Let's kick off our annual analysis of the most striking of this year's Super Bowl ads by celebrating the editing principles behind these mixtures of entertainment and hype.
The original idea was "HD for the Masses" when JVC introduced its prosumer GR-HD1 camera last March based on a new recording format called HDV.
This has been a pivotal year for the video production industry; fighting a sour economy on one hand and the soaring challenge of HD migration on the other.
This is a story of a lot of pluck, a little luck, and a great deal of talent that is inspirational to every editor.
Sometimes it's not only the big splashy award-winning products you see introduced at the annual NAB fest that catch your eye.
Not every editor felt the earth rumble, but our universe changed at NAB2003 when Editware announced that it would no longer develop its DPE line of linear edit systems.
The 75th Annual Academy Awards ceremony, the first Oscars broadcast in HDTV, was one of the most elaborate live high-definition productions ever attempted.
There was 4:41 left in the third quarter of Super Bowl XXXVII with Tampa Bay up 34 over Oakland's 3 when suddenly amid the crash of helmets and shoulder pads -- convergence happened.
Quo Vadis, NLE? Let's face it, after years of watching nonlinear digital post production develop, it's finally risen to a mature technology.
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