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    Streaming Music : Practices, Media, Cultures

    Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption.The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life.The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways.Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes.Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today.As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

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  • The Business of Media Distribution : Monetizing Film, TV, and Video Content in an Online World
    The Business of Media Distribution : Monetizing Film, TV, and Video Content in an Online World

    In this updated edition of the industry staple, veteran media executive Jeff Ulin relates business theory and practice across key global market segments—film, television, and online/digital—providing you with an insider’s perspective that can't be found anywhere else.Learn how an idea moves from concept to profit and how distribution dominates the bottom line: Hollywood stars may make the headlines, but marketing and distribution are the behind-the-scenes drivers converting content into cash.The third edition: Includes perspectives from key industry executives at studios, networks, agencies and online leaders, including Fox, Paramount, Lucasfilm, Endeavor, Tencent, MPAA, YouTube, Amazon, and many more; Explores the explosive growth of the Chinese market, including box office trends, participation in financing Hollywood feature films, and the surge in online usage; Illustrates how online streaming leaders like Netflix, Amazon, Apple, YouTube, Hulu and Facebook are changing the way TV content is distributed and consumed, and in cases how these services are moving into theatrical markets; Analyzes online influences and disruption throughout the distribution chain, and explains the risks and impact stemming from changing access points (e.g., stand-alone apps), delivery methods (over-the-top) and consumption patterns (e.g., binge watching); Breaks down historical film windows, the economic drivers behind them, and how online and digital delivery applications are changing the landscape.Ulin provides the virtual apprenticeship you need to demystify and manage the complicated media markets, understand how digital distribution has impacted the ecosystem, and glimpse into the future of how film and television content will be financed, distributed and watched.An online eResource contains further discussion on topics presented in the book.

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  • Which is the better video editing program: Shotcut or Hitfilm?

    The better video editing program between Shotcut and Hitfilm ultimately depends on the user's specific needs and preferences. Shotcut is a free, open-source program that offers a wide range of basic editing features and is suitable for beginners or those with simple editing needs. On the other hand, Hitfilm is a more advanced and feature-rich program that is better suited for professional or more complex editing projects. It offers a wide range of special effects, compositing tools, and advanced editing features. Therefore, if you are a beginner or have simple editing needs, Shotcut may be the better choice, while Hitfilm is more suitable for advanced users or those with complex editing requirements.

  • Can HitFilm be set to German?

    Yes, HitFilm can be set to German. The software offers multiple language options, including German, which users can select in the settings. By changing the language setting to German, all menus, buttons, and instructions within the software will be displayed in German, making it easier for German-speaking users to navigate and use HitFilm effectively.

  • What are the problems with HitFilm Pro?

    Some users have reported that HitFilm Pro can be resource-intensive and may require a powerful computer to run smoothly. Additionally, some users have experienced stability issues and crashes while using the software. Another common complaint is the lack of advanced color grading tools compared to other professional editing software. Finally, some users have found the user interface to be complex and not as intuitive as other editing software.

  • What are the issues with HitFilm Pro?

    Some users have reported that HitFilm Pro can be resource-intensive, requiring a powerful computer to run smoothly. Additionally, the software may have a steeper learning curve compared to other video editing programs, which can be challenging for beginners. Some users have also mentioned occasional bugs and glitches that can affect the overall editing experience.

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    Media servers have established themselves as the dominant video playback tool for live events; however, the practice of delivering content to these systems and the structure of the media operations team is still evolving.This book outlines a workflow for video content delivery and describes team communication that can be applied to any entertainment production including: television specials, concert touring, corporate events, theater, as well as special events, film, large audience marketing events, and multi-screen permanent installations.This workflow is hardware and software independent, designed to evolve with future technologies as they become established in the field of multi-screen production, and has been proven professionally by the author and her peers over a decade of productions.The methodology presented will provide insights beneficial to students and current practitioners of media server technology, screens producers, and video content developers.Using real world examples of internationally recognized productions, a foundation is laid for best practices in Media Operations. Additional content, including full-color versions of the images inside the book, is available online.

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  • Digital Media Law : A Practical Guide for the Media and Entertainment Industries
    Digital Media Law : A Practical Guide for the Media and Entertainment Industries

    Digital Media Law offers a practical guide to the law of media and communication, focusing on digital channels, models, and technologies.It draws together the aspects of media law that are most critical for those engaged in the production and distribution of digital media, from traditional broadcasters and internet-based services to major internet platforms. As an expert scholar and educator in media law, Christopher S.Reed brings considerable experience as an in-house lawyer for a U.S.-based media company with extensive news, sports, and entertainment operations.This blend of practical and scholarly insight delivers a textbook which packs foundational principles and concepts into the context of the digital environment, focusing on how those doctrines are applied in the face of rapidly evolving newsgathering, production, and distribution technologies.Key features include:"In the News" sections that tie the legal principles to real-world events or situationsAn integrated fictional case study of a media enterpriseInsights into digital media policyThis accessible textbook is the ideal companion for advanced undergraduate and graduate students as well as practitioners interested in law, journalism, and media studies.

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    Media & Entertainment Law

    Now in its fifth edition, this textbook combines comprehensive coverage with rigorous analysis of a key area of the law.The author illuminates how the courts strive to strike a balance between the freedoms and responsibilities of the press on the one hand and an individual’s right to privacy on the other. Maintaining its coverage of the law across the UK (including Scotland and Northern Ireland) and the EU, the new edition has been brought up to date with expert insights into significant developments and judgments, including: the impact of changes in intellectual property law, data protection, GDPR and copyright law post Brexit – including the cases of Schrems II and Ed Sheeran; analysis of new case law and developments in privacy and freedom of the media – including Duchess of Sussex (Meghan Markle) v The Mail on Sunday and ZXC v Bloomberg; the introduction of new Scottish defamation laws and the importance of defamatory meaning; the response to disinformation, fake news and social media – including tweeting jurors and contempt. With a variety of pedagogical features to encourage critical thinking, this unique textbook is essential reading for media and entertainment law courses at undergraduate and postgraduate levels and an insightful resource for students and reflective practitioners of journalism, public relations and media studies.

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  • Can HitFilm Express be used on Linux?

    HitFilm Express is not officially supported on Linux. It is designed to work on Windows and macOS operating systems. However, some users have reported success in running HitFilm Express on Linux using compatibility layers or virtual machines. It may require some technical knowledge and troubleshooting to get it to work smoothly on a Linux system.

  • How can you cut something out of a video in HitFilm 4 Express?

    In HitFilm 4 Express, you can cut something out of a video by using the "Slice" tool. First, select the video clip in the timeline, then position the playhead at the point where you want to make the cut. Next, click on the "Slice" tool in the toolbar and then click on the video clip at the point where you want to make the cut. This will split the video clip into two separate parts, allowing you to remove the unwanted section. Finally, select the unwanted section and press the "Delete" key to remove it from the timeline.

  • What is render error 37 in HitFilm Express?

    Render error 37 in HitFilm Express is an error that occurs when the software encounters an issue during the rendering process. This error can be caused by various factors such as corrupted project files, insufficient system resources, or conflicts with third-party plugins. To resolve this error, you can try restarting the software, checking for updates, adjusting the project settings, or rendering the project in smaller segments. If the issue persists, you may need to seek further assistance from the HitFilm Express support team.

  • How can you keyframe text in HitFilm Express?

    In HitFilm Express, you can keyframe text by first creating a text layer in the timeline. Then, go to the Controls panel and adjust the text properties such as position, scale, rotation, opacity, etc. Next, move the playhead to the desired point in the timeline, and click on the keyframe icon next to the property you want to animate. Finally, move the playhead to another point in the timeline and adjust the property again to create a new keyframe. Repeat this process to create smooth text animations.

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