Electronic cameras will at some point in their lifetime exhibit dead, or hot, pixels. These take form by a single pixel, or small cluster of pixels, remaining on all the time. Sometimes red, sometimes white, but in every case, but always there. It’s not always easy to spot them, depends on where they are and the colour of the underlying action. You may not even notice them if you are following the on screen action, but as soon as you do, it becomes very distracting and undesirable. Getting rid of these, in most cases, is much easier than you may think. This article describes what I would argue is the simplest way of doing this, particularly as it can be incorporated into the DIT phase of a project. Read More...

Premiere Pro is very good at working with clips from all over the place all with the same name, and all with many differing codecs. All is well until you need to interwork with other applications such as Davinci Resolve or Final Cut Pro which work best with a single, edit friendly codec. Wouldn’t it be good if Premiere Pro could export each clip in a transcoded form, say ProRes, but it can’t. Wouldn’t it also be good to work with unique media filenames so when media becomes disconnected and asks for where say ‘clip20’ is, and you have 3 different clip20 file, you know exactly what to search for. Read More...