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Well...first please explain the technical details of how JVC pixel-shifts a 1280x720 sensor to create a 1280x720 image...then go over how the HVX pixel shifts a 960x540 sensor into a 1280x720 image. I work with HVX footage all the time...we have one in house and have pushed it as far as...

I think all NLE software cuts HD of at least some varieties by now...or they wouldn't have a very long life ahead of them. 3 years ago, Adobe PPro had the most variations on the floor to edit HD of various types...hardware, software, you name it. More than Avid or Apple. Ultimately, there are...

I agree with Mark that it's interesting how someone who uses DVC ProHD knows so "much" about HDV. HDV's official colorspace is 709...like all HD. JVC's first cameras (VERY first) were 601...like standard definition video, but I'm not sure about these latest models. JVC's HDV1 is actually LESS...

Interesting...music narrative can be challenging, and I don't have any idea what sort of time/resources you may have been able to spend on the effort, but there are some nicely conceived shots in there. Some suggestions: Emotion is tough to push out through the screen with medium shots. Close...

Yes...there certainly isn't anything equal to actually doing the directing i suppose. However... There is a reason why so many trades have apprenticeship programs and why college grads don't start out in a company in the boardroom. Experiencing how others do something when they have years of...

There are some great free projects on smoke/mist effects available from Dean Velez on his site http://www.theanvel.com

This is, unfortunately, a very broad request. My first suggestion would be to do a Google search for some free tutorials on the internet. Dean Velez is a great teacher for AE and he has lots of free projects on his site: http://www.theanvel.com/free_aeps.php CreativeCow.net is also a forum...

It's pretty tough to give you a tip or two and link a half-dozen articles on the web and give you what amounts to a four-year degree for many people... It's like asking for some links and some advice for how to build a nuclear reactor...it's a bit more complex than that. There's...

I don't watch Oprah... You might try starting by making a white color matte and fading that in and out over the top of a transition. For blurring, after you assign your transition, add a blur to each clip assigning key frames that increase the blur to the end of the clip on the outgoing clip...

Try restarting Premiere with the Shift key held down...that may refresh the plugin directory.

There is no question that Premiere did not get much of a foothold in professional post environments, though I employed 10 people in my shop in the late 90s and we used Media 100 and Premiere on Mac. I owned the place and could buy whatever I wanted of course, we had complete, end to end...

"Second, Premiere is dead. Advising anyone to buy Premiere these days would be like telling someone ten years ago to buy a Commodore Amiga system. Enuf said." I suspect that is a little rash. We had an Avid in house in another suite and when it comes to cutting lots of footage and not mixing...

Some would like some sort of card for input/output just for monitoring purposes... If you would like to view the video on an actual video monitor for color correction purposes (which I'd recommend), I think The Matrox Parhelia APVe is a great card and not very expensive. You can run two user...

Most of us utilizing the Adobe suite of applications end up in After Effects using the "time remapping" function for this purpose. As of now, PPro does not have the ability to accelerate and decelerate video. If you have a friend who would process a couple of clips for you with Sony Vegas...

Well...depending on what speed is necessary for you, a computer with a FW port will get your DV footage in and out...the Matrox cards speed things up with effects, but DV is perfectly editable with some rendering on many laptops these days. I've done rather large projects using PPro, AE and...

Well, I'm sure there are 100 ways to approach it. Somehow the TV surface has to be distorted and the character will have to come through a matte or a wipe after being shot green screen. I would experiment a bit and you may learn a number of different approaches...

Haven't seen The Ring 2...being in business scares the crap out of me everyday...when I go to the movies I prefer to laugh. Can you describe the angle and what the transition between the "in TV" and "out of TV" stages was like?

Is there a certain reason why you need to go to HDCAM? You have a file that is less than a quarter resolution of HDCAM...it would be like mastering a 320x200 web movie to DV... You might try something like Digital Anarchy's Re-Sizer on the footage...

Huh... I stand corrected. I didn' realize that Avid released in 1989. Premiere was indevelopment and was purchased by Adobe, as FCP was by Apple, so there is development history that pre-dates 1991, but you are correct, Avid was released first. I wouldn't make the case that Premiere was...

If it comes to interface, it's pretty tough for anyone who likes FCP to say that Premiere Pro is antiquated, they are very, very similar. You can like or not like this feature or that feature, but that sort of thing would be applicable to all software. I'm not really sure what is antiquated...