 RED’s Scarlet appears to be just around the corner and both Sony and Panasonic seem to be responding to the challenge of the upstart photo manufacturers. No matter what acronym you use – DSMC, HD-DSLR, HDSLR – these hybrid HD video / still photo cameras have grabbed everyone’s attention. 2010 may indeed be the year that hybrid digital SLR cameras hit their stride.
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 No, this isn’t the 5D workflow article that you’ve been waiting for. That’s still coming in another couple of weeks. In the meantime, I’ve started on another Canon 5D commercial. This time I’m cutting the project in Avid Media Composer instead of Final Cut Pro. There are a number of reasons, including some recent stability issues I’ve had with FCP. In addition, the creative treatment calls for some nice speed ramp effects. Avid’s FluidMotion is simply a much better slomo technology than anything
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 "The Matrox MAX technology has revolutionized our workflow. Our camera crews typically would record to tape or FireStore drives using our Canon HV20/HV40, Sony PMW-EX1, and Panasonic HPX500 camcorders. They would then ship the tapes or drives back to our facility where staff would transfer the footage to Final Cut Server. It would take us a day just to see it, then another three or four hours to add all the metadata so the editors could get to work. Once the editing was done we would output from
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 Besides all the advantages and possibilities shooting with a HDSLR offers, there are some major drawbacks. For me the biggest problems are: rolling shutter (but even the red has it), no audio control and the too contrasty, over-compressed, 4:2:0 h264 output. You can create or download a “flat-look” profile for your camera, which basically eliminates contrast by lifting blacks and crushing highlights when the camera sensor processes the image before compressing it. After playing around and testin
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 One of the most confusing things about digital video editing is the storage requirement. In this article the Videoguys Techs will help you better understand just what kind of storage you'll need for your video productions. Mac or PC based video editors face the same storage challenges and questions, and we've got the straight forward answers you need!
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 KDVR in Denver, Colorado is "Where News Never Stops". Twenty photo-journalists are on-call 24/7, ready to cover breaking stories from a satellite truck, seven micro-wave trucks, and a storm tracker vehicle all equipped with Sony EX3 cameras, MacBook Pros with Final Cut Pro and Matrox MXO2 I/O devices. It’s a very-efficient, all-digital HD production workflow.
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 The sheer mix and volume of formats to deal with today can be mind-boggling. Videotape player/recorders – formerly a common denominator – are a vanishing breed. Post facilities still own and use VTRs, but operations at the local market level, especially in broadcast, are becoming increasingly tapeless. Clearly, once the current crop of installed VTRs become a maintenance headache or are no longer an important cog in the operation, they won’t be replaced with another shiny new mechanical videotap
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 A tapeless video recorder that attaches to inexpensive or older cameras, and lets them record a higher-quality picture than they could otherwise. What’s more, the Ki Pro records video as QuickTime files that are ready for editing in Final Cut Pro (no time-consuming digitizing or transcoding required).
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 The MXO2 comes in several configurations: MXO2, MXO2 Rackmount, MXO2 LE and MXO2 Mini. All the MXO2 boxes essentially do the same thing, with the distinguishing factor being the inputs and outputs available. Each box provides for monitor calibration, up-convert, down-convert, cross-convert of video content, and optional accelerated encoding for H.264 using the Matrox Max technology.
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 Matrox® Video Products Group today announced Windows 7 support for Matrox MXO2 LE, MXO2 and MXO2 Rack. The Matrox MXO2 family of I/O devices1 streamlines editing with Adobe CS4 Production Premium. These devices provide all the features of an I/O card in a sturdy breakout box with professional audio and video connectivity. The Matrox MXO2 devices are also available with Matrox MAX technology for accelerated H.264 file creation using Adobe Media Encoder.
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 Final Cut Studio adds some notable enhancements to an already outstanding video editing suite. The latest update brings many thoughtful improvements for the high-end professional, while keeping the blue-collar editors and film students happy, too.
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 I think it's time to start talking more about one of the most cost effective tools you can add to your HD video editing arsenal - the Matrox MXO2 Mini. There are lots of great features... in this mighty mite, and I'm going to use this article to tell you all about them. We've had great success in the past using an FAQ format to better explain new products and technology, so we'll keep at it now.
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 Io Express is an ideal Mac or PC interface for video professionals looking for an inexpensive monitoring and mastering solution when working with Apple ProRes 422 and Apple ProRes 422 (HQ), XDCAM HD, DVCPRO HD and more. Io Express bridges the computer and video worlds, providing professional I/O options to laptops such as the Apple MacBook Pro or to desktops such as the Apple Mac Pro or HP workstations.
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 It only happens every 2 years or so that Apple releases a major upgrade to its professional suite of post-production software. Now Final Cut Studio 3 is unveiled, and at the core is Final Cut Pro 7. New Features to Final Cut Pro 7 include: Expanded ProRes family, Easy export, iChat Theater support, New speed change tools, Alpha transitions, Improved markers, Native AVC-Intra support, Background export, Global transitions, Multi-Touch Trackpad and more
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 With the release of the new Final Cut Studio, Apple has introduced three new
members of the Apple ProRes family: Apple ProRes 422 (Proxy), Apple ProRes 422 (LT),
and Apple ProRes 4444.
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