 We all know the important place that DSLRs now have in the world of video production. The versatility of these cameras, the ability to alternate between still photography and video at a shoot, the interchangeable lenses, large processors, and more, have all meant that DSLRs are an attractive option for shooting video.
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 For budget friendly, uber audio, check out the Zoom H2n Audio Recorder.
We're all familiar with the truism that poor video may be forgiven as long as the audio is great, while the best video will suffer if the audio is lousy. Whether short film or feature, Hollywood blockbuster or local independent, the quality of your audio will make or break your production faster than any other single component.
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 The Roland VR-3 is a fully integrated audio mixer, video switcher for live production and web streaming. This unique product combines the power of Roland’s audio and video technology into one unit and expands the growing lineup of AV Mixers and streaming-ready solutions from Roland.
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 The VR-3’s innovative design incorporates a video switcher, audio mixer, preview monitors and streaming-ready USB output all in a single unit. As a USB Video/Audio class device, web streaming is effortless by simply connecting to a computer running a live streaming service such as USTREAM , Livestream, Stickam, Justin.tv, worshipstream.com, websharelive.com, etc. The reduction in hardware equipment, setup time and connection complexity ensures a worry-free, easy to use solution for any event.
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 NVIDIA introduced today NVIDIA® GPUDirect™ for Video, a technology that enables application developers to deliver higher quality, more realistic on-air graphics -- or take faster advantage of the parallel processing power of the GPU for image processing -- by permitting industry-standard video I/O devices to communicate directly with NVIDIA professional Quadro® and Tesla™ graphics processing units (GPUs) at ultra-low latency.
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 Roland has produced a series of training videos that are not only great for learning how to use the VR-5, they are a fantastic way to learn more about the product and how it can fit into your production needs.
The VR-5’s “all-in-one” solution greatly simplifies production, recording and streaming of any live event. The VR-5’s innovative design incorporates a video switcher, audio mixer, video playback, recorder, preview monitors and output for web streaming all in a single unit. As a USB V
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 The Grass Valley™ ADVC® G-Series of affordable, multi-purpose digital video converters are at the leading edge of technology, and the latest additions to the renowned ADVC family. Housed in a practical and compact 1/3 RU form factor, these four converters tackle a variety of different A/V tasks and are particularly well suited to events and staging, corporate AV centers, and broadcast display applications.
All ADVC G-Series converters include a frame synchronizer (FS) and full format support.
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 Mac users prepare to usher in a new generation of connectivity via Thunderbolt or dabble in USB 3.0 via third-party cards. PC vendors add USB 3.0 ports. Still, the majority of users are currently relying on storage connectivity via FireWire, USB 2.0 or eSATA. Furthermore, the ever-decreasing cost of storage, the ever-increasing need for capacity brought about by solid-state workflows and the demand for ever-increasing throughput due to higher-data-rate video formats make RAID a necessity.
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 The new Fast Forward Video (FFV) sideKick HD is a versatile recording solution designed to ease production workflow and satisfy the demands of both producers and postproduction editors. The camera-mountable sideKick HD captures video directly from HD/SDI or HDMI outputs at bit rates up to 220 Mbit/s, with 4:2:2 sampling and 10-bit resolution in multiple codecs starting with ProRes on removable 2.5" SSD drives. Recording directly to high-quality NLE formats eliminates time-consuming transcoding,
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 This creative and entertaining Film Short features a young filmmaker obtains a mysterious device that unleashes the full force of cinema on his front lawn.
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 The newest tool we have in our bag of tricks is the Matrox Convert DVI Plus. What I thought would be just another scan converter has become a swish army knife to our video needs. The ability to take a raw DVI source signal input and send it out – SDI, Component, and Composite is worth the money. No longer do we have to route the video through multiple pieces of equipment to get it our screens.
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 Since Apple launched Final Cut Pro X last Tuesday, I’ve had more than 3,500 emails that range from “I’m enjoying FCP X and creating useful projects,” to “FCP X will destroy my ability to make a living.” (And, ah, far worse, I’m sad to say.)
When I first saw Final Cut X, I was excited by its potential, but warned Apple that this release would be intensely polarizing to the editing community. It does not give me pleasure to see that I was right.
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 Before I begin ... let me say this.
David Pogue is a fine gentleman who I have met several times. He is smart, he is generous in his knowledge, and he is fair. He is not a shill and his article was trying to be helpful (I commend him for getting Apple to answer questions).
He is not a video editor. Nor does he try to pass himself off as one.
I am sorry this response is SO long. It's technical and it's important I be clear and detailed (I've already been criticized a
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 Matrox Video Products Group today announced the availability of new software releases for the Matrox MXO2 product line for Mac and PC. Highlights of the new releases include support for Adobe® Creative Suite® 5.5 Production Premium, capture support for Adobe Flash Media Live Encoder, and presets for new H.264 encoding parameters in Adobe Media Encoder.
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 It would be redundant of me to, once again, emphasize just how important the quality of the audio is both when planning preproduction, when shooting, and in post production.
For those many who have begun much of their filming using the DSLR's which, aside from being great for the photo enthusiast, can produce some beautiful video footage, but to the user's dismay, the audio quality for any of the DSLRs that I have heard is quite dreadful. Fortunately there is software that can, with little
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