One the features buried in Final Cut Pro’s Modify menu is called “Merge Clips.” What this tool does is enable you to link two disparate audio/video sources so that FCP treats them as a single clip, keeping them synced as you work with the clip while also maintaining their seperate relationships to the source media. This is also referred to as Dual System Sound Sync. Here’s how you do it.

Today we at FreshDV are excited to announce the first part in an exclusive multi-segment training series on directing. These intensive FreshDV Film School Director’s Course video tutorials delve deep into what is required of a director and assistant director, both on and off set, and what areas those on that career path can concentrate on to achieve their goals. The discussion is hosted by FreshDV’s Kendal Miller, and Chicago filmmaker Joe Martin brings his unique perspective in teaching the role of a director.

This Part 1 segment is a 15-minute introductory video that discusses the basic qualifications, job description and overall tasks a director is responsible for in a production. It also delves into the practical and creative motivations that drive a successful director.

Part 2 deals with the script revision process, both in pre-production and on set. Whether a script change is sparked by a creative choice, a budgetary concern, or to fix a shooting problem, this video segment covers the basic protocol and tangible essentials of how you can handle this in your next production.

Part 3 digs deep into the pre-production responsibilities of a Director and Assistant Director. Joe and Kendal discuss the process of breaking down a script by scenes and shots, assigning scene numbers, and building the day to day schedule. They show a sample script breakdown sheet and other necessary forms. Independent filmmakers by and large seem to have the attitude that planning doesn’t matter…but as Joe says in the video, pre-production should be 80% of a project. These tips and techniques will help you get a handle on the planning and pre-prod process, and help you come in under budget and make your shooting schedule.

Watch all three segments in the playlist below or at FreshTV, and please stay tuned for the next installment of this extensive series.

If you enjoyed this tutorial series, please tell a friend or post the link in your favorite forum. Thanks for watching.

Here’s an early “first impressions” type Avid Media Composer 3.0 review, along with Mojo DX.

The International Film School of Syndey has a few fantastic articles on the topic of exposure. In their Camera Iris and Shutter Speed refresher they cover the relationship of aperture, shutter speed, and depth-of-field as it relates to exposure. If you are still flying mostly automatic, this is a great way to get up to speed on proper manual control of your camera’s exposure. For a more detailed look at DOF and the finer technicalities behind aperture, see our previously posted video on the topic and our First AC Tutorial Series on how to direct and control your focus plane.

In Camera’s NEED light the IFSS talks specifically about dynamic range, and how to maximize your possibilities in post by nailing proper exposure on set. They include specific charts and examples that clarify the issue as it relates to today’s affordable HD camcorders. This is another must-read if you aren’t up to speed on the topic. And finally, for those wishing to delve deeper into the topic of dynamic range, Stu Maschwitz lays down the law here.

Jim Jannard has posted on the Reduser forums saying “Within a week, RED R3D files will open natively in CS3 Premiere Pro and After Effects.” This means that Adobe CS3 users on both Mac and Windows will now be able to work quickly and efficiently with Red footage at up to 4K resolutions (though not 4.5K, there is a hard resolution limit in PPro).

This is of course fantastic news, particularly for shops that prefer to do their color correction and finishing using After Effects and tools like Colorista, MB Looks, Color Finesse, etc. Apple really needs to get on the ball and enable this same sort of native support for their users…currently FCP cannot handle the R3D format natively, and Color only supports up to 2K.

You can buy Adobe Creative Suite CS3 Production Premium at Amazon with options for upgrade, upsell, and of course the full version.

(via Final Cut User)

Our good friend Scott Kirsner of Cinematech recently passed along word of a new conference event for filmmakers. The Conversation will be held on October 17-18 in San Francisco, and is aimed at talking with, not at, filmmakers. They already have an impressive roster of presenters lined up, and it’s starting to look like a very interesting event. Paul Harrill of Self-Reliant Filmmaking has written up a good article on the conference. Or go directly to the source and get registered!

“…a lot of times at film festivals, the discussions about new technologies, new tools, and new business models wind up as a side-show to the main event, which is watching movies. We wanted to do something where mapping out the future and getting up to speed with what other creators are doing would be the central purpose. The second dynamic was that there used to be this great event that happened twice in Montreal, called Digimart. Lance Weiler, Peter Broderick, Tiffany Shlain and I all spoke at the second Digimart a few years ago. It was a great gathering… but it didn’t continue after 2006, and we wanted to keep its spirit alive and take it to a new geography.”