entirely during the course of the wedding day, enlisting the bride and groom, the wedding party, and other guests as lip-syncers and actors. Given that a wedding day is already busy enough for everyone involved—vendors most of all—these types of productions can prove stressful to say the least.

So why did he do it? Robin is entirely candid about that fact that he's had the notion of producing a viral video in the back of his mind for years now, and although he's had pieces online that have approached the 100,000-play threshold (a Miley Cyrus parody shot last year), after a quarter-century in the business, he's never become the overnight sensation that a viral YouTube video can make you. But in spite of the challenges that he knew producing a wedding-day music video would entail, Robin felt that this was the right concept and the right couple to make this one worth doing. "I had the couple in my office and they were pretty cool and hip and they wanted to do something different, but they weren't sure what," he recalls. "They're pretty contemporary and hip to all the contemporary pop culture. They wanted to do something a little different. And if you were actually to look at the actual wedding day itself, it was quite unusual and different from the norm."

The Time (Dirty Bit)

As they discussed the different possibilities, Robin found that the couple was particularly enamored with U.K.-based Lockdown Projects' WDMV of Queen's "Don't Stop Me Now," which topped 150,000 views in 2009 and spawned a series of YouTube parodies of its own. Then it came down to choosing a song. The first criteria was to choose something contemporary-already a departure from most previous WDMVs-and also one that was fun, high-energy, easy to lip-sync to, and likely to "stand the test of time." The Black Eyed Peas song fit all their criteria. "Once we focused on the music video idea," Robin says, "what was going through my mind was, ‘I don't want to do this. They never go well. They can't act; they can't lip-sync. It's going to be cheesy.' I was dreading that. My goal was to make it as un-cheesy as possible, which was hard. Any time you're directing amateur talent, you just have to hope for the best."

Robin says he's encountered this problem numerous times in producing his signature concept films. "I've done plenty of concept videos where, on paper, they look wonderful. The script is fantastic. But then after the bar mitzvah kid or the bride and groom have delivered their lines," the limitations of the cast become cringe-inducingly clear, and a 4-hour shooting window proves a poor substitute for years of acting school.

Robin says producing the video was even more "hair-raising" than creating his signature concept films, which at least allow for multiple takes. With "The Time (Dirty Bit)," he says, "We got virtually everything done in one take. There were a couple of things where we had time for two takes. It was our goal not to disturb the wedding-day activities and actually let them have a proper wedding day. Believe it or not, we maybe changed the entire wedding-day timeline by an hour doing this video."

Advance planning played a key role, as did the creativity and flexibility of the event planner, the groundwork laid by the bride and groom, and the patience and compliance of the guests on the wedding day. "It was very tight, and we were working with a very good event planner who kept it rolling for us. We had the storyboards, we knew what we wanted to do, and we had a very small window in which to do it. We had a couple of production meetings in advance, and the planner said, ‘OK, we can give you 15 minutes here; we can give you 15 minutes there. You can do this, you can do that.' And then we storyboarded it out according to the timeline."

The bride and groom also did their part to guarantee the willing participation of their guests. They emailed everyone who planned to attend and let them know there would be a music video shot at the wedding and that they might be called on to participate; they also sent them a link to the song. "The rest of it was up to me to pull together on the wedding day," Robin says.

Sounds simple enough, right? Well, as you might guess, it wasn't; it turned out to be the most stressful day Robin says he's had in 25 years in the business. Even though Robin and his crew had meticulously planned and storyboarded each shot—including mapping specific shots to specific portions of the song and including a few (but not too many) moments that would relate to elements of the Black Eyed Peas' original video (such as Fergie/the bride singing through an iPad)—"Nothing went according to plan. At some point it became guerilla tactics where we had a shopping list of shots that we needed to do and we literally had to grab people away and say, ‘Listen, we've got to do this, and we've got to do it now.' Whether it was during the cocktail hour or during the course of the evening, we pulled people aside," and, using a "big boombox," directed them lip-syncing along to particular parts of the song.

"Don't forget," he continues, "we were actually shooting a wedding at the same time. We had two crews. There was one crew dedicated to shooting the wedding for a regular wedding film. And then there was the music video crew. We had two men dedicated to shooting the wedding. And, of course, we could pull some of their footage if we needed it after the fact." For the WDMV crew, Robin recalls, there were three crew members: David, 5D shooter and director; a Steadicam shooter; and a boom operator.

The boom shot they'd planned out was the most difficult shot in the video, and it had to be accomplished in the tightest time frame of the day-the 15 minutes in which they had to capture not only the boom shot of all the guests singing the chorus and looking up at the camera on the boom but also of the bride and groom repeating the recessional while lip-syncing to the song (after doing it "straight" the first time). After the "real" recessional, Robin says he simply grabbed the mic, asked for the guests' attention, and started directing. "I had rehearsed with the boom guy about 10 minutes before the ceremony," he says. "I told him, ‘This is the shot I want, coming down real low, coming up real high, this really fantastic shot.' And, of course, he didn't get it. We had all kinds of wind problems because it was right by the beach, overlooking the ocean, and the wind blew the camera, and we had two takes, and both takes were pretty awful."

But even if the wind wasn't cooperative, at least the guests were: "Everyone was really cool. They were a cool crowd. They were all on board."

david robin | films

After shooting the wedding in late March, Robin was determined to turn around the music video quickly, and he says he had the video "99% done" while the couple was still on their honeymoon. The next step was getting it seen. "All we had really wanted to do initially was to get it featured on one of the wedding blogs. Junebug Weddings was the first one to say, ‘We want an exclusive on this,' and they did a blog on the entire wedding, using my video and stills from the photographer."

As for anything beyond that, Robin figured it was a crapshoot. "People could either laugh at it and say, ‘It's the cheesiest thing I've ever seen,' or everything could just align, which it did, and it could take off." The first breakthrough came on the website of the U.K.'s most widely read newspaper, The Daily Mail, and then The Huffington Post picked it up from there. "After Huffington Post got it, then that was it." Half a million hits in 3 days followed. "And then all the morning shows started to call. It was really funny. I came into the office, and Good Morning America had left a message, and the CBS morning show had left a message, and the Today show, and I thought, ‘This is ridiculous.'"

Robin says it will most likely be the bride and groom making these TV appearances and sharing their perspective on the experience; "If I'm on camera," Robin quips, "that's a miracle." But Robin says he's confident that this couple will make it clear that the wedding video seen 'round the world was shot by a professional wedding filmmaking crew, which, as mentioned earlier, is a departure from most wedding video clips that have gone viral at this level to date.

One issue with the video being so widely seen, of course, is the issue of music copyright that always looms over the wedding filmmaking industry, but which rarely seems terribly pressing because most wedding films fly well under the radar. Robin says he's not concerned music clearance will pose a problem with the major TV networks picking up the story-their legal departments will address it prior to the segments being aired. And if they don't clear the music, they'll simply run whatever portion of the video they show without audio. What's more, he says, the Black Eyed Peas record for a company that's under the Universal umbrella, which makes it unlikely that they would send a cease-and-desist regarding this particular couple. And then there's the social media context: "Parody videos have been fair game on YouTube for years. If you do a parody video, there's really no issue with copyright."

Robin sees good and bad coming out of this for him, but he sees mostly-overwhelmingly-good. Though he says he would rather build his legacy on the work he's done that aspires to "high art," he's not surprised that a piece this commercial has been the one to top the charts. "I don't really want to be known as the wedding filmmaker who does all these day-of music videos. I've got precious little hair left, and a few more of them and I'll be completely bald. What I would love to see out of this," he says, "is for a much wider audience to see that there's good wedding video out there. That's what's really important. I've got a feeling that the couple will do very well by us and that this will be a very powerful piece for us as an industry."

Stephen Nathans-Kelly (stephen.nathans at infotoday.com) is editor-in-chief of EventDV.

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The Business Coach: Are You a Heretic?

her-e-tic [n. her-i-tik; adj. her-i-tik, huh-ret-ik] 3. anyone who does not conform to an established attitude, doctrine, or principle.

“Heretics are the new leaders, the ones who challenge the status quo. Who get out in front of their tribes, who create movements. The marketplace now rewards and embraces the heretics … and for the first time it’s profitable, powerful, and productive. This shift might be bigger than you think. Suddenly, heretics, troublemakers and change agents aren’t merely thorns in our side—they are the keys to our success.”—Seth Godin, Tribes: We Need You to Lead Us

Is it OK if I preach a little today? I might step on some toes, but I believe that now, more than ever, our industry needs to hear it. Ready? It’s exhausting producing mediocre, average products. Isn’t it? When you think about it, isn’t that true for your video business? And it doesn’t matter whether you hear that we are out of the recession or not; we already have an uphill battle fighting the perceived value of wedding video or being last on a corporate client’s budget when things get tight. But I want to say one more thing that might make you squirm: The problem is you!

Please keep reading, because it gets better, my talented video friends. When I say the problem is you, I don’t mean you aren’t talented, aren’t respected, or don’t know how to run a business. What I mean is—or should I say, what I am asking, is—are you a heretic?

The word “heretic” brings some preconceived ideas to our minds to be sure, but I’m not talking about being some crazed, religious zealot from the Middle Ages. I spoke in detail about being a heretic during my last seminar at the IN[FOCUS] Video Event in New Orleans in January. I spoke on my passion for this business and the reason I got into filming weddings, which is rooted in doing videos and emotional promo pieces for nonprofit organizations. Finding emotion in human stories just came naturally to me, and weddings seemed right up my alley.

But doing meaningful video work that raises awareness, changes lives, and impacts the world is built into my soul. And it’s even better that I get paid to do it. But as the years passed, I soon realized that by giving back and using my video work for the “bigger” picture, it was changing my world. And in turn, I began to do more to change the world of the clients I was privileged to serve through wedding filmmaking. I began to see different reasons for wanting to film weddings. I began to see different ways of capturing emotions from people. I began to see things that my local/regional competitors, to my knowledge, hadn’t realized yet. Thus, I carved out a niche. I did things differently here in Wilmington, N.C.

Now, people have followed, and if you follow me on Twitter or Facebook, you’ll have seen how many times I had to learn my lesson to put a watermark on my demo, because it’s become a favorite of unoriginal videographers to claim as their own.

But this brings me to my point. I too am sometimes guilty of not being a heretic—of not doing things my own way, of getting complacent and letting another trailblazer dictate what my films look like. It’s easy to see myself slip and correct myself. But one thing I hope I am never guilty of is wanting to create “average” videos. I learned a long time ago that it’s tough to survive in the wedding video market as a middle-of-the-road company that does, more or less, what everyone else does. Consider how this quote from Seth Godin’s business leadership manifesto Tribes: We Need You to Lead Us applies to our industry and to your own business:

The market is now way less impressed with average stuff for average people. … Today, the market wants change. The market demands change.

Although I speak to a ton of clients who don’t consider me a good fit, I do know one thing about why I don’t end up booking them: It’s not the economy, and it’s not that they don’t value video. There are a lot of successful video companies out there swimming against the current and having some of their most profitable years in business yet. If you aren’t one of them, let me share with you a simple formula to creating a niche for yourself and becoming a heretic.

Evolve. If you’ve been in the business longer than 5 years—heck, even 3 years—you’ve seen styles come and go, and you’ve watched technology change. Have you noticed that the companies on TV and radio that grab your attention are the ones that are doing new and innovative things? Established in 1985 doesn’t mean much to anyone anymore. I know it’s easy to keep the same template and to use the same plug-ins and filters that you bought 8 years ago so you can justify your investments, and, of course, it’s easy to keep editing the same way you have for ages. It’s easy because it’s familiar. You’ve figured it out. You have wedding video production down to a science. But you may be hurting yourself, not to mention limiting your creativity. Keep changing. Keep your finger on the newer technology and the new capabilities that your old shouldermount cameras might not be able to provide you. You will be inspired, and your clients will thank you after they start flooding back.

Follow the 80/20 Rule. One of the most important things I have ever learned from Patrick Moreau of stillmotion is the 80/20 Rule. After hearing Patrick explain what keeps his team from being stagnant and becoming burned out, our team at Life Stage Films has adopted the same approach. On 80% of the events we shoot, we film the same way we always have. But for the other 20%, we open things up and push ourselves to film a moment, set a scene, and use the camera in a way we have never done before.

Think about how hard that is! But also consider how rewarding it can be, not only to your clients when you give them a unique product but also for yourself, working out your brain in a way it never has exercised before. At your next event, film the vows from a new perspective. Take a different approach to the first dance. How can you make the image your clients see of the father/daughter dance more powerful?

Know your competition. Do you want to stand out? Do you want to have “fans” of your work? Do you want to stop competing on price? Make a list of your top three competitors. Write down what makes them unique, what they do that makes them different from you. Now, write down what makes you different from them. Put onto paper things that would make a potential couple book you over them. Be brutal, and be honest. And finally, once you figure out what you’re doing that’s not setting you apart from them, stop doing what your competitors are doing. If they copy you, it’s their problem.

Give people a reason not to perceive you as stereotypical videographer. There’s no point in ignoring the fact that video is last on the list for most brides’ wedding budgets. We do a great job of complaining about it on forums, but what are we doing about it? It’s easy to see that our industry has a long way to go to get away from the bad habits that have given us a bad name—randomly applied black-and-white filters, slow motion for no reason, and, most importantly, lack of storytelling. Do you think you’ll be able to get genuine, emotional moments from your weddings with a huge camera and big lights in people’s faces? These are the main things that deter brides from booking us. And even if we want to decry these things as perception rather than fact, the truth is, they can perceive them all over our websites. Invest in yourself, your craft, and your branding to stay as far away as you can from the old videographer stereotypes.

Soon, you’ll notice that you may be creating a monster: a company that becomes a heretic, with a product to match. And your couples want that. They want to brag (especially the higher-end brides that have the money to spend) that they booked “the most unique” videographer around. Live up to that billing, and you’ll see your business soar!

Why is it that you can tell a “JMag” wedding film from a “Ray Roman”? Why is it that Adam Forgione is not only dominating his market in New York but filling up seminar rooms all over the country as well with his infectious style of teaching short-form weddings? Why does Dave Williams stay successful in one of the most talent-rich and saturated videographer markets in the world? Because they are all heretics, and they’re the best at what they do. They don’t want to produce average work because they can’t afford it.

You can’t either. It’s your turn. Become a heretic. Be the best at what you do. And blow your competition out of the water by producing work that no one has ever seen before. You’ll always put food on the table, and you’ll have a fulfilling career as well.

Matt Davis, Video Business Coach Matt Davis (coaching at lifestagefilms.com) of Life Stage Films has been described as the “head coach of wedding videography,” providing one-on-one business coaching as well as group coaching webinars. A featured speaker at both WEVA 2009-10 and IN[FOCUS] 2010-11, as well as a multiple CEA award winner and 2009-10 EventDV 25 All-Star, he is based in Wilmington, N.C.

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New Photoshop Touch Apps for iPad Now Selling in App Store

Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of the Adobe® Photoshop® Touch apps – Adobe Color Lava, Adobe Eazel and Adobe Nav – for Apple iPad in the Apple App Store. These three apps from Adobe were developed using the Photoshop Touch Software Development Kit (SDK) to demonstrate the potential for new interaction between Photoshop and tablet devices.

Adobe Color Lava for Photoshop, Adobe Eazel for Photoshop and Adobe Nav for Photoshop unite the fun and interactive experience of touch devices with the power and precision of Photoshop by enabling users to create custom color swatches, paint directly onscreen and drive popular Photoshop tools from tablet devices.‡ These applications take advantage of the iPad’s touch screen for a truly immersive, tactile, on-the-go experience, and expand upon inroads made by Adobe in the mobile and tablet market initiated with Photoshop Express, Adobe Ideas and Adobe Connect™ Mobile.

Photoshop is a part of the recently announced Adobe® Creative Suite® 5.5 product family, enabling designers and developers to create for popular and emerging smartphone and tablet platforms. Current Photoshop CS5 owners can download a free update to enable new interaction between Photoshop and tablet devices.

Initial industry feedback for the Photoshop Touch applications has been overwhelmingly positive; in a First Look review by Macworld, Lesa Snider says that “By having nothing between you and your artwork, you can focus on creating in the purest sense.” Snider also notes the excitement for the new Photoshop Touch SDK, saying, “I have no doubt developers will be burning the midnight oil to push the envelope of this new technology and create other useful Photoshop integrated apps.”

The Photoshop Touch SDK makes development possible on numerous devices, including iOS®, Android® and BlackBerry® PlayBook®. Utilizing the SDK, developers will have wide access to Photoshop functionality with the freedom to innovate and create new apps or add capabilities to existing ones. Adobe has already engaged with a number of developers to incorporate tablets and other devices into creative workflows that empower Photoshop users in new and groundbreaking ways.

Photoshop Touch Extends Creative Processes
  • Adobe Color Lava allows creatives to use their fingertips to mix colors on the iPad, creating custom color swatches and themes to transfer back into Photoshop.
  • Adobe Eazel takes advantage of cutting-edge painting technology by letting digital artists create rich realistic paintings with their fingertips, and introduces a new kind of interaction between “wet” and “dry” paints. These paintings can then be sent directly to Photoshop CS5 for compositing or for taking the artwork further.
  • Adobe Nav increases workflow efficiency by letting users select and control Photoshop tools using the iPad as the input surface, customize the toolbar, browse and zoom in on up to 200 open Photoshop files, or easily create new files.
  • Adobe Photoshop Touch Software Development Kit (SDK) enables developers to build tablet applications that interact with Photoshop from Android, BlackBerry PlayBook and iOS devices.

Pricing and Availability

The Adobe Color Lava, Adobe Eazel and Adobe Nav applications for Photoshop are immediately available through the Apple App Store. Pricing for the applications is US$4.99 for Adobe Eazel, US$2.99 for Adobe Color Lava and US$1.99 for Adobe Nav.

Current Photoshop CS5 customers can download and install the free update from within the application or via the Adobe Application Manager. Developers can access the free Adobe Photoshop Touch SDK for Windows and Mac OS platforms on the Adobe Application Manager.

Adobe Photoshop CS5 and CS5 Extended are available through Adobe Authorized Resellers, the Adobe Store and Adobe Direct Sales. Estimated street price for Adobe Photoshop CS5 is US$699 and US$999 for Photoshop CS5 Extended.


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NewTek Takes TriCaster Show on the Road, Showcases Portable HD Live Production

NewTek, worldwide leader in portable live production and 3D animation systems, takes to the road from May 16 through June 6, 2011, to showcase their new HD portable live production products, including TriCasterTM 850 EXTREMETM and 3PlayTM 820.

The NewTek Take Control tour features the world’s smallest, HD live production vehicle (a smart car), spotlighting the small footprint, portability and ease of use of NewTek products. Kicking off in NewTek’s hometown of San Antonio, the tour will stop in six additional cities along the East Coast, Midwest and West Coast.
  • May 16: San Antonio
  • May 19: Atlanta
  • May 23: Washington DC
  • May 26: Chicago
  • June 1: San Francisco
  • June 2: Los Angeles
  • June 6: Dallas

Sign up to attend an event at http://www.newtek.com/takecontrol to see demonstrations of TriCaster 850 EXTREME with proprietary IsoCorderTM technology, Apple® Airplay® support, animation store transitions, and much more. NewTek will also showcase 3Play 820, a 10-channel (8-in, 2-out), HD/SD slow motion replay system. Tour participants who pre-register and attend an event will be entered to win a TriCaster 850 EXTREME and other products, valued at over $41,000. Following are the Take Control tour dates and stops. Pre-registration is recommended, as space is limited.

“The NewTek Take Control Tour is a can't miss opportunity to be the first to see brand new products that represent a quantum leap in portable live production. These new products blur the lines between live and post production.” said Michael Kornet, chief marketing officer, NewTek. “We will be at great venues with our top presenters and everyone who registers and attends an event will be entered to win a new TriCaster. After experiencing this tour, producers will look at live production in a whole new light.”

With TriCaster, anyone can simultaneously produce, live stream, broadcast, project and record HD and SD network-style productions. A single operator or small team can switch between multiple cameras,virtual inputs and live virtual sets, while inserting clips, titles and motion graphics with multi-channel effects. TriCaster is used by sports organizations, schools, broadcasters, houses of worship, webcasters, government agencies and others to provide a new level of extended programming and content to their audiences.

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Schneider Augments Century Line with New Lenses for Canon XF305/300, JVC GY-HM700, Sony EX3/EX1

Schneider adds several new items to their line of Century Pro Series HD lens add-ons. These top quality professional lens accessories are designed to help go wider, reach further, and move in closer than the lens on the camera alone allows. Century's superb optics provide the finest professional images.

These state-of-the-art add-ons minimize chromatic aberrations and unwanted distortion and produce images that are ultrasharp edge-to-edge. Most of Century’s accessories interface directly with the bayonet mount at the front of the lens so mounting and removing is quick and easy.

The following new add-ons are available for the Canon XF305/XF300: .6X HD Wide Angle Adapter, .8X HD Wide Angle Converter, Fisheye HD Adapter, 1.6X HD Tele-Converter, and Achromatic Diopters.

For the JVC GY-HM700 with Canon KT14-14.4 lens there’s the .6X HD Wide Angle Adapter, .8X HD Wide Angle Converter, Fisheye HD Adapter, 1.6X HD Tele-Converter, and Achromatic Diopters.

For the Sony PMW-EX3/EX1 the following new add-ons are available: .6X HD Wide Angle Adapter, .75X HD Wide Angle Converter, Fisheye HD Adapter, Xtreme HD Fisheye, 1.6X HD Tele-Converter, 2.0 HD Tele-Converter and Achromatic Diopters.


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Red Giant Intros Magic Bullet Grinder 1.5 DSLR Transcoding Solution

Red Giant Software today announced Magic Bullet Grinder 1.5, the newest version of the fastest, smartest way to transcode DSLR footage. Grinder is a standalone solution that converts Canon video to edit-friendly formats, burns in timecode and generates editing proxies in a single time-saving pass. With Grinder 1.5, editors can avoid the tedium of converting video footage and focus on the creative parts of filmmaking.

Many of the new features in Magic Bullet Grinder 1.5 came directly from user suggestions. As a thank you to those users, Grinder 1.5 is offered as a free upgrade to version 1.0, and is now included as a part of the popular Magic Bullet Suite.

New features of Magic Bullet Grinder 1.5 include:
  • ProRes HQ and ProRes LT codecs for high-resolution output.
  • Frame rate options of 25p or 24p for 30p and 60p conversion.
  • ProRes LT codec and 1080p option for proxy file output.
  • Render priority control — finish all proxies first and start editing immediately.
  • Create Time Of Day timecode using camera metadata.
  • Burn-in options for timecode, frame number and file name.
  • Customized options for file naming and output destinations.
  • Support for Growl notifications of render start and finish.

Grinder frees up your video editing application by transcoding inside its own render queue, and makes that conversion faster and easier than working in Final Cut Pro 7. Version 1.5 supports all video-capable Canon DSLRs and H264-encoded footage for a professional, efficient workflow.

Pricing & Availability
Magic Bullet Grinder 1.5 costs $49 USD. Version 1.5 is free to existing Magic Bullet Grinder 1.0 customers. For a free demo and more information, please visit http://www.redgiantsoftware.com/products/all/magic-bullet-grinder/

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