Sundance Producer, Sean O'Grady (Big Sur and In A World) has seen first hand the effects of technology on the filmmaking process. O'Grady plans to switch to Premiere Pro and believes that Adobe video tools are taking filmmaking to the next level, enabling filmmakers to get their stories told.

Bluefish444 manufactures the high quality uncompressed SD/HD/2K/4K SDI video cards for professional editors. Its Epoch and Create 3D video cards integrate tightly with Adobe Mercury Transmit for complete monitoring, scaling and support for video output.

Join Meagan as she talks to Kenny Mosher, winner of the Red 4k Portrait Challenge, about his project and his experience working with Adobe Premiere Pro & Adobe After after Effects.

www.showdownvisual.com

Join Karl at the RedUser party as he talks with Red's Ted Schilowitz about the 4K Portrait Challenge and partnering with Adobe.

Here's a quick look at some Thunderbolt solutions I've been testing in my lab. In this video, you'll see an Apple MacBook Air 13" running Windows 7 64bit via Boot Camp with an activeThunderbolt port connected to Sonnet Chassis with a RED Rocket installed delivering full 4K playback on Ultra Lightweight notebook. **Note** the Mac OS does extremely well in this test as well. I only show Windows7 to help expand Thunderbolt across both platforms. The more users, the more devices.

Join Richard Weinberg of the USC School of Cinematic Arts to explore high-resolution motion picture optical microscopy. Weinberg developed a system for shooting movies with a RED One camera through a microscope and created a ten-minute movie, "MicrOrganisms," in 4K resolution that premiered in December 2009 at the CineGrid conference. This session reviews the image capture, editing, and visual effects process and how Weinberg used this system to stream live HD microscopy from Los Angeles to Yokohama, Japan, for an interactive presentation at SIGGRAPH Asia.

Get the most out of your hardware investment: native 64 bit support means After Effects can use all available RAM, so it’s easier to work efficiently on complex HD, 2k, and 4k projects.

Dave Helmly shows off new support for the native Red R3D camera format in PremierePro and AfterEffects CS4. In this workflow video, you’ll also get performance tips and info on 2K and 4K output.

What does Flash Media Encoding Server, native 4k editing with RED, partnership with OpenTV, clowns and camels have in common? It's all about IBC 2008.