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What you'll learn at the Southeast Creative Summit

The chill is already in the air in Georgia today so that can only mean one thing, we're getting closer to the first ever Southeast Creative Summit here in Atlanta. October 25-27 at the fabulous Sheraton Atlanta hotel. As one of the Co-Founders of the Atlanta Cutters Post Production User Group, I'm one of the organizers of this event. We've got a LOT of workshops happening over the three days covering a wide range of production tasks. Basically we designed a workshop event that we would all love to attend and then priced it reasonably so as many of you as possible could come and enjoy.



Pre-Production & Business:
Budgeting Basics. Former "Good Eats" Producer Dana Popoff and Robbie Carman will cover budgeting and client management
Location Planning. Dana Popoff will cover what you need to know to properly plan for location shoots near and far.
How Do I Build It? Panel discussion with myself and other industry leaders to talk facility and suite planning
Don't Screw Yourself. I will cover the basic questions you need to ask BEFORE you sign a contract for a long term project. (short term too!)
Don't be a D*#k Online. Social Media Maven, Kylee Wall will discuss the growing importance of social media management in your livelihood.

Color Enhancement:
Patrick Inhofer and Robbie Carman will lead a series of workshops including: Refining the Grade. Grade Management. Color Grading Cookbook. Grading RAW and LOG. Color Grading a Series.

Production & 4k:
START with Post So We Don't have to Fix It Later! I'll cover areas that can easily be fixed in Production before they become costly in Post.
Green Screen Basics for Cameras / Advanced Tips and Techniques. Former "Good Eats" DP Marion Laney covers many Green Screen techniques.
Gary Adcock will lead a series of 4k and Production workshops including: High Frame Rate Acquisition & Post. Understanding 4k. Thunderbolt, Changing the Face of Post Production. Capturing the Essential Moment in Time.

Aerial Photography:
Yonder Blue Films is one of the premiere low altitude aerial videographers in the county and they will be leading multiple workshops introducing you to this growing field and sharing some of their techniques to achieve the best results using quad rotor helicopters.

Editorial:
Scott Simmons will be leading multiple workshops on Editorial including: The Music Video workflow. HDSLR Post Production 101. Useful Tools for Editing. Anatomy of an Edit.
Oliver Peters will be leading multiple workshops on Editorial including: Offline-Online for large commercial projects. Indie Feature Film Workflows. Color Correction inside your NLE.
Jesse Averna (Sesame Street / PostChat) will be leading multiple workshops to be announced soon!
Additional workshops to be announced soon!

Sound Design & Music:
Field Sound Done Right. Led by Academy Award Winning sound mixer Ed Novick, this covers techniques to ensure you get the best field recordings.
Sound Designer Michael Cardillo will lead two workshops covering: Sound for Editors. After the Edit, Audio Post.
Composer Chris Rickwood will lead multiple workshops including: Music is Everywhere. Agile Sound Design. Breaking the Music Mold.

VFX & Graphics:
Mary Poplin will lead two workshops covering: Beauty Work Made Easy! Motion Tracking for Editors.
Designer Carey Dissmore will be announcing some additional workshops shortly.

The Tools:
Some of the tools that will be used during the workshops include: Final Cut Pro X, Adobe Premiere Pro, Avid Media Composer, Autodesk Smoke, Avid ProTools, Adobe After Effects, Apple Logic, Adobe Photoshop, Mocha Pro, Davinci Resolve, Adobe SpeedGrade, Blackmagic Cinema Camera, Canon Cameras, DSLRs, Mac and Windows PCs, Remote Controlled Quad Rotor Helicopters, and most of all, your collective minds.

Yeah that's a lot of stuff in just three days, we know. There will be 7 workshop sessions with 8 workshops per session. So a total of 56 workshops sessions over the 3 days. Not to mention the networking / knowledge sharing between peers during the breaks and evening events. It's going to really open your creative mind and be a lot of fun at the same time. Sheraton Atlanta is offering special $139/night rates for Summit attendees too, so bring your significant other or your family and make a little vacation out of it. The hotel has an amazing indoor pool with retractable roof and there's so much to do in Atlanta for the rest of your family.

Early Bird Ticket are only $495 using the code creativecow2013. Yep, that one price for all three days of workshops and the ability to hang out with these presenters in the evening to pick their brains even more. After September 25th the price jumps $200. I've yet to find any workshop or event that comes close to the caliber of presenters for less than $800. Most run $1200+ http://www.southeastcreativesummit.com/registration/



On Saturday evening, October 26th we will be hosting the first ever Atlanta Creative Ball. Think Media Motion Ball, only in Atlanta. Raffle has already eclipsed $20,000 and includes a Blackmagic Cinema Camera. Our Special Guests for the evening will be Ron and Kathlyn Lindeboom, Founders of this very CreativeCow.net. We'll even have Carey Dissmore helping with the MC duties! Tickets are $40 if you're attending the Summit and $85 if you just want to attend the ball. Raffle will run in the same "media motion ball" tradition where you will get to select your own prize if your name is called. http://www.atlantacreativeball.com/

Yes, the Cow is one of our Media Partners helping us to spread the word and for that we say Moooooooooooooo. As a Non-Profit organization, the Atlanta Cutters appreciates all the help and support. Hope to see you all there!


Posted by: walter biscardi on Aug 15, 2013 at 7:53:20 pmComments (5) Southeast Creative Summit, Training

Meet the Southeast Creative Summit Presenters: Yonder Blue Films

A continuing series to get to know your Southeast Creative Summit Presenters. In this episode: Yonder Blue Films!



How did you get into aerial photography and cinematography?

We were both working as producers and editors on a show that aired on NBC sports. During its ninth and final season, we decided it was time to get out of the office more. We then launched a production company with low-altitude aerial cinematography as our specialty. That was about a year and a half ago. Recently we’ve shot for Nat Geo, USA Network, and Cartoon Network. It’s been a ton of work, but it is a fun way to film unique footage.



How do the principles of cinematography differ (or not) when you’re flying in the air?

There are a lot of similarities. Light and camera movement are the two most important principles. We’ll talk more about that at the summit. We mostly shoot with wide lenses, but with recent advances in technology, telephoto lenses will be an option.



Is aerial cinematography something a production company can add to their arsenal?

It is certainly possible, but it is far more difficult than it seems at first glance. It’s far more expensive too. It also requires a major time commitment, even if you have a background in RC aircraft. There are companies that are producing rigs that allow you to fly a GoPro a bit easier, but these rigs can make things deceptively easy. All that being said, if you’re interested in adding this to your production arsenal, we say, “Go for it!” We’ve helped many production companies get started.



What’s the best advice you’ve been given during your career?

There are old pilots and bold pilots, but there are no old and bold pilots.



What can people expect from you at the Southeast Creative Summit?

We’ll discuss the basics of RC technology for aerial video. Since this is a less common way to film, we will educate attendees on how best to incorporate this camera platform into their productions. We’ll share a few tricks of the trade too. Hopefully we will have enough room to do a short flight demo as well. We’re looking forward to it!

Aerial Demo 1: https://vimeo.com/49484105
Aerial Demo 2: https://vimeo.com/69855333

Learn more about the Southeast Creative Summit, October 25-27 in Atlanta, and save $100 off admission with the discount code: creativecow2013
http://www.southeastcreativesummit.com/



Posted by: walter biscardi on Aug 14, 2013 at 4:51:48 pm Southeast Creative Summit, Aerial Photography

Meet the Southeast Creative Summit Presenters: Gary Adcock

A continuing series to get to know your Southeast Creative Summit Presenters. In this episode: Gary Adcock!




How did you get into video production?

I was a still shooter and a new neighbor moved in across the hall, one day I heard him digging around in his van looking for some tape. I grabbed a role of gaffer tape and walked over to introduce myself. He looked at the tape, looked at me, looked back down at the tape and said “video or film” and I replied “Still”. He stuck out his hand and we became friends. About 2 weeks later, he pounded on my door at 7am saying he was in a jam and needed a body, if I could assist. Later than morning I was pushing a cameras dolly around and brushing the lint of the coat of the legendary Bill Kurtis on the first stand-up shoot for the A&E cable show “American Justice”. Yeah, I was hooked.



Tell us about an interesting 4K project you worked on recently.

I have done a couple, but I had a great deal of fun on a test shoot to deliver 4K 60p demonstration footage for IBC 2012. I got the job to go shoot pretty pictures, I chose the Green City Market in Chicago, considered one of the finest Organic Farmers Markets in the US and my personal favorite. I talked to the farmers I know and everyone was really friendly an helpful. It was me, a camera assistant and my wife as PA. so it was definitely A Run& Gun scenario. We shot Sony F65 with Cooke Panchro lenses, gearhead, sticks and a VCLX battery. The location kit was over 100Lb’s, but the best shot of the day was a little girl buying bread, I just grabbed it at the end of our shoot as she walked up and paid for this muffin. I got that shot and said we were done.



What’s one basic principle of video production that’s often forgotten in the face of new technologies in higher resolution and frame rates?

Composition, I am so tired of filmmakers saying “I’ll crop it later”. Shoot it right the first time and there is no need to crop it later.



What’s the best advice you’ve been given during your career?

Never burn a bridge, no matter how much you want to.



What can people expect from you at the Southeast Creative Summit?

One of the best learning experiences of your life, it’s the best of the best.


Learn more about the Southeast Creative Summit, October 25-27 in Atlanta, and save $100 off admission with the discount code: creativecow2013
http://www.southeastcreativesummit.com/



Posted by: walter biscardi on Aug 14, 2013 at 4:48:14 pm Southeast Creative Summit, 4k

Meet the Southeast Creative Summit Presenters: Mary Poplin

A continuing series to get to know your Southeast Creative Summit Presenters. In this episode: Mary Poplin!



Why did you choose visual effects and motion graphics as your career path?

When I was a little girl, I used to dream of working at Disney as a 2D animator. However, by the time I got to college, not only was that style of animation going away, but also I found out that I did not eat, breathe, and sleep onion skinning the way you really need to in order to be an animator. So that left me with still loving movies and having a strong foundation in the arts and painting. I earned my degree in Illustration with top honors from the Savannah College of Art & Design and came out to the West Coast to seek my fortune, and I found work immediately with Paramount’s “Barnyard: The Original Party Animals.” For a first gig, it was a pretty good one, and for nearly a decade I have been creating matte paintings and roto-paint work for all kinds of companies, including the late Cafe FX, Threshold, Go-For-Launch Productions, Stereo D, and all sorts of freelance work.



As an editor, why should I add visual effects or motion graphics to my arsenal?

In my personal opinion, you should add visual effects and motion graphics to your arsenal because you must evolve or go extinct. It is a luxury in this market to not have to learn. If you are not able to do the small paint and screen insert fixes your clients need, or the simple titles and mograph work that most new designers out of school are capable of, you run the risk of being replaced by younger, hungrier, faster models. I have always learned the newest programs quickly, and it has helped me stay ahead of the game. In the game of Post-Production, you adapt or you slowly watch your work dry up.



Tell us about a creative challenge you had and solved by using planar tracking?

The best solve I used mocha Pro’s planar tracker on was back when it was still called Mokey, Motor, Monet, and Mocha. I was using Mokey to remove Bruce Lee and the 6 guys he was fighting from a shot in Enter the Dragon, but the challenge was that the shot was in the basement, very grainy, and I had to keep the shadows and caustics reflected from a pool on the walls. Also, there were parts where most of the background was obscured by fighting at points and there was a lot of motion blur. Mokey’s paint work got me 80% there, and the rest of the shot I fixed with hand painting. I finished the shot in a day, which I think deserves some sort of VFX Medal of Honor. The planar tracker even helped me match some of the motion of the water caustics.



What’s the best advice you’ve been given during your career?

The best advice I have ever received is to stay hungry, but to learn how to balance your work and your life. Work is literally the least important thing in your life, it is a means to an end and a living. You can be passionate about it, but do not be so passionate that you forget or lose sight of what is really important, like family, love, self improvement, and helping others. I think that’s one of the reasons I like working for Imagineer Systems so much, I get to show artists how to get their work done faster so they can go home on time and have a life.



What can people expect from you at the Southeast Creative Summit?

People can expect a enthusiastic and hopefully fun workshop about how to work faster and cleaner, and they should expect to be able to ask me anything about my work and get a candid answer. I am very excited to meet all of you, and in some cases, to see some friends smiling faces again. I am a Georgia girl at heart, and it will be good to be home and help local artists kick some butt with their work.

Learn more about Mary at:

http://marypoplin.com/

Learn more about the Southeast Creative Summit, October 25-27 in Atlanta, and save $100 off admission with the discount code: creativecow2013
http://www.southeastcreativesummit.com/


Posted by: walter biscardi on Aug 14, 2013 at 4:43:55 pm Motion Graphics, Southeast Creative Summit

Meet the Southeast Creative Summit Presenters: Oliver Peters

A continuing series to get to know your Southeast Creative Summit Presenters. In this episode: Oliver Peters!



How did you get started with post-production?

I started in radio during my high school senior year and from there worked at the college radio station and local PBS affiliate. While at the PBS station, I transitioned from audio to videotape operations, which got me the first job after college. That was as an online videotape editor, working on retail commercials in the mid-70s. Except for a few stints in production and management, I’ve generally worked in post ever since. The birth of nonlinear (originally on Avid) allowed me the flexibility to first move into more creative editing, including commercials, TV shows and feature films.


Why is planning for post important?

Planning saves time, money and stress. Not all software, edit facilities and even editors have the same capabilities and/or skills. Doing your homework ahead of time and developing a plan to achieve your goals will not only avoid nasty surprises, but make the process much more enjoyable for everyone.


How do workflow strategies differ between projects of different sizes?

Workflows vary with the size and type of project. Some projects are simple. You can load in the camera media, start cutting and quickly be done. Smaller projects, where one editor does it all, can offer some shortcuts, because the workflow is adjusted for that person’s set-up. Others involve hours and hours of high-res media that really make an offline-online workflow better, because it is less taxing on the hardware. Many projects require collaboration between different resources, such as different editors, colorists and mixers. It helps to understand the workflow so that everyone is on the same page.


What’s the best advice you’ve been given during your career?

Be open to the ideas of others. Listen. Don’t automatically assume that you are the only one with the right answers.


What can people expect from you at the Southeast Creative Summit?

People will pick up tips and ideas that will let them use the software they own more productively and efficiently. They will also learn ways to plan for post, save money and avoid pitfalls – regardless of the type of productions that they work in.

Register for the Southeast Creative Summit before September 25th for just $495 using the discount code: creativecow2013
http://www.southeastcreativesummit.com/registration/


Posted by: walter biscardi on Aug 8, 2013 at 2:56:48 am Post Production, FCP

Meet the Southeast Creative Summit Presenters: Robbie Carman

A continuing series to get to know your Southeast Creative Summit Presenters, coming to Atlanta October 25-27.
In this episode: Colorist Robbie Carman!




How did you get started as a colorist?

My path to becoming a colorist started in music. I’ve played guitar since I was 6 or 7 years old and early on thought I wanted to be a rockstar!. After I realized that probably wasn’t going to happen, I got really interested in audio engineering and recording. During that time I was recording a lot bands and they were shooting music videos and needed some help – so I discovered video editing and dedicated my self to learning everything I could about video post. Flash forward – after college I found myself heavily involved in online editorial - that is uprezing shows, placing graphics and broadcast packaging at a post facility. In many of those session, clients were asking could I could do simple color corrections on shots. The more and more I was doing that, I discovered that I really liked color correction and grading. I dove in head first, learning all I could, shadowing a few fantastic colorists in my market and soon enough I was doing nothing but color. In 2005, my business partner and I left the facility we were working at and started our company Amigo Media which focuses entirely on grading for broadcast and film as well as postproduction education.


What’s one aspect of color you see people getting wrong all the time?

Trying to do too much! In my opinion, some of the best grades are often the simplest. Sure, you can add 40 secondaries to a shot to tweak every single aspect of the image but you should ask your self – am I really making it better or am I going to far? We have amazingly powerful tools for color correction and grading these days, but often the best looking grades are just simple adjustments to contrast and color. Its amazing what you can do with a deft touch on a primary grade.


Do I have to learn a program like Resolve to be able to grade my work?

Absolutely not! While dedicated tools like DaVinci Resolve or Adobe Speedgrade offer an amazing powerful tool set, your editorial application offers some great tools too. Nearly, every edit application will have tools like video scopes to analyze the signal, and a 3-Way color corrector to perform primary or overall corrections. Many also have secondary color correction tools to target corrections. There are also some really great color correction plug-ins for editorial applications.


What’s your personal philosophy as a regular trainer and author?

My personal philosophy is to try to make the the most complex subjects accessible, relating instruction to things that a student already knows about. I think when you’re able to make connections to existing knowledge it really clicks and you start to master a subject. I also try not to make things too serious, I always like to have fun and keep things light no matter if its a paragraph in a book, a session at a conference or an online training video.


What’s the best advice you’ve been given during your career?

A colorist I met right when I started out gave me some advice I try to live everyday – be nice and treat everyone with respect. There are plenty of folks in production and post who think the world revolves around them. They scream at people, make demands etc. These folks may have short term success, but in the long run, if you are fair, honest, and pleasant you’ll succeed. This same person also told me to try to help your friends as often as you can – if there is a work opportunity that they might be good for - recommend them.


What can people expect from you at the Southeast Creative Summit?

Most of my sessions will revolve around color grading, including taking a look at secondary color grading techniques, and some common recipes for achieving great looks. I will also share some hard won knowledge that I think will be useful to small companies and freelancers about scheduling and budgeting projects with clients. Other than that, I hope to attend some sessions from the fantastic line up instructors, chat with attendees and just have fun at what promises to be a fantastic conference.

Register for the Southeast Creative Summit before September 25th for just $495 using the discount code: creativecow2013
http://www.southeastcreativesummit.com/registration/


Posted by: walter biscardi on Aug 5, 2013 at 5:30:58 pm Color Grading, colorist

Southeast Creative Summit adds Academy Award Winning Sound Mixer to the lineup.

The Southeast Creative Summit has just added Academy Award Winning Production Sound Mixer Ed Novick to the presenter lineup. While Ed's work is primarily in feature film, the rules for good audio recording in the field apply to all productions. As he says, nothing screams "low budget" more than bad audio. Ed will be discussing microphone choices and recording techniques as part of his Sound workshops at the SCS.

He's the latest addition to an amazing lineup of presenters that include Scott Simmons, Oliver Peters, Patrick Inhofer, Robbie Carman, Dana Popoff, Marion Laney, Carey Dissmore, Gary Adcock, Mary Poplin, Chris Rickwood and Yonder Blue Films and yours truly.

The Southeast Creative Summit runs October 25-27 in Atlanta, GA featuring workshops across an array of creative disciplines including Editorial, Production, 4k, Sound Design, Graphic Design, Business & Producing. For more information visit www.southeastcreativesummit.com

Enter the code creativecow2013 to receive $100 off your registration. Through Sept. 25th it's only $495 for all three days! The Sheraton Downtown Atlanta is offering special rates for Summit Attendees as well, link on the website.

We're also hosting the first ever Atlanta Creative Ball on Saturday night, October 25th in the same hotel. Think "Media Motion Ball" meets "Supermeet." In fact we're going to have Carey Dissmore be one of the MC's for the event. www.atlantacreativeball.com for more information and to register.


Posted by: walter biscardi on Jul 21, 2013 at 1:39:49 pm

Subscription Based Software - it's not going anywhere

This editorial was originally printed in Issue 3 of the WalterBiscardi.com newsletter.

It's been a few weeks since the announcement from Adobe that henceforth all new software will only be available via the Creative Cloud subscription service. No doubt you've seen and heard the outcry from folks who want to continue to "own the software."

As my good buddy Aharon Rabinowitz said so eloquently in his blog, "YOU DO NOT, NOR EVER HAVE, OWNED YOUR ADOBE SOFTWARE. You have licensed it." Yes it's all semantics since you DID have a box with software in it, or you downloaded software which you backed up and kept somewhere in your files. As long as you have the serial number, you can launch that software at will. But you never actually "owned the software."

There's definitely the comfort factor of "holding the box" and knowing that the software is there ready to be used at any given time. But what good is that box when the software turns obsolete because the current OS will no longer support it? At that point you have two choices; keep running an older computer system so you can keep using that software or you upgrade so you can run the software on the latest and greatest systems. I don't know about you, but I tend to upgrade my computers at least every three years and running old software on a new computer kind of defeats the purpose.

The subscription model actually makes very good sense for the software industry. The biggest thing is that the industry is no longer driven by the need to keep holding back "key new features" until select times of the year to coincide with events like IBC and NAB. Think about how many times we start speculating in January or July about "I really hope Adobe / Avid / Apple / Autodesk releases these new features I really want at NAB / IBC!" And then the companies keep telling us to "hold tight until NAB/IBC to see what's new." With the subscription based model, it behooves the software company to continuously roll out new features to keep the subscriber base happy and feeling like they're getting their money's worth. I very much like this idea of constant evolution instead of arbitrarily holding stuff back to have a fatter press release at a convention.

Look whether you like the Adobe model or not, you better believe it's coming to all software eventually. It makes sense both economically and from a distribution standpoint. Steady income for the company over the year and distribute new features on the fly. It's not a question of "if" the other software manufacturers will go subscription, but "when."

If there's one lesson the others can learn from Adobe is to make sure to give a 'one year warning' as in "this will be the final year to purchase a license, after that, it's all subscription." To just come out and say "As of today, it's all subscription" was a bit of a dick move by Adobe, but with the success of the Cloud over the first year, the writing on the wall was pretty obvious to most folks.

So love it or hate it, I would not be surprised to see a subscription based model for all our software within the next 5 years.


Posted by: walter biscardi on May 29, 2013 at 5:36:28 amComments (19) Adobe, Creative Cloud

My Adobe Premiere Pro NEXT Top Ten!

The fine folks at Adobe gave me a sneak peek test drive of the new Adobe Premiere Pro NEXT and I have to say, WOW. Even better than the experience of seeing it at NAB. First thing that jumps out at me is the speed and responsiveness of the entire system. I was testing on a three year old iMac with a FW800 RAID and it was like I was using two completely different systems switching back and forth between NEXT and CS6.

The second this is just how much ADOBE LISTENED to what the end users were asking for. Sure there are some really nice “new features” but the features that matter to me the most are the ones that will make our daily lives much easier and efficient. In that regard, Adobe completely hit it out of the park.

So in just 90 seconds, here’s my Top Ten new features in Premiere Pro NEXT. Nothing super sexy here, just good workflow improvements.



Posted by: walter biscardi on May 6, 2013 at 7:41:28 amComments (22)

NAB 2013_Wally Cam Interviews

Throughout NAB 2013, I had some fun with a small bullet cam grabbing on the spot interviews with all sorts of people about all sorts of topics. The only rule I had was it had to be fun and no editing required! Here's all of the videos in one place! Special thanks to Marion Laney for letting me borrow the camera.

In the first of Walter's "Wally Cam" on the spot interviews, we find Kylee Wall at the Small Tree Communications Booth.



After a wide ranging and somewhat bizarre interview for PostChat, Walter turned the cameras onto his interviewers for yet another bizarre interview.



WalterBiscardi.com col-developer, Carl Olson discusses proper NAB fashion and why people should read Walter Tips from an NAB Veteran before headed to the show.



Walter ran into Marco Solorio at the Media Motion Ball where they discussed how many Blackmagic cameras Marco wants to own.



Walter found Dan Berube and Michael Horton hanging at the annual Media Motion Ball where the discussion turned to the upcoming SuperMeet.



Walter and Marianna Montague go way back to the mid 90's when she was part of the technical support team for Media 100. The two old friends catch up at the Media Motion Ball where we also learn Marianna's maiden name!



One of the most awesome things about Media Motion Ball and NAB in general is meeting up with Social Media folks in person.



In approx. 60 seconds Small Tree's Steve Modica explains the new Titanium 5 portable shared storage solution in the Media Motion Ball.



Steve Modica does his best carnival sales presentation of the merits of Imagine Products for the very impressed Dan Montgomery!



Walter catches up with Adobe's Kevin Monahan at a great Adobe after hours event at NAB 2013.



Walter and Atlanta Cutters Co-Founder Dan Daube traveled all the way from Atlanta to Vegas just to run into each other at the Adobe Celebration event at the Hard Rock Cafe.



Flanders Scientific prepares for each day of NAB with Donuts. And not just any donuts, the BEST donuts in Las Vegas.



Kylee Wall discusses the possibility of Time Travel thanks to Small Tree Communications



Walter and Grant Petty's yearly chats are generally wide ranging from family to technology. This year Walter learned the two started their careers almost at the same time and Grant was quite the camera operator in the beginning.



@editblog himself, Scott Simmons, swung by the Small Tree Communications booth to see what the fuss was all about with super high speed ethernet based shared storage.



Red Giant Software and Maxon opened up the Pinball Hall of Fame to a bunch of tech geeks and even threw in an ice cream truck for good measure. It was an awesome event and here's a few moments from the games, including a rather creepy baseball game. No interviews, just fun.



Marc Andre Ferguson gives Walter a rundown on the updates to Autodesk this year, WallyCam style.



Small Tree's Steve "Double Espresso" Modica is back to explain how he gets 1.2GB/s from the Titanium Extreme running all SSDs to a MacBook Pro, which we keep calling an iMac in the video. Keep up if you can!



Walter discovers that Adobe Premiere Pro editors can access Pond5's library of stock footage inside the application to edit with proxies before making purchases. We also discuss the Atlanta cheetah problem...



Alexis Ven Hurkman and Michael Sandness talk Resolve 10 with Walter in the Blackmagic Design booth.



Walter discovered an interesting concept with the new EV series from G-Tech. Combining rugged drives with the option of RAID. Very cool concept.



In the nVidia booth Walter found Juan Salvo, Gerard Tay, Weston Woodbury and Mike Nichols for an impromptu wrap up session on what we all found in NAB 2013.


Posted by: walter biscardi on Apr 14, 2013 at 2:21:41 pmComments (2)

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Professional Video Editor, Producer, Creative Director, Director since 1990.

Credits include multiple Emmys, Tellys, Aurora and CableAce Awards.

Creative Director for Georgia-Pacific and GP Studios, Atlanta. Former Owner / Operator of Biscardi Creative Media. The show you knew us best for was "Good Eats" on the Food Network. I developed the HD Post workflow and we also created all the animations for the series.

Favorite pastime is cooking with pizza on the grill one of my specialties. Each Christmas Eve we serve the Feast of the Seven Fishes, a traditional Italian seafood meal with approx. 30 items on the menu.

If I wasn't in video production I would either own a restaurant or a movie theater.

 




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