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Last week's webinar - Media Asset Management (MAM) - was an interesting blend explaining what media management is, how it extends what your NLEs can do, and an in-depth tour of Axle AI, a multi-platform media management system. Thanks to support from Axle.ai, the company, I'm able to offer free streaming and downloads of this webinar. It is worth watching.
Free Streaming link: Webinar 379 - Media Asset Management
Free Download link: Webinar 379 - Media Asset Management
Webinars are on hold until late April. Between now and then, I'll have dozens of interviews from NAB Show to share with you. Details and links for you next week.
If you don't have time to watch the entire MAM webinar, here are two highlights:
Link: If You Can’t Find It, You Don’t Have It
Link: Key Features of Axle AI – Media Asset Management Software
Over the weekend, as I was thinking about the Flashlight tutorial I wrote two weeks ago, I realized there's a better way. Here's how to create an animated flashlight beam, using Apple Motion, that alters shape as you move it across an image. (P.S. The movie at the end is worth watching!)
Link: Create an Animated Flashlight Beam that Changes Shape
Recently, I was working on a video in Final Cut Pro that needed burned-in captions. I couldn't remember how. So, like everyone, I did a Google search and rediscovered an article I wrote six months ago that reminded me what I needed to do. (There's also a link in this to using FCP's new automatic caption creation.)
Link: Create Burned-in Captions in Apple Final Cut Pro
The annual NAB Show is almost upon us and, as usual, I'm experimenting with some new gear; specifically microphones. The show floor is a tough environment - very noisy, with tons of RF screaming around the facility. Cell phones, WiFi, and goodness knows what else make wireless mics a real gamble.
Wired mics are the device of choice because XLR cabling makes them impervious to RF, but which? Lavalieres pick up way too much room noise. Shotgun mics are ideal, but require an operator and I don't have the budget for a large production staff. Tiny headsets are a good choice for video, but I'm rapidly cycling through dozens of inexperienced speakers. Putting on a headset is finicky and I'm not sure guests can quickly put them on and wear them comfortably for their interview.
Plus, both the guest and I need to hear what's being said. So, though small headsets are my preferred option, I've decided to go with a combination headphone and microphone. Mostly because the noise of the show is roughly equivalent to a live sporting event, where headsets are commonly used. I'm looking at two different brands this week, testing noise reduction vs. voice quality. I'll let you know what I decide and in two weeks you'll be able to hear how it turns out.
Until next Monday, stay hopeful, stay healthy and edit well.
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