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September 27, 2011

Table of Contents

The Moving Picture: FCP X 10.0.1
Studio Time: Andrew Waite's Higher Definition Media
The Company Image: Shooting the CEO
Lensbaby Intros Movie Maker's Kit PL-Mount Camera Lenses
Boris RED for EDIUS 6 Now Shipping
Bella Rolls Out New Shortcuts Software Program Killer Keys

The Moving Picture: FCP X 10.0.1

I had decided to go easy on Final Cut Pro X until I saw this quote from Apple's Richard Townhill in CNET: "We're pretty good at this stuff actually," Townhill said of the change from Final Cut Pro 7 to Final Cut Pro X. "We have a long history of successful transitions: OS 9 to OS X, PowerPC to Intel. We know we've done something revolutionary with Final Cut Pro, and we sincerely think that our professional customers will love it. And some of that is letting them know we will make good on the promises we made, and the (Final Cut Pro X) 10.0.1 update is the first public indication that we're doing that."

The "pretty good at this stuff" raised my hackles because Apple has a long history of subscribing to the theory that if you tell a lie often enough it becomes the truth. I first wrote about this back in 1998 when Apple was making clearly untrue assertions like 50% of the streaming media on the web was in QuickTime format. If you were aware of streaming back then, you know that RealMedia dominated the landscape, and that outside of exceptionally high-bandwidth movie trailers, Apple had negligible penetration in media or corporate sites.

In the midst of a press tour at the time, the Apple rep had apparently told this mistruth multiple times, and I was the first to call him on it. Now Townhill appears to be pursuing the same strategy.

Let me say up front that I think that Final Cut Pro X will be a very successful program for Apple, but primarily as iMovie Pro, not the next version of Final Cut Pro. I don't argue with Apple's economic motivation for eschewing the pro market; it's the best way to maximize Apple's development resources. But I take serious issue with Townhill's assertion that the Final Cut Pro X launch has been anything close to successful, at least for professional users. If anything, it's a downloadable New Coke.

First, there's the sniff test. In our event-oriented market, if you can't handle multicam or produce DVDs with custom menus, you're pretty much irrelevant. Final Cut Pro X's DVD authoring performance is particularly underwhelming, lacking even the ability to insert a chapter point at scene changes. Unless your audio needs are very modest, the lack of a suite-mate like Soundtrack Pro (or Audition) is also pretty chilling. (Here's my hands-on first look at what FCP X 10.0.1 offers.)

Then there's the response from other professional markets. One of the most influential writers on the Creative Cow forums is Walter Biscardi, from Biscardi Media in the Atlanta, who produces for PBS and other networks and has won a boatload of Telly, Peabody, and regional Emmy Awards and nominations. Here's what Biscardi had to say about Final Cut Pro X:

"All in all, the worst product launch I've ever seen from Apple or pretty much any software manufacturer. Instead of a nice suite of applications that worked well together (FCP, Color, Motion, Soundtrack Pro, DVD Studio Pro) you now have one big app that really doesn't do all that much well. It completely ignores the 11 years of existence by giving you zero options to open older projects."

In another Creative Cow article after the release of FCP 10.0.1, Biscardi continued, "I've quite honestly never seen such an immediate and unified response from our industry to a single product in so short a time. The industry was looking for a new and improved Final Cut Pro that would improve on the legacy of the product by enhancing the efficiency of the workflow with all the new digital formats in a seamless manner with as little disruption as possible. Within a matter of days the conversation turned to, "Where do I take my company so we can continue to work with legacy projects? We don't need new paradigms, we need software that will work with our established workflows (emphasis in original)."

You'd also have to consider the refunds that Apple has given on Final Cut Pro X, which is clearly against the iTunes Terms and Conditions. On the link that reported the refunds, you'll see that on June 28, 2011, the average rating for FCP X was 2.5 stars, with 562 out of 1272 ratings a one-star. Another interesting factoid is that Apple started selling Final Cut Studio again in September after pulling it off the market around the launch of Final Cut Pro X.

Probably the most telling data comes from Adobe, who on September 8 reported that "Demand for Adobe's video content creation tools has exploded, growing 22 percent year-over-year with 45 percent growth on the Mac, fueled by the large number of Apple Final Cut Pro customers switching to Adobe Premiere Pro."

So, Apple, you created a tool that was totally unsuitable for (at least) two very key professional markets, and almost completely eroded Apple's goodwill in those markets. You had to issue multiple refunds to unhappy customers and return the product's precursor to the market three months after pulling it off. Most significantly, you helped your primary competitor in the space grow by 45%. If that qualifies as "pretty good at this stuff" at Apple, I'd be shocked.

Jan Ozer (jan at doceo.com) is a frequent contributor to industry magazines and websites on digital video-related topics. He is chief instructor at StreamingLearningCenter.com and the author of Video Compression for Flash, Apple Devices and HTML5.

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Studio Time: Andrew Waite's Higher Definition Media

Andrew Waite Higher Definition MediaBakersfield, California, may be known as "Nashville West," the country music capital of the West Coast, for its honky-tonk legends like Merle Haggard, Buck Owens, and Dwight Yoakam. But you could just as easily call Bakersfield and its home in Kern County "Hollywood North" (that is, if Vancouver and Toronto hadn't already earned that title) for the region's thriving film community and its use as a backdrop in an untold number of blockbuster sci-fi movies, Planet of the Apes and Jurassic Park among them. It's an attractive locale to nearby feature film producers, with its free film permits and varying terrain. In a 30-minute drive from Kern county you can find yourself smack dab in the middle of a desert among rock formations, at the edge of a mountain range, in a forest of Sequoias, throwing snowballs, wading in a river, or sneezing in a verdant valley. J.J. Abrams shot the opening scene of Star Trek just outside Andrew Waite's kitchen window (not in Iowa-the shock, the horror!). "I could throw a rock and hit the production trucks," swears Waite, whose dual careers as an independent feature filmmaker and a videography studio owner have been boosted by Kern County's popularity with filmmakers. Waite runs Higher Definition Media (HDM) out of Bakersfield, and just this June launched its wedding-focused spin-off, Lovestruck Films. In addition, he is an indie filmmaker, with 3 self-produced features under his belt, and was one of the first presenters announced for IN[FOCUS] 2012. Registered with the film commission, Waite often gets to crew on blockbuster films and even rent out his gear.

Friends often ask when he'll finally move to L.A., about a 90-minute drive over the hill. "Never" is his quick reply. A native, he says, "Bakersfield is home. And I think it always will be." Waite can do what he loves here, just as well as (and probably better than) he could in congested L.A., he points out. At such a young age (speaking of over the hill, Waite is nowhere close), he knows he's lucky to have found that already.

But the road here was often treacherous, filled with grueling Saturday nights playing song after top 40 song as a wedding DJ. Not mincing words, Waite says that the creative outlet DJ'ing lacked was beyond frustrating. "It got to the point where if I had to listen to ‘Butterfly Kisses' one more time, I was going to blow my brains out."

Luckily, to quote an equally kitschy country song—"God blessed the broken road that led me straight to you"—wedding DJ'ing introduced him to wedding videography. While DJ'ing, Waite viewed his fair share of wedding videos, willingly or unwillingly. Having grown up with his dad's Betacam and VHS cameras almost superglued to his hands, he figured he could do better. In 2003 he booked his first gig and shot a few weddings on the side.

When someone offered to buy out his DJ business, Waite recognized the opportunity to return to his first love. In 2008 he officially launched HDM. "Oddly enough," he remembers, it started out focusing on TV commercials, with weddings as supplementary. "We thought TV commercials were more glamorous at the time," he says, certainly not alone in that assessment. But no matter how hard he resisted, his wedding work really drove the business.

Measure of the Man
Now he's juggling corporate work, wedding work, and indie films, and somehow finding balance among them. It's not an uncommon story, but when he explains how two of his businesses come to a screeching halt for 7 weeks out of each year to accommodate producing a feature film, it's clear Waite is accomplishing something extraordinary.

His latest feature, The Measure of a Man, premiered in March at the historic Fox Theatre to a 1200-strong audience. To make it, Waite and his crew worked 12 hour days, 6 or 7 days a week, for 7 weeks, leaving no time for other projects. "You have to say no to some pretty awesome weddings," Waite says, the pain almost lingering in his voice.

And that means no income for 7 weeks, while paying out of pocket to produce the film. With a wife and 2 kids and 6 employees, that's an act of faith if you ever saw one, especially considering that he strives to have a hand in every one of his projects, for fear of ever turning into a "video factory." He explains, "The last thing I want to do is get out of touch with clients. I love working directly with brides and grooms, making friends, and creating this art piece that they will treasure for the rest of their lives."

Heading in 3 different directions with separate companies might take its toll on some, but Andrew Waite's experience has proved the contrary-he's been able to apply practical lessons from one type of filmmaking to the others. For example, being a run-and-gun wedding filmmaker has definitely rubbed off on his approach to feature filmmaking. Back in the day, Waite would use the industry-standard expensive, clunky cameras and gear that everyone else did. To pull of a shot he would drive to Hollywood to rent so much equipment you'd think a tractor pull had come to town. But on his last film, rather than rent a mammoth J.L. Fisher dolly, "We didn't bother, and instead used a Cinevate Atlas 30 "and got the exact same results. We wouldn't have done that if it weren't for our wedding films."

Waite knows he's not the only one catching on, that wedding and event filmmaking has imitated the film world in many ways, something that's obvious to anyone paying attention at NAB the last 5 years. Take, for another example, the Canon 5D, which Waite owns along with every other Canon DSLR. Once used only for his wedding work, Waite and his crew now use the 5D for corporate jobs and on features. In fact, they shot 99% of The Measure of a Man on DSLRs. He calls using them a "no-brainer," and has zero regrets. "Seeing the film premiere on a 50-foot screen, it looked absolutely amazing. People were flabbergasted during the post-screening Q&A session to discover that it was shot with DSLRs," he says.

Boom Boom Boom Boom
Event filmmakers are some of the most efficient filmmakers there are, he points out. "We don't have a second chance to get the shot." Contrast that with the "normal" film world, where it's quite common to shoot just 2 pages of script in a day. Applying wedding filmmaking's urgency to traditional moviemaking has been tremendous. Waite and his crew are so accustomed to working fast that they can get through three times as many script pages (they've even done as many is 20 in a day, which is virtually unheard of).

"But that's what happens when you're working with a bunch of event filmmakers who are used to getting it done-boom, boom, boom, boom!" A small crew is another plus. "As event filmmakers, we really are filling every single crew position, from DP to camera operator to first assistant camera to gaffer to grip to director. We're used to getting things done instead of waiting for someone else to do it."

Andrew Waite Higher Definition Media

RED Zone
But Waite will also be the first to point out that heavier duty specialized cameras certainly have their uses. He owns a RED One digital cinema camera, which he calls "fantastic-capable of amazing imagery," and which he uses sparingly, where appropriate on corporate jobs and in movies (in select scenes where he says the Canon codec falls apart, such as high-speed, high-detail scenes).

For weddings though, the RED One is impractical. "It's big, heavy, and hot," and weddings don't require the RED's extra resolution or RAW capabilities. He's a firm believer in using the right tool for the right job. That's why he owns every Canon DSLR. "Each one has one advantage over the others," he says, whether you're using a 1D in low light, the 5D for its full-size sensor, the 7D to shoot in high-speed 60p, the 60D for its flip-out screen to capture low angle or slider shots, the T30i for its crop capability (to get digital zoom), or the featherweight T2i when you want to put it on a remote control helicopter to get aerial shots.

His bird's-eye-view shots are fast becoming one of Waite's signature and most sought-after offerings. To pull them off, he has brought in the actual world champion of 3D aerial helicopter flying. This after purchasing his first helicopter for almost $20,000 and quickly realizing that hiring a skilled operator would be a prudent idea, considering it takes years to learn how to fly one. "I thought, there's no way I'm going to fly that myself and crash it." In a stunning stroke of luck, one of his employees attended church with Curtis Youngblood-his YouTube videos show him doing "insane" maneuvers, "flying so low to the ground he's literally cutting grass"-and introduced them. Now couples are flying Waite and his chopper operator around the world specifically to have those shots included in their wedding videos.

Always upping the ante, Andrew Waite just purchased an Iconoscope, a custom-built, handmade camera from Stockholm, to use for aerial filming (he will have full control of the camera while it's in the air). It is similar to the RED in that it shoots raw, uncompressed, hi-def video. "It's kind of a filmmakers dream come true," Waite says. He adds that it has a global shutter, as opposed to a rolling one like the Canon DSLRs.

But never mind his camera name-dropping, he says, a strong believer in "the monkey, not the wrench." People do get excited when they hear, for example, that Waite sometimes shoots with a RED camera, and he's very excited himself about RED's forthcoming Epic, but he admits to having less and less use for RED. "Very little of what we have available to the public to see is not shot on RED. People look at it RED like it's this mythical beast, like a unicorn," he says, "But here in California, everyone and their dog has one."

Andrew Waite Higher Definition Media

Better Wed Than...
Gone are the days when a corporate client would view you as more credible if you had a RED. It is using the appropriate tool that is important, and what you do with it, according to Waite. Finding new ways to be creative, with each new project, he asks himself, "What are we going to do this time to take it to the next level?" And he wakes up every morning excited for the day is where all this work has landed him. "Every day excited to look through footage shot over the weekend, to post a new video, and so on." He laughs thinking of a time, not long ago, when he would have flinched introducing himself as a wedding videographer. "I was kind of ashamed of weddings," he admits, pointing to the fading perception of wedding videos as merely AFV fodder. "I wanted to be known as a commercial director or a music director. But now I don't even hesitate," he says. "I'm a filmmaker. I shoot wedding films."

And he plans to shoot them for a long while. "I can't see myself doing anything other than filmmaking." Details will change, he suspects. "I think it's going to start to be more like film production is now. Everybody's getting into these concept videos that Kevin Shahinian and Lloyd Calomay are known for—basically short film productions that rival some of the productions that are coming out of Hollywood these days."

And Waite is glad to be a part of it. Where does he himself in 5 or 10 years? Once again, without hesitation, he says, "Spending my Saturday shooting weddings and loving every minute of it."

Liz Merfeld (www.lizmerfeld.com) is a freelance writer and editor based in Madison, Wis.

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The Company Image: Shooting the CEO

You got the call. It's the one you've been waiting for. After your carefully crafted proposals, emailed samples, and follow-up phone calls, the corporation that you've been chasing after has finally called you back. They want you to gather a crew together in the next few days to film their CEO. Not only are you getting a foot in the door-you're starting at the top!

The boss wants to rally the troops with a video to send to key supervisory personnel. One of the CEO's aides tells you the time and location to bring your gear and crew. Another staffer tells you that the CEO will sit at his desk and talk to the camera. A large window will be your background, no drapes or blinds. The aide says, "That should be plenty of light, right?" You explain that the crew needs to get into the office at least an hour in advance to set up lights and maybe put gels on the window. The aide looks at the calendar and sees that the boss has a meeting with a board member before the shoot. "He'll be out of his office for 15 minutes, so you can get set up then." Welcome to the world of corporate video.

Production Planning
Even though you have little time to prepare for the shoot, you may have already learned about the company and its presentation style. The corporate website can give you a sense of the public face of the company, but the internal corporate culture may take longer to comprehend. An older CEO may want to portray a casual image so he can attract youthful customers or staff. A younger CEO, or a relative newcomer to the firm, may want to project a more formal image. Well in advance of the shoot, determine which of the CEO's aides is the decision maker; you want to work with a single contact person. This assistant can help you determine if the informal or buttoned-down image is what the exec wants to portray. Enlist the help of the company's public relations department if possible. Regardless of the style, your job as director is to create a relaxed atmosphere for the shoot, while helping the CEO present him or herself in as polished a manner as possible.

Most likely you won't get to see the boss until moments before the shoot, so obtain a photo, or-ideally-a video clip. That will help you determine if you'll need to offer advice regarding makeup and hair. A bald CEO probably will appreciate powder to diminish the shine. One who wears glasses will require lighting that that does not cause reflections. You may wish to ask the female CEO to let you bring in your makeup artist, and you can explain how television could accentuate the look of rouge and lipstick in an unflattering way. Ask that the exec not wear fine patterns or stripes, which could create an unwanted moiré pattern, especially on the web. Ideally, the CEO should bring a change of clothes, just in case something doesn't look right, doesn't work with the background, or in case he accidently spills coffee on his clothes.

Directing the Shoot
Most corporate CEOs operate super-efficiently. They know how to control time, and they're used to calling the shots. You, as the video producer, need to establish your dominion over your crew and the shoot. Plan every detail, and have backup plans and equipment, should anything go wrong. Be prepared to explain succinctly how the shoot will go. Your confidence will help put the exec at ease, and he or she will be more inclined take your direction once you've shown how well you planned the shoot. The CEO expects to walk in, start filming right away, and leave as quickly as possible. You will need to have pre-lit the set, adjusted the exec's chair, determined backgrounds, and even set preliminary audio levels.

When the CEO and team arrive, focus your attention on them. You can ask if they have any questions, but you should have done enough pre-production that you are ready to shoot. Introduce the CEO's assistant to your production assistant, and make sure your PA offers coffee or water. If a dressing room is available, your assistant can point that out. If you happen to have a green room or an area where the CEO's assistants can watch a monitor, you'll get them away from your cameras and help your crew to focus on the filming. That room or area can also serve as a private space for makeup application.

One way to help the exec to relax is to raise the light levels in the area of the room where your camera and crew are. That way he or she is able to see the crew and not feel like a performer on a stage with a dark audience. If he fidgets with hands, go for a tighter shot. If he starts to sweat or makes mistakes, pretend you are having technical difficulties and take a break. If you have the chance, ask the CEO to take a brief walk with you to a private area where you two can practice deep breathing, tell jokes, or whatever you can do to reduce the tension.

The opportunity to develop a rapport with the head of the corporation can be an opportunity for a long-term relationship with the firm. Your confidence with supervising the filming crew will be an asset the CEO notices. Your excellent pre-production planning insures that the process runs smoothly, the exec performs in a relaxed manner, and the video exceeds the company's expectations.

Stu Sweetow  (sweetow at avconsultants.com) is the author of the recently published book Corporate Video Production. He runs Oakland, Calif.-based video production company Audio Visual Consultants. He taught video production at UC Berkeley Extension, was associate editor of Wedding and Event Videography, and was a contributing editor to Camcorder & Computer Video magazine.

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Lensbaby Intros Movie Maker's Kit PL-Mount Camera Lenses

Lensbaby announces today the newest addition to the Lensbaby Creative Effects camera products line-up, the Lensbaby Movie Maker's Kit featuring the brand-new Composer Pro PL with Sweet 35 Optic, for use on PL mount cameras.

"The more creative tools filmmakers have at their disposal, the more creative their footage," Says Craig Strong, Lensbaby Co-Founder and President. "The new Composer Pro PL comes loaded with the freedom and versatility of the Lensbaby Optic Swap system and puts a huge range of creative options at the fingertips of filmmakers. We can't wait to see the unique and powerful footage created by motion picture artists around the world."

The Lensbaby Movie Maker's Kit is a complete creative solution for filmmakers looking to add unique effects to their footage, in camera. Conveniently packaged into a rugged Pelican case, the kit contains two Lensbaby lenses for use on PL mount cameras (Muse PL with Double Glass and Composer Pro PL with Sweet 35), as well as one Composer Pro with a Canon mount for use on Canon's line of DSLRs that shoot video.

This kit also includes a wide range of interchangeable optics and accessories designed to provide the filmmaker limitless aesthetic and creative options at a variety of focal lengths. Now, with the addition of the Composer Pro with Sweet 35 to the Lensbaby PL line-up, filmmakers will have access to the improved metal swivel ball design and refined focus mechanism of the Composer Pro, delivering ultra-smooth focus and tilt control.

Filmmakers can achieve a wide range of effects in-camera with the Movie Maker's Kit. The Sweet 35, Double Glass, Plastic, and Single Glass optics can be used to create different quality selective focus effects, where one area of the image at a given depth of field is in focus, and other areas at the same depth of field fall away into a beautiful blur. The Fisheye, Soft Focus, and Pinhole/Zone plate Optics allow further in-camera creativity. Visit the Movie Lens page for more information on the complete kit, and to watch sample footage and see a list of award-winning movies and TV shows containing scenes shot with Lensbaby lenses.

Lensbaby PL Kit Contents:

* Composer Pro with Double Glass Optic for Canon DLSRs
* Composer Pro PL with Sweet 35 Optic
* Muse PL with Single Glass Optic
* 2 Aperture Kits for use with Double Glass, Single Glass, and Plastic Optics
* Fisheye Optic
* Aperture Kit for Fisheye Optic
* Soft Focus Optic
* Aperture Kit for Soft Focus Optic
* Plastic Optic
* Pinhole/Zone Plate
* 0.42x Super Wide Conversion Lens
* Wide Angle/Telephoto Kit
* Macro Kit
* Step-Up/Shade
* Creative Aperture Kit 2


The Lensbaby Movie Maker's Kit is available now for $2900 (MSRP) from www.lensbaby.com.

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Boris RED for EDIUS 6 Now Shipping

Boris FX, the leading developer of integrated VFX and workflow technology for video and film, today announced that Boris RED Version 5 is now available for Grass Valley EDIUS 6. Boris RED is a plug-in application for transitions, professional text, and advanced composites inside of EDIUS and other leading video editing software applications. An indispensable tool for post-production and broadcast professionals, RED offers a wide range of features right on the EDIUS timeline and adds a standalone engine for effects creation and rendering. RED integrates broadcast-quality text generators, paint, rotoscoping, a full suite of tools to create and extrude vector objects, true 3D shapes and animation, and the industry’s most comprehensive image processing filter suite.

"Boris RED gives EDIUS editors professional tools for keying, titling, transitions, and image restoration," commented Alex Kataoka, Director, Product Planning and Marketing, Desktop and Enterprise Solutions, Grass Valley. “Because RED integrates as a plug-in, EDIUS editors never have to leave their timeline, eliminating tedious exports and imports and format hassles.”

“Broadcasters, post-production facilities, and videographers have widely adopted EDIUS 6 and we are excited to bring full-featured compositing and titling capabilities to this platform,” commented Boris Yamnitsky, president and founder, Boris FX. “A free 14-day Trial Version is immediately available so EDIUS editors can experience RED’s capabilities in their workflow.”

Boris RED Feature Highlights

  • EDIUS 6 Integration. Boris RED is the only 3D compositing, titling, and effects application to work as a plug-in inside EDIUS. When applied to tracks on the EDIUS timeline, RED automatically links to the media, bypassing importing and exporting. In addition, RED can import media from a variety of formats, including still image files, movie files, or EPS files. Once a composite is complete, it can be rendered in EDIUS, or the project file can be saved to disk and shared with other Boris RED users.

  • Compositing. RED gives EDIUS editors all tools needed to create seamlessly-blended composites in 2D and 3D space. These tools include keying and matte creation filters, motion tracking, 3-way color grading, and the ability to create custom transitions.

  • Motion Graphics. RED facilitates sophisticated motion graphics design including text on a path, 3D particles, and true 3D vector objects. Extruded text and objects can be combined with light sources, bump maps, and reflections.

  • Image and Vector-based Painting. RED integrates a full-fledged animated paint system that gives EDIUS editors the ability to paint color, spray paint, and clone images.

  • Image Restoration Tools. RED solves many problems introduced by modern video cameras and can help integrate legacy low-resolution footage in new HD-sized projects.

  • Over 200 VFX Filters. RED includes over 200 comprehensive VFX filters from Boris Continuum Complete and Final Effects complete, including transition effects, multiprocessor-accelerated lens blurring effects, and painterly effects.


Pricing and Availability

Boris RED v5 is available immediately through the Boris FX worldwide reseller channel and direct from the Boris FX web site at http://www.borisfx.com for an MSRP of $995 USD. Owners of previous versions of Boris RED may upgrade to v5 for an MSRP of $295 USD and owners of Boris FX or Graffiti may upgrade to Boris RED v5 for an MSRP of $699 USD.

A free 14-day trial version is available from http://www.borisfx.com

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Bella Rolls Out New Shortcuts Software Program Killer Keys

Bella Corporation announced the launch of its new shortcuts software, "KillerKeys" today. For the first time, consumers and professionals will be able to have all of the shortcuts for all of their applications in one place.

KillerKeys is a like a GPS for your computer applications, directing users to thousands of shortcuts for dozens of applications, allowing them to navigate through a complex world of applications with the click of a button.

Until now, users needed to research shortcuts for applications and then click on multiple buttons to use them. KillerKeys allows users to have a favorite shortcuts menu in front of them to use at their leisure or to turn off when not in use. Not only does it allow users to work faster, but KillerKeys acts like a cheat sheet for those who may not be familiar with the shortcuts integrated into their application.

KillerKeys appeals to not only the general consumer, but graphics and video professionals as well, allowing them to work smarter and faster than resorting to digging through menus to locate their shortcuts.

"We wanted to design a powerful application that is useful to the everyday consumer as well as our existing customer base in the video editing and design professions," says Gard B. Cookson, President of Bella Corporation. "KillerKeys allows everyone to navigate applications faster and easier without the frustration previously linked to shortcuts."

KillerKeys will be sold as four different Editions: Home & Student, Business, Print & Design and Video & FX, ranging in price from $9.95 - $49.95. There is an all-inclusive Master Collection that will save about 30% compared to purchasing each separately, that sells for $89.95. Each product comes with 12 months of free updates.

For more information or to purchase KillerKeys, please visit: http://www.killerkeys.com/.

KillerKeys is available now at KillerKeys.com for Windows users. The Mac edition of KillerKeys is slated for 2012.

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