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July 05, 2011

Table of Contents

In the Studio: G-Technology G-DRIVE Slim
The Company Image: Shooting Corporate Events
Adobe Unveils New Switcher Program for Video Pros
Blackmagic Design Ships DaVinci Resolve 8 Color Grading Solution
Imagine Products Intros New ShotPut Pro Automated HD Video Offload Utility
Bella Summer Sale Includes $1 HD Mouse, $129 Pro Series Keyboards
Twixtor Plug-in for Sony Vegas Pro 10 Now Available

In the Studio: G-Technology G-DRIVE Slim

G-Technology G-DRIVE SlimMost video professionals have either seen or at least know about G-Technology and the company's various hard drive and RAID systems. When
G-Tech announced that it was coming out with the G-DRIVE Slim, a diminutive USB-powered drive, I jumped at the opportunity to try it out because I had some special tasks I wanted to throw at it. We all know about the value of backing up, and any external hard drive can do that just fine. But for mobile professionals, an external drive can offer more functionality, and capability, than you might at first expect. Many pro video users are tower-based, but more and more laptops are getting enough desktop horsepower to make short work of HD material and editing with ease. A friend recently replaced his eight-core Mac Pro with a new Core i7 laptop, which was obviously easier to transport to location gigs, but it also ended up being considerably faster in compression and editing. What's not to love?

Well, the limitation of the single internal drive is one inherent shortcoming of editing with laptops, and our tendency to multitask with our mobile computers is another. I, for one, feel that clean installed setups are critical to optimum performance, and over time, systems get bogged down. With the ability to carry along a G-Tech external drive so easily for mobile production, I saw several opportunities:

• I could create a clean, working install of my base setup that I could reclone to my internal drive whenever things started to not work right. 
• I could also create alternate installs for specific tasks: For instance, I used my laptop specifically for media wrangling and needed to directly access AVCHD, P2, XDCAM, and more to test footage coming off the cameras. Another job had me working with 4K RED for several days in a row. For optimum efficiency, I used a second partition for a clean install of core components and drivers specifically for this task. 
• I could use my laptop as my main computer for other tasks at home. There, I have Roxio Toast set up to automatically download shows from my TiVo and leverage an external Elgato Turbo.264 to compress programs for my iPhone when I'm traveling. I can also use it for blogging and other tasks that seem to slow the computer down for video editing. 

What's more, by partitioning the drive, I can separate these tasks and ensure that when I'm on location managing the client's footage, I have a clean, optimized system.

That was the theory, anyway. Here's what I found out about the G-DRIVE Slim in my testing.

Hardware
The G-DRIVE Slim is simple enough. It's a small, USB-powered drive in a textured case that doesn't slip around on the table. For external mobile drives that I've had in the past, I've used an external case from Macally that has both USB and FireWire ports. But as the need for FireWire is diminishing, there's no real reason to use such a big case anymore. Soon enough, this will all be USB 3.0 and Thunderbolt.

The cable that comes with the drive is 23" long-an average length for a drive of this sort, but I ended up wishing it were longer or shorter. When I went to stack the Slim on top of my other external peripherals, they were all further away than 23", so I had to bring them closer to neaten up my workspace. When I went to attach the drive to the lid of my laptop, I needed only a 6" cable, and 23" was way too much.

G-Technology G-DRIVE Slim

The real little issue I had with the Slim was a personal one: The LED power/activity light is on the back, where the cable plugs in, instead of on the front, where most drives have a clean face. So while the rest of my drives were happily informing me of their activity with all their cables tucked away behind the stack, the G-DRIVE Slim's LED was blinking away in the back, where I couldn't see it. Again, this could be a nonissue for many, but it bugged me. 
As for noise, I had the drive right next to my work laptop, which I use in very quiet office rooms, and I found that I had to focus my attention to hear it. It's basically inaudible when it comes to drive noise, even at less than a foot away from my ear with the laptop's fans off. If there is any activity or video editing going on in the room, you'll never know the Slim is there. 

I've used the G-DRIVE Slim for a good month as both an alternative startup drive and as a backup to my primary drive when undergoing the ever-insistent system updates. In both scenarios, it performed well, and I've felt better overall knowing that my primary operating setup was either not disturbed by the special needs of a job or safely backed up on the G-DRIVE Slim. This way, if I suddenly started having all kinds of issues with software or crashing, I could easily boot from the backup and reclone my internal drive back from the external. 

What is the value of a backup? What is the value of peace of mind?

Performance
In terms of performance, the G-DRIVE Slim performed adequately. It was hampered only by the now-pokey high-speed USB 2.0 throughput. Read speed is 38MB/sec (megabytes per second). Write speed is 28MB/sec. My internal laptop's 1.5Gbps (gigabits per second) SATA drive tops out at about 55MB/sec., read and write speeds, so performance over USB isn't too sluggish for me. If you're equipped with a speedy internal solid-state drive, you'll definitely notice a slowdown when using USB 2.0.

G-Technology G-DRIVE Slim

But in terms of what you expect from a backup drive-getting you back up and running quickly—it's still plenty faster than digging out all the install DVDs and going through the software updates over the internet again. 

Value
At $80 MSRP, the 320GB G-DRIVE Slim is a good value. It's not the cheapest USB drive you can buy, but you have a solid company such as G-Technology standing behind it, and that should give you additional peace of mind. 

Anthony Burokas (VidPro at ieba.com) of IEBA Communications has shot award-winning corporate video internationally and recorded events since the days of 3/4" tape. He is currently technical director for the PBS series Flavors of America and resides just outside of Dallas.

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The Company Image: Shooting Corporate Events

The skills you've developed filming family events will transfer well to covering the cocktail hour prior to a company meeting. Getting an audio feed from the mixing board, a skill learned from working with DJs at receptions, comes in handy when you're filming speeches. If you produce same-day edits (SDEs), you'll recognize the adrenalin rush as you complete and project your masterpiece before a cheering audience.

Corporate events can be as small as a group of five in a technical training session or as large as an annual meeting in an amphitheater with 20,000 shareholders. Associations conduct conferences for employees, and with shrinking travel budgets, they may want to stream some sessions live. Some groups sell DVDs to enthusiastic attendees on-site, then market the DVDs after the conference to others in their industry.

Companies use video to expand their reach to customers, to train staffers who were not at the meetings, and to reward top salespeople with incentive travel to a preferred destination. People love to see themselves in a highlights clip shown at the close of the event, and sometimes the planners show the highlights video the following year to attract more attendees to their events.

One of the benefits of filming corporate events is that you will gain visibility with some of the decision makers in the company. Your ability to help the organization preserve and distribute its message increases your value to the company. Try to attend a rehearsal in the meeting hall or a planning meeting ("preproduction" in our world). Ask for an agenda and the spelled-out names and titles of each speaker. You may be keying those into the final video. Watch for any staging issues, such as uneven lighting or awkward backgrounds, and see if you can resolve them.

Large venues hire camera operators to project images of the presenters so the folks in the back rows can get a good view of them. This process is called IMAG or image magnification, and you will need a good fluid head tripod, with two handles, equipped with remote zoom and focus controls. Frequently, a technical director sits at a video switcher to control when the live camera image is on the screen or when it is appropriate to switch to PowerPoint slides. It is a good idea to have a still store of the organization logo, so the screen doesn't have to go black if there is nothing to show.

PowerPoint slides and other projection apps are difficult to capture off-screen with a camera. Carry a flash drive (thumb drive) with you so you can upload the graphics from the presenter's computer for your later postproduction.

Some keynote speakers employ a video producer to create a short roll-in video that introduces them and fires up the audience. These are usually high-energy segments with graphics, effects, and stimulating music. Your experience with music videos or commercials can help you get selected as producer of those roll-ins.

Add hallway interviews with key players and excited participants to your shot list. Spontaneous accolades can add emotion to an otherwise mundane video, and they can be used in a roll-in for the next year's event. Sound bites and short clips from these testimonials can also be used as promos for the web. With permission, film some segments in breakout sessions. Conferences frequently include several concurrent small groups that meet after the main plenary sessions. Since everyone can't attend these breakout sessions, many will be delighted to know there is video documenting the ones they missed.

Be sure to capture plenty of b-roll before and after the event. It could be simply the signage for the event, or it could include shots of participants arriving and mingling. You have filmed these segments scores of times at family events. A high-angle shot, captured with a tall monopod or with a tripod from across the room, adds another dimension to your final, edited video. Clips from this schmoozefest not only let people see themselves but also show the fun and social side of corporate events.

Your skills with SDEs will give you the opportunity to shine in the eyes of the corporate execs when they see your highlights video at the close of a conference. Some companies have a dinner on the final day, and they may want your video as the evening's entertainment. Keep the video a short montage to music rather than writing a script and hiring a narrator.

Far in advance of the meeting, present your ideas to the company's meeting planner. Explain that you will film activities and that you'll bring editing gear to perform the postproduction in your hotel suite. Ask for guidance about the key activities and people to show and what not to include. Bring files of the company logo, graphics for the conference, and maybe even some still images of key managers, buildings, equipment, or whatever is important to the company. Expect that the meeting planner will want to select the music, see a draft, and approve the final video before it is shown. This is not a wedding video where you have editorial control. However, your clever camera angles, snappy editing, and upbeat music will give attendees something to remember. End the video with your best artistic shot or incorporate a key phrase the company likes to use. Coordinate this with the music for an even greater impact. And be sure to include your name in the credits so they will remember you too.

Stu Sweetow  (sweetow at avconsultants.com) is the author of the recently published book Corporate Video Production. He runs Oakland, Calif.-based video production company Audio Visual Consultants. He taught video production at UC Berkeley Extension, was associate editor of Wedding and Event Videography, and was a contributing editor to Camcorder & Computer Video magazine.

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Adobe Unveils New Switcher Program for Video Pros

Adobe Systems Incorporated (Nasdaq:ADBE) today announced an upgrade program for video professionals who have purchased any version of Apple® Final Cut Pro or Avid Media Composer and want to switch to industry-leading professional video tools by Adobe®—Creative Suite® CS5.5 Production Premium or Premiere® Pro CS5.5.  These customers will be eligible for a 50 percent savings on Adobe Creative Suite CS5.5 Production Premium or Adobe Premiere Pro CS5.5, both launched in April 2011 at the National Association of Broadcasters Show to industry acclaim. Eligible Adobe suite and point product customers also qualify for the program.Stephen,Stephen,

“We’re hearing from video professionals that they want pro level tools that address cutting edge work but also allow them to use legacy footage and workflows,” said Jim Guerard, general manager and vice president of professional video and audio, Adobe. “At Adobe we’ve been in the trenches with video pros for years and with Adobe Premiere Pro CS5.5 and CS5.5 Production Premium we’ve delivered professional-grade tools that are already being battle-tested by some of the most innovative filmmakers, broadcasters and video pros.”

Built by professionals for professionals, Adobe Creative Suite 5.5 Production Premium is a fully featured video suite with tools that deliver massive productivity enhancements and enable video and audio pros to dramatically accelerate their post production workflows. The powerful Adobe Mercury Playback Engine, introduced in Adobe Premiere Pro CS5, allows users to open projects faster, get real-time feedback for more GPU-accelerated features, and work more smoothly at 4k and higher resolutions on both laptops and workstations.

Adobe Premiere Pro CS5.5 boosts performance for powerful editing with a toolset that is native 64-bit, optimized for multicore systems, and is GPU-accelerated to provide real-time effects, color correction/color grading, accelerated rendering and superior multilayer performance. Professional video editors can also utilize all the system resources on modern Macs with Thunderbolt, 64-bit, and multicore CPUs for increased performance. Adobe is continuing to lead in truly native editing solutions with Adobe Premiere Pro CS5.5 as it saves users time and eliminates the need to transcode or rewrap file based and DSLR footage. Editors can also leverage Adobe After Effects® and Adobe Photoshop® software to seamlessly integrate visual effects and still imagery into their workflows. For customers who use other editing programs, Adobe Premiere Pro CS5.5 includes Final Cut Pro project import and export so projects can be shared between both applications without conversion or re-rendering. Adobe Premiere Pro CS5.5 also includes many Final Cut Pro and Avid keyboard shortcuts to help users get up and running fast.

Eligibility Requirements

For more information on eligibility requirements for the switcher program, visit www.adobe.com/products/premiere/switch, or participating resellers. The program will end Sept. 30, 2011.

About Adobe Systems Incorporated

Adobe is changing the world through digital experiences. For more information, visit www.adobe.com.

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Blackmagic Design Ships DaVinci Resolve 8 Color Grading Solution

Blackmagic Design today announced the immediate availability of DaVinci Resolve 8, a major new update to the world’s most advanced color correction tool. DaVinci Resolve 8 includes new extremely powerful features and is available for download from the Blackmagic Design web site for all DaVinci Resolve users free of charge!

DaVinci Resolve is the world’s most advanced color correction tool and is used on more Hollywood feature films, commercials and television shows than any other system.

New features in DaVinci Resolve 8 include multi layer timeline support with editing, and XML import and export with Apple Final Cut Pro 7 and Adobe Premiere Pro™. The new DaVinci Resolve 8 now includes OpenCL processing to allow use on Apple iMac and MacBook Pro computers. New advanced processing tools have been added for real time noise reduction, curve grading, advanced multi point stabilization as well as automatic stereoscopic 3D image alignment. DaVinci Resolve 8 also supports the Avid™ Artist Color™, Tangent Wave and JL Copper control panels plus offers ALE export to relink graded DNxHD files back into Avid editors.

Customers will love the new XML import and export combined with the multi layer timeline in DaVinci Resolve 8, because it lets complex sequences from Apple Final Cut Pro 7 and Adobe Premiere Pro to be imported, color graded and then exported directly back into Final Cut Pro 7 or Premiere Pro, with all the new graded shots, and the layer structure, intact. If the edit is changed, DaVinci Resolve 8 will automatically relink all the clips so the grades are preserved. Editing can also be performed inside DaVinci Resolve 8, and clips adjusted and relocated.

Advanced OpenCL image processing has been incorporated into DaVinci Resolve 8, and this allows a broader range of GPUs to be used for real time processing up to 1080 HD resolutions. OpenCL based processing, while not as powerful as CUDA™ processing also used on DaVinci Resolve, does allow a much wider range of computers that can be used for color grading. Now Apple iMac™ and MacBook Pro™ series computers can be used for real time grading, allowing customers to use the computer hardware they already have. DaVinci Resolve 8 running on a MacBook Pro is a perfect on set color grading tool.

Often digital cameras when shooting in low light conditions will suffer from electrical noise in blacks, and film originated shots often include film grain and electronic noise from the film scanner. DaVinci Resolve 8 includes a new high quality CUDA noise reducer which eliminates noise and helps make images perfectly clean. Unlike any other solution, the DaVinci Resolve 8 noise reduction is incorporated into the color correctors, so it can be used in any corrector node and limited to inside or outside windows or by color qualifiers, so noise reduction can be used creatively by the colorist.

For handling shots that suffer from movement of the camera, DaVinci Resolve 8 includes a new multi point advanced stabilizer, which fixes unstable shots. The stabilizer is intelligent, and uses dozens of stabilization points to totally lock every part of the image. This results in incredibly stable images, even from poor quality sources such as unstable hand held cameras.

For colorists who are new to DaVinci Resolve, there is now a new Curve Grading feature that works exactly the same way as low end editing software grading, which greatly helps new users get up and running quickly with an interface they are familiar with. DaVinci Resolve 8 Curve Grading takes this interface much further because colorists can customize the curves and they get greater control with hue vs hue, hue vs sat, hue vs lum and lum vs sat controls. For fastest grading speed, curves can be adjusted from the mouse as well as the control panel.

For colorists working on stereoscopic 3D work, DaVinci Resolve 8 includes a powerful new automatic image alignment tool that automatically aligns images between cameras to produce an a perfect 3D image. 3D materiel is shot using two cameras combined with optics, and this causes problems with alignment because it’s impossible to perfectly align down to the pixel level two cameras mechanically. Until now, users had to accept some misalignment, however this is very fatiguing for viewers of 3D materiel, and has led to negative reviews of some 3D feature films. When working in higher resolutions such as 4K the problem is worse, because the mechanical tolerances are even tighter.

With the new DaVinci Resolve 8 automatic stereoscopic 3D image alignment, hundreds of individual image points are analyzed and the image is perfectly aligned between eyes. This produces an incredibly sharp and vibrant 3D image. Alignment is fast, only takes seconds per shot and it’s completely automatic so no settings are required by the colorist. This new 3D alignment uses advanced image processing developed by the Blackmagic Design advanced algorithm team, and will revolutionize 3D post production.

About DaVinci Resolve
Blackmagic Design’s DaVinci Resolve is the world’s highest performance color correction solution for Mac OS X and Linux computers. DaVinci Resolve supports more real time color correction than any other system because it’s not limited by the performance of the computer it’s running on. DaVinci Resolve eliminates this performance barrier because its based on a cluster of high performance GPU cards, so all processing is always real time. DaVinci Resolve has the power of a true real time performance solution so handles complex color grades even when using dozens of primaries, secondaries, Power Windows™, multi point tracking, blurs, and more. DaVinci Resolve provides incredible performance in a low cost solution can then easily upgrade by adding extra GPU’s for supercomputer power to handle 4K resolutions, stereoscopic 3D and real time grading direct from raw camera files such as ARRI raw and RED raw R3D files can be handled with ease.

Availability and Price
DaVinci Resolve 8 is available now starting from US$995 via Blackmagic Design resellers worldwide. All current Blackmagic Design DaVinci Resolve 7 customers can now download this update free of charge from the Blackmagic Design web site.

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, postproduction and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s DaVinci Emmy™ award winning color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore, and Australia. For more information, please check http://www.blackmagic-design.com.

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Imagine Products Intros New ShotPut Pro Automated HD Video Offload Utility

Imagine Products, Inc. is pleased to announce a new and improved version of our popular ShotPut Pro™ application.

ShotPut Pro for Macintosh is an automated copy utility application for HD video and photo files. ShotPut Pro is the industry's de facto standard offloading application for professionals. The simple user interface and robust copy speeds make it indispensable for todays tapeless HD workflows.

Offload any digital media card including Panasonic P2, Alexa, AVCHD, Sony SxS, JVC ProHD, RED ONE, Canon 5D/7D or AVCHD, Compact Flash, SDHC cards, and others. Make secure, auto-named copies of a card or hard disks contents.

Whether youre copying just one card or five at a time, to one or more portable hard disks at a time, with ShotPut Pro you can Offload with Confidence. Minimize your data wrangling time; maximize your creative time.


New in V4.0:

  • New GUI: The retooled interface simplifies setup and monitoring. Check progress of individual cards and the overall session at a glance.
  • More Security Options: Verify with MD5 or CRC checksums, file-by-file sizes or byte-to-byte comparisons of your media copies. We've also reworked these processes to yield top copy speeds. Verification reports output in variety of formats including Text, XML, CSV and HTML.
  • NEW! Checksum Calculator: Drop any file, any time, onto the Checksum Generator to verify the CRC or MD5. Use it to ensure file integrity of Post-production processing and any copied files at any time!
  • Personalize Logs: Automatically add your contact information to each offload report. ShotPut Pro can also prompt you to type in the Card ID or identifier. You can even insert personal notes into a log, such as contact or project information.
  • E-mail Me! It's been a long day of shooting and the last thing you want to do is to sit around waiting on copies to complete. Let ShotPut Pro e-mail a notification and the verification log after offloading is finished, so you can relax or do other things.
  • Multi-cam Support: We've added a new Advanced Naming feature to setup multiple copy naming schemes and easily switch between them.
  • Skip Errors: Ever copy a large hard disk or card and have a frustrating copy error? This version of ShotPut Pro will let you skip problematic files and continue with the rest of the disk. Then retry or cancel copies skipped.
  • Instantly preview clips in original format with Imagine's new HD-VUTM all-in-one videoplayer. Launch from within ShotPut Pro and automatically pass the offload locations to the play to watch. (HD-VU sold separately.)
  • Lion Ready: This version of ShotPut Pro uses 64-bit processing and is fully compatible with Lion (OSX 10.7) pre-releases.


Buy ShotPut Pro today!

Existing customers, Log into your account and upgrade for just $29.00.

Imagine Products, Inc. develops high value, video analysis, archiving systems and asset management software for video professionals. Imagine Products corporate headquarters is located at 1052 Summit Dr., Carmel, Indiana 46032, USA. The company can be reached by phone at (317)-843-0706, by fax at (317)-843-0807, or on the web at http://www.imagineproducts.com

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Bella Summer Sale Includes $1 HD Mouse, $129 Pro Series Keyboards

Bella Corporation, a leading producer of innovative and award-winning products, today announced their Summer Sale where customers can get the HD Mouse for as little as $1.

Quick Facts:

  • HD Mouse Just $1 with any Pro Series Keyboard Purchase
  • Keyboard Skins Just $14.95! (Regular Price $24.95)
  • Keyboard Sticker Sets Just $14.95! (Regular Price $24.95)



Pro Series just $129.95 & HD Mouse for $1
From now until August 31, 2011, customers can purchase Bella's HD Mouse for only $1, when added to any Professional Series Keyboard purchase. The Pro Series Keyboards are also on sale for just $129.95 (regularly $149.95). Also, for those customers interested in the Advantage Series, they can add the HD Mouse to their order for just $9.95! The HD Mouse retails for $34.95, but is also on sale for only $24.95 when purchased individually.

Sticker Sets and Keyboard Skins on Sale: Just $14.95!
Every Keyboard Skin or color Sticker Set is on sale for only $14.95! (Normally $24.95)
Bella’s Keyboard Skins are specifically designed to fit the Apple MacBook/MacBook Pro Unibody, MacBook Air 2008-2009, and the Apple Wireless Keyboard. The skins are ultra-thin at only .25mm thick, allowing for comfortable typing while also protecting the keyboard. Bella’s Keyboard Skins are available for Adobe Premiere Pro CS5, Apple Final Cut Pro 7, Avid Media Composer 7 and Adobe Photoshop CS5 Extended.

Bella’s full color sticker sets fit both the DV Keyboard, as well as many other popular keyboard brands for both Desktops and Laptops, Mac or PC. Color sticker sets are available for Adobe Premiere Pro CS5, Apple Final Cut Pro 7, Avid Media Composer 5, Adobe After Effects CS5, Sony Vegas 10, Adobe Photoshop CS5 Extended, Grass Valley Edius and Harris Velocity (visit the web site for complete details).

Final Cut Pro X Compatibility
Bella has also announced that it plans to support Apple's recent release of Final Cut Pro X with updated keyboards, sticker sets and skins.

About Bella Corporation
Bella Corporation provides time-saving tools to home through professional videographers, gamers, and creative content producers. Their products work with applications from Apple, Adobe, Avid, Blizzard, Microsoft, Pinnacle Systems and many others. To find out more, visit the Bella Corporation website at http://www.Bella-USA.com, or follow Bella on Facebook at http://www.Facebook.com/Bella and on Twitter at @BellaCorp

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Twixtor Plug-in for Sony Vegas Pro 10 Now Available

RE:Vision Effects, acclaimed effects plug-in industry leader and makers of Academy Award winning software, announces the initial release of their Twixtor™ plug-in for Vegas™ Pro by Sony Creative Software.

Create highly engaging slow motion shots with Twixtor without the cost of renting a high speed camera. In order to achieve its unparalleled image quality, Twixtor synthesizes unique new frames by warping and interpolating frames of the original sequence... employing RE:Vision's proprietary tracking technology that calculates motion for each individual pixel.

"Vegas Pro users have been requesting Twixtor for some time now, and we have worked closely with Sony Creative Software to give users the rich experience and results they expect from both Twixtor and Vegas Pro," says Pete Litwinowicz, President of RE:Vision Effects, Inc.

"Sony Creative Software continues to innovate with industry-leading solutions for creative professionals, and working with 3rd party plug-in developers is another important facet to providing customers the support they require," said Dave Chaimson, vice president of global marketing for Sony Creative Software. "We are excited that the RE:Vision Effects team has made the highly acclaimed Twixtor retiming tool available to our customers, and look forward to more tools for Vegas from RE:Vision Effects team."

Availability and compatibility:

  • Vegas Pro 10.0d and up.
  • Both 32-bit and 64-bit versions of Vegas Pro are supported.


Pricing:

  • Twixtor v5 for Vegas Pro: $329.95. Special introductory offer: Twixtor for Vegas is priced at $265.00 through July 31, 2011.
  • Volume discounts available. Contact sales@revisionfx.com.


Downloads and Tutorials:

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