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September 08, 2011

Table of Contents

The Company Image: Corporate Video Proposals
The Business Coach: Become Your Own Rainmaker
Review: ioSafe SoloPRO Secure Hard Drive
Panasonic Premieres Worship Media Seminar Series
Pomfort Intros Silverstack LT H.264 Backup and Tracking Tool for DSLR and GoPro Filmmakers
Digital Heaven Announces 70% Discounts on Select FCP 7 (and Earlier) Products
Petrol Bags Introduces New Transparent Raincover for DSLRs

The Company Image: Corporate Video Proposals

You may not need to present it on bended knee, as the prospective groom does, but your corporate video proposal is your opportunity to sell yourself in order to create a long-term relationship. So show off your creativity by coming up with innovative concepts that will motivate the viewers and make the most effective use of video.

Companies like written plans, and they probably will want to know about your background, similar projects you have completed, and your estimated budget. You may decide to cast a wide net by sending video production proposals to as many corporations as you can. Rather than reinventing the wheel each time, prepare a proposal template even before you have a prospective client. Any formatted text document, such as a Google Doc or Microsoft Word document, will work. Your proposal can be formatted as a letter or an email.

To make the most effective video possible, it's important to know the purpose of the video, the intended audience, how the video will be viewed, the deadline, and the budget. Some companies will tell you their budgets outright, and you can promise to give them the best bang for their bucks. In most cases, you'll need to estimate the costs, and your estimate should come from a clear understanding of all the production elements that will make up the finished video. To get to that point, you'll need to work with your client to flesh out what it envisions appearing on the viewers' monitors, what its internal resources are (such as existing written documents, photos, and video clips), and if it can commit staff and facilities for the shoot.

Objectives and Audience for the Video.
Create a section in your proposal where you state the problem that the video is intended to solve or the reason the client wants a video. You may want to label this section "Objectives" rather than "Problem"; nonetheless, in most cases, you are there to solve the client's problem whether it wants to admit that or not. Its problem might be stimulating sales of a new product or too many accidents on the job. Cognitive objectives are what you want the viewers to learn, but behavioral objectives-desired actions-give you clear goals to attain. Examples of behavioral objectives are "demonstrate the benefits of this shoe to store managers" or "train employees on the safe use of the forklift."

Your next session can include audience demographics, methods by which the video will be shown, and a timeline for completion. The budget comes later-hopefully, after you have had a chance to assess what the client wants and how much time you'll need for preproduction, filming, and postproduction.

In your proposal, include a section to specify the functions that the client will be responsible for, such as supplying locations and on-camera staff. It may seem obvious to you, but the client may think you have a studio and a pool of actors. Other client-provided resources could be a scriptwriter or a content specialist to supply you with information so you can write the script. Make sure the client provides a single person to approve the script and other deliverables, such as graphics and a rough edit. It's probably wise to make sure the client has the final say on talent selection so the actors look the part of the corporate culture.

The Acme Advantage (Substitute Your Company Name Here). Here is the fun part of your proposal template; it's one you can complete right now: Why should the client hire you? What are the benefits of working with your company?

Focus on benefits rather than features. Your equipment and years of experience are less important than what you bring to the project that is unique and clever. If the client wants a company event filmed or a same-day edit, you can state your experience with those tasks. Tell the client about a video that you produced that is similar to the one it wants. If you have nothing to show, go out and produce a prototype video for a similar product or service. You can mention a client of yours in a similar industry, saying, for example, "We produced a video on automobile safety and will use some of those concepts for your forklift safety video."

This is a good time to discuss logistics, such as your willingness to meet at the client's offices, to perform a preproduction site survey of the filming location, and to be available on call 24/7. If your client wants you to work with its employees on camera, you can state your experience filming with nonprofessional talent. The proposal can include brief examples of your other corporate productions, your awards, and letters from happy customers.

Corporate Creativity. That may seem like an oxymoron, but the people you will be working with in corporations are the marketing staff members, PR people, graphic designers, and writers. They value creativity, and they expect innovation from video producers. Spend some time coming up with novel ideas and innovative approaches to using AV media in their company.

As part of your proposal, you can suggest frameworks for presenting the material in a dynamic and captivating way. Perhaps you can suggest that, in one scene, actors are hired to dramatize the hardships of not having the client's product. You could introduce the concept of filming a host in front of a greenscreen with a virtual background. You could show an example of how motion graphics with data revealed in layers could substitute for a spreadsheet. Your creative use of media can enliven the content and motivate the audience. And if the video fulfills its goals, it can get you called back for subsequent video productions.

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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The Business Coach: Become Your Own Rainmaker

Ron Dawson is always around. He's like the Holy Spirit of the photo/video industries. I say that as reverently as I can, being a preacher's kid. Even though Ron has changed his business model and branding (see Ron's July/August EventDV article on rebranding), while at the same time leaning further away from event filmmaking, he is still an influencer in this industry with his Dare Dreamer Magazine blog for creative pros. He updates it daily, like clockwork. As a business coach myself, I just might redirect my dinky blog to his.

I always appreciate the conversation on his blog. Through a recent and very insightful blog post of his on sales, and because of the constant negativity and sorrow on the forums out there about the state of the economy and 2011 budget numbers for weddings, I was inspired to write this article. I want to start by sharing a story about how a big mistake changed my business and shaped what it is today.

Be a Rainmaker
Those of you who have participated in my webinar Keys to a Business Not Just a Job or attended my seminar at IN[FOCUS] 2010 know that
my business model for an event video company is different from many others'. I have trained a team of people, with three full-time employees and two part-time, to create films for families that I could never produce on my own as a "jack of all trades" business owner. I don't want to shoot weddings every weekend, nor do I want to be solely responsible for someone's memories if I break a leg, get sick, or have a death in the family and can't attend a wedding. I've tried and, I hope, succeeded at creating a business and not just an expensive hobby that would die if I died.

But that's not to say I've built my business perfectly at every step. In 2009, I made the mistake of hiring a full-time outside salesperson. I thought that it would be wise to bring on board someone who was energetic, and a bride herself, to illustrate our services to potential couples. That's a big responsibility for a small business like ours, to be the only one bringing in the money.

Why was it a mistake? It wasn't her business. She didn't care about bringing in the money like I did as an owner and as someone who not only has to pay the bills but knows the vision of our business like the back of my hand. We lost a ton of work, mainly because we lost a personal connection with why we do what we do. I needed to get back in the saddle and be the one bringing home the turkey. Native Americans used to have a "medicine man" or "rainmaker" who would perform various rituals to bring rainfall. You all, of course, know the slang use of "rainmaker" as someone with an exceptional ability to rain down new clients and higher profits. I learned very fast that if I wanted to survive a down economy and attract clients who would pay my rates so that I wouldn't have to eat ramen noodles every day, I needed to be the rainmaker for my business.

You need to have the mentality of a rainmaker too. When I reclaimed that responsibility for myself, my job description shifted fast, and it has paid off. Here are some quick tips on how to get on the right path with interacting with clients and creating a monsoon of weddings booked for 2012.

Set Up Appointments.
It sounds obvious, but the first step toward better-quality sales, and thus better-quality clients, is actually valuing their time and encouraging them, in turn, to value yours. I have an entire sales process through our favorite online database system, ShootQ. One of the best parts of this service-but one of the least used by us filmmakers-is the ability to have your clients automatically set up an appointment to meet through your website, not only based on your availability through an iCal or Google Calendar feed, but on hours that you specify in your system.

"Why set up appointments?" you ask. "I'm too busy to speak to everyone on the phone or meet with them. I have a business to run." If that's how you think when someone shows interest in your work, you are leaving way too much potential income on the table. You're not only shortchanging your clients; you're shortchanging your family. Setting an appointment is making a mutual agreement that each person's time is important. It gets things started on the right foot. It's the same reason you schedule a doctor's appointment. It also gives you time to prepare and not be sideswiped when you get asked the inevitable first question: "What are your prices?"

The alternative scenario, even if you do your due diligence of actually calling a bride when she inquires, is an endless game of phone tag. And now you have the "salesperson" tag whenever you try to call back. To learn more about how ShootQ can save your life and run your business for you, watch my ShootQ video tutorial.

Pre-plan Every Call or Meeting.
We videographers are a different breed. Most of us feel that emailing a bride our prices and showing her our samples page on our site will be enough to get the best bookings. Nothing could be further from the truth. Some of the best salespeople spend up to 2 weeks preparing for a 15-minute sales call or meeting. As Jeffrey Fox says in his book How To Become a Rainmaker: The Rules for Getting and Keeping Customers and Clients, 90 percent of sales are lost before a salesperson sees a potential client.

In our industry, we don't get to go searching for work—clients have to find us! How silly is it, then, that we don't spend time analyzing a bride's prequalifying info that she sent us on her wedding and knowing every wrong-turn and dead-end conversation we could end up in? Think of the trust you could engender in this bride with heartfelt stories of other weddings you have filmed at her venue, or stories of past clients who made the right decision even when they, like her, said you cost too much. Always prepare, and you'll see you'll be able to help these families understand the importance of a wedding film.

Need a place to start? Download my successful wedding videographer's sales script with an MP3 of an actual sales meeting in action (www.videobusinesscoaching.com).

Don't Fear the Objection. Those of you who know me know that I actually love hearing "No." This isn't a rejection; it's just a window into what really matters to a potential couple or family. I spin any objection I hear into an objective. If potential clients say that my prices are more than they had planned on spending, I ask if getting the lowest price is the most important thing to them. If they say yes, then I know it's not a good fit. I don't feel rejected because I know it wouldn't ever work out anyway. Our niche isn't for those looking for the lowest price.

By simply asking that question, I can open up a door to speak about their preconceived notions about what a video should cost, and why. It's amazing what can happen when you play dumb and keep asking questions to probe how they determined how much they think a video is supposed to cost. They will soon see the light and find you the most helpful, non-sales-driven salesperson in their entire planning process.

Be a Doctor of Video. Continuing on the subject of "playing dumb," as creative people and event filmmakers, our best ally in a sales process that most of us never thought we had signed up for when we started our businesses is asking questions! Probe! Peel back those layers of onions during meetings with your potential clients so that you can truly understand not only why it is they want video, in your style or another, but if you're even the right person for the job for them. Because you might not be. And they might not be the best fit for you. Instead of immediately diagnosing their problem of lack of video by stating why you are different or what each "package" includes, just ask and listen. It calms you down, keeps you from being nervous, and, most importantly, turns you into someone who genuinely cares and wants to help them.

These are four quick steps that can immediately transform the way you bring in money for your precious business and begin to film events you love for clients you love! It's the best medicine for burnout and hopelessness in a tough economy.

In my next column, I'll give you five tips on being a rainmaker after the sale. I can't wait to show you things we do at Life Stage Films that encourage our "fans" and create more revenue, even in an industry where we usually just get one sale per referral or lead. Now enjoy this fall booking season and make 2012 amazing.

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 and IN[FOCUS] 2010, as well as a multiple CEA award winner and 2009 EventDV 25 All-Star, he is based in Wilmington, N.C.

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Review: ioSafe SoloPRO Secure Hard Drive

ioSafe SoloPROToday, external hard disk drives are a dime a dozen, so to speak. They all use drive components from a handful of companies; wrap them in a plastic or metal enclosure with USB, eSATA, or FireWire interface; add a cheap external power supply; and box it up for sale. What all these drives lack, however, is security for your data. Sure, you can use a RAID, but if catastrophe hits-fire, flood, hurricane, tornado-your data is gone. This is where ioSafe, Inc. stakes its claim.
In my current studio setup, I have a NETGEAR ReadyNAS four-drive device backing up my clients' projects and works in progress. Speed over gigabit Ethernet is about 21MB/sec. write and 60MB/sec. read. Big HD video projects and DVD authoring take considerable time to back up, but at least I know I can survive a drive failure. But what I've been missing until recently is the traditional off-site backup in case of catastrophe. I could set up a multidrive system and swap out off-site backups, but generally, this is a manual-labor chore. What I wanted to explore was something that offered data security without direct effort. The ioSafe SoloPRO proved to be that solution. The ioSafe SoloPRO and its smaller counterpart, the Solo, are drive enclosures that promise fire and water protection, including "full immersion," although I don't think anyone actually expects them to operate under water. What it means is that they'll survive a flood or the exposure to water used to put out a fire. Then, if generally intact, you should be able to reconnect the drive to your computer and access the data.

Data Recovery

If the enclosure is hit hard, the thermal casing does what it can to protect the drive and data within. But with the likelihood of damage to some or all of the data, you won't be connecting it right back up to your computer. What you'll need to do is send it back to ioSafe to be handled by the company's Data Recovery Service (DRS). This DRS is a one-time, no-questions-asked service that includes forensic data recovery if needed. You will receive replacement hardware preloaded with the recovered data.

The DRS also covers hard drive failure, which ioSafe says is typically circuit board failure on the hard drive and not the platters within. With its DRS, ioSafe touts a 99.9% recovery rate. I asked company reps about this and was told that the drives they weren't able to recover were deliberately, maliciously damaged beyond repair and recovery. Barring that, your data should be retrievable.

Right out of the box, DRS coverage is complimentary for 1 year. The hardware warranty is good for 3 years. You can extend DRS to match the hardware warranty for 3 years, or extend both to last for 5 years, which I think is the whole point of the ioSafe purchase.

What You Pay and What You Get
The drives themselves cost a bit more than other, similarly capacious external hard disk drives. A 2TB SoloPRO costs $399.99-quite a bit more expensive than
the $99-$150 you'd typically pay for other external 2TB drives. But the SoloPRO is also about six times the physical size and weight of other drives, with a lot of special technology going on around it.

It costs $50 to extend the DRS from 1 year to 3, and it costs $100 to extend the DRS and the warranty to 5 years. I think this is the whole point of a fireproof safe, so the additional $100 is a given for me. I opted for the biggest drive ioSafe offers, a 3TB, because data always grows to fill the space you have. So my 3TB drive ($500) and 5-year DRS coverage ($100) would have cost me $600. That may seem a bit steep for hard drive storage, but then, there also isn't much competition for this level of security.

Installing and Using the Drive

My plan was to connect the SoloPRO to the USB port on the back of my NAS and have my NAS back itself up to the SoloPRO. This would yield a self-managed redundant backup (of the NAS) that also had a fireproof backup. The NAS has the ability to email me with any issues such as a failed RAID drive, backup drive not found, and so on.

ioSafe SoloPRO

My first problem was one I had not anticipated: The NAS needed a firmware update to deal with big drives and other issues. Three terabytes is not your normal run-of-the-mill size, so be aware that older systems and computers may have issues if connected directly. Also, I found that the NAS wouldn't write to the NTFS-formatted SoloPRO. But I could easily reformat the SoloPRO to a file system that the NAS could handle.

The last issue concerned the 15-lb. weight of the SoloPRO. In my studio, my NAS is positioned next to my router and gigabit switch on a wire shelf hanging about 7' up on a wall. The SoloPRO with the fireproof housing is easily four times the weight of the NAS. The SoloPRO is also deeper, and room must be left in the back for cabling. So it wouldn't have been safe on that little shelf over my head.

I decided to connect the drive directly to my computer. This would solve the size and weight issue, and it also would enable me to take advantage of SoloPRO's eSATA port. Dropping the SoloPRO next to my other external drives really demonstrated what a monster the SoloPRO is. It dwarfed the other external drives; even the OWC Mercury Elite that I thought was oversized looked like a toy next to the SoloPRO.

I was dismayed that this big enclosure still relies on a cheap external power supply, but that just seems to be the nature of the business these days. I was hoping for an integrated, two-wire power supply such as those used by the Mac Mini or Apple TV, which both boast great energy efficiency as well.

The SoloPRO does have a small internal fan that runs constantly to pull air through the enclosure to cool the drive within. It's certainly audible in a quiet edit room, so editors who are keen on silence will have to make arrangements for the SoloPRO. I didn't have a problem with it, as it was located several feet from where I sit, but I could still hear it.

It also has blue LED lighting on the front that indicates power to the drive, and it flickers with activity. But despite the cool "dot" design of the enclosure, there is no indication other than blinking. There are no colors for read and write and no increasing scale (size of the dots) for throughput.

The SoloPRO has four, hard plastic feet that slide quite easily on a typical solid tabletop despite its 15-lb. mass. If it were my drive to keep, I'd either replace those feet or get bigger rubber feet for the bottom of the drive. This way, if it gets bumped, it won't slide off the table and do serious damage to whatever it hits when it falls.

Testing the Drive

I tested the SoloPRO via USB and eSATA, and the numbers were typical for a single external drive. Via USB, it delivered roughly 21MB/sec. read and write. eSATA speeds were generally 155MB/sec. read and 75MB/sec. write. The numbers did peak higher, but those higher speeds were not sustained. For comparison, a Fantom GreenDrive (WD mechanism) did 111MB/sec. read and 97MB/sec. write. My OWC Mercury Elite does 114MB/sec. read and 92MB/sec. write. So the SoloPRO tends to read faster, but it writes slower than other eSATA drives I have, but not terribly so in either direction.

ioSafe SoloPRO

There's a USB 3.0 version as well. This provides backward compatibility to USB 2.0, but it also delivers eSATA-like speeds with newer USB 3.0 hardware. The drive tested at about 105MB/sec. read and 77MB/sec. write with USB 3.0. These figures are similar to other single USB 3.0 external drives on the market, but they're slightly slower than the eSATA performance I experienced.

These speeds certainly can't compare with a RAID system, though. Two laptop drives striped in a RAID 0 net me 195MB/sec. read and 155MB/sec. write. Even
though both of these speeds probably pale in comparison to the SSD options that ioSafe offers, the size of the SSD option is limited to 512GB, and that 512GB drive is $3,000. So I'll stick to hard drives with little spinning platters, thank you very much.

ioSafe SoloPRO

In actual usage, it's actually far more convenient to use the ioSafe as the computer's primary media drive. In theory, I could do continual backups to my RAID NAS, but I prefer the option to deal with all the media while editing and then, when the project is finished, export a new project, give media some handles, and throw away everything I didn't use. If there are files that I think may be useful in the future-alternate takes/languages and the like-then I can put them on the end of a timeline, and they'll be archived too. Then I'll back up this trimmed project to the NAS.

While not as fast as the fastest RAIDs, and certainly no competition for Thunderbolt RAIDs, I think the eSATA or USB 3.0 versions serve the entire middle market well. They can easily handle the speeds required for many of the HD codecs used in production today. Hardcore, multistream, uncompressed HD editors will need internal RAIDs for editing. For them, the SoloPRO can sit external for nightly backups.

Conclusions
The security offered by a fireproof, waterproof, and generally theft-proof external hard drive is good to have, especially where losing the footage would be a very bad thing to have happen. Then you have to deal with not only recovering from the fire (or whatever disaster strikes) but also the clients who paid serious money for footage that's now gone. Commercial clients may keep a duplicate of the camera footage, but the "event video" workflow seldom creates these duplicates.

There's insurance and then there's making a concerted effort to ensure that the data is secure. A 3TB SoloPRO, amortized over the 5 years of protection, costs $120 a year for something that you'll use every day. And that, in my book, is cheap indeed.

Even for home use, where the photos and videos that archive our lives are all digital, the SoloPRO can help ensure precious personal memories survive where albums and prints won't.

If there's one aspect of the SoloPRO that I'd change, it is a personal thing. With the tanklike ruggedness that the SoloPRO offers, I'd like to see custom, laser-etched faceplates. This way, after a tornado, when the Solo is found amid the rubble-perhaps miles away-the person who finds it will know who the SoloPRO belongs to.

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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Panasonic Premieres Worship Media Seminar Series

Panasonic Solutions Company has announced an upcoming seminar series in major markets throughout the late summer and fall designed to acquaint church media ministers and staff with state-of-the art, cost-effective video solutions.

Panasonic has designed these free day-long seminars to assist churches in making a transition to contemporary video technologies. Among the topics to be covered in the series are: how to efficiently upgrade from standard definition to high definition; distributing video to multi-site locations; how to select the correct projector for your church; how to use digital signage to engage and inform the congregation; and camera techniques, including how to add the cinematic look to videos. A lunch will be provided to attendees free of charge.

Seminars will be held:

  • Tuesday, September 13 at the Oasis Church, 7533 Lords Chapel Drive, Nashville TN;
  • Wednesday, September 21 at the Elevation Church, 8835 Blakeney Professional Drive, Charlotte, NC;
  • Wednesday, September 28 at the Grace Church, 2695 Creve Coeur Mill Rd., Maryland Heights, MO;
  • Wednesday, October 5 at the Northland Church, 530 Dog Track Rd., Longwood, FL;
  • Wednesday, October 12 at Sea Coast Grace Church, 5100 Cerritos Ave, Cypress CA;
  • Wednesday, October 26 at the Grace Community Church, 5504 East 146th St., Noblesville, IN; and
  • Wednesday, November 2 at the Pilgrim Rest Baptist Church, Main Campus, 1401 Jefferson St., Phoenix, AZ.


A 1-1/2 hour seminar entitled “camera techniques for production” will also be presented during the WFX show, Dallas, TX on November 9th from 1:30 p.m. to 2:30 p.m. and on November 10th from 8:30 a.m. to 10 a.m.

To RSVP or for further information, call 1-877-826-6545.

http://www.panasonic.com/broadcast.

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Pomfort Intros Silverstack LT H.264 Backup and Tracking Tool for DSLR and GoPro Filmmakers

Pomfort, maker of powerful and easy to use software for professional film production needs, released Silverstack LT H.264, a tool for backing up and tracking film material as well as for organizing and preparing clips for editorial tasks. The software is specifically designed for Canon DSLR and GoPro footage.

Silverstack LT H.264 provides features that maximize the efficiency of organizing film clips right from the beginning. During the offload of camera storage cards Silverstack LT H.264 checks and verifies that all clips are backed up completely. At the same time the software scans all relevant clip information and stores them into Silverstack’s clip library. The search function enables the user to find all of the relevant clips and their related information.

For checking the quality of film clips, Silverstack LT H.264 comes with pixel accurate zoom as well as channel, focus and clipping inspectors. Comments, annotations and ratings can be added directly to film clips. All information is saved within the library and travels with clips when they are transferred to editorial programs like Final Cut Pro or Avid Media Composer. At the end filmmakers save time and money in their production workflow.

Feature highlights of the new Silverstack LT H.264:

  • Verified backup to several disks simultaneously
  • Clip and media tracking through Silverstack’s comprehensive clip library
  • Quality check of clips with channel, focus and clipping inspectors
  • Organizing and grouping of clips with comments, annotations and ratings
  • Seamless transfer of clip information to Final Cut Pro or Avid Media Composer
  • Includes a Final Cut Pro plugin to work with Cinestyle™ clips in Final Cut Pro without transcoding


Pricing and Availability: Silverstack LT H.264 is currently available at $129.00 USD / 89 EUR (or the equivalent amount in other currencies) from the Pomfort website http://pomfort.com.

For detailed information on workflow options and format specific features visit http://pomfort.com/silverstack/lth264edition.html.

A 14-day trial version is available as a free download at http://pomfort.com/SilverstackLT264/tryandbuy.html.

Silverstack LT H.264 requires an Intel Mac with Mac OS X 10.6 or higher.

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Digital Heaven Announces 70% Discounts on Select FCP 7 (and Earlier) Products

Digital Heaven, one of the leading third party developers for Apple Pro Apps, today announced discounts of over 70% on selected products for Final Cut Pro 7 or earlier.

Final Cut Pro Killer Secrets eBook (previously $19.00 now $4.99) by industry expert Martin Baker is packed with the hottest tips and time-saving techniques for the Final Cut Pro editor. Written in a clear and accessible style, its 10 chapters cover a comprehensive range of subjects including capturing, importing, editing, effects, audio and exporting.

BigTime (previously $49.00 now $13.99) is a resizable floating timecode display for Final Cut Pro. The latest version adds support for Digital Cinema Desktop Preview making it an indispensable tool for client viewing.

Loader (previously $79.00 now $19.99) is the smarter way to import music, sound effects, graphics and movies into Final Cut Pro. Simply drag items from iTunes or the Finder over the Loader tab and it slides out to reveal a list of currently open Final Cut Pro projects. Loader makes importing easy, fast and automatically organised so you can spend time on editing rather than managing files.

If you're using Final Cut Pro 7 or earlier, there’s never been a better time to get some great prices on these Digital Heaven products.

System Requirements:

  • BigTime requires Mac OS X 10.5 Leopard (or later) and Final Cut Pro 5, 6 or 7.
  • Loader requires Mac OS X 10.5 Leopard (or later) and Final Cut Pro 6 or 7.


Availability:
Final Cut Pro Killer Secrets, BigTime and Loader are available for instant download purchase at the Digital Heaven online store.

http://www.digital-heaven.co.uk

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Petrol Bags Introduces New Transparent Raincover for DSLRs

The newest weather protection system from Petrol Bagsä, a Vitec Group brand, is the transparent Rain Cover tailored specifically for DSLR cameras with up to a 70-200mm lens and professional light on-camera.

The cover's rigid front hood section comes outfitted with a hotshoe connector that stabilizes it on camera. A 6" polypropylene track on top of the hood allows for the addition of an on-camera light and/or wireless receiver. Designed to enable continued shooting in harsh and extreme conditions, the Rain Cover will also fit a DSLR with longer lenses when a light is not on board.

Constructed of transparent polyurethane for maximum visibility and black waterproof nylon, it offers quick and easy access to camera controls. Petrol's ingenious one-piece design makes the cover extremely easy to install while shooting. A front section of ripstop fabric and transparent polyurethane that attaches to the cover via hook and loop material provides an additional shield to protect a telephoto lens. The PD515 weighs just 14.1 oz (.4 kg).

For further information on the new Transparent Rain Cover for HD-DSLR Cameras without VF (#PD515) and other Petrol Bags products, please go to http://www.petrolbags.com

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