 Telestream®, a leading provider of digital media tools and workflow solutions, today announced a major release and a new product for its Wirecast® video streaming production software. Wirecast is live webcasting software that allows anyone to easily create real-time or on-demand video broadcasts for the web. The new version, Wirecast 4.0, features high-quality Main Concept H.264 encoding and a new intuitive user interface, making it even easier to use. Wirecast Pro, the new product, builds upon
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 Telestream®, a leading provider of digital media tools and workflow solutions, takes video encoding to the next level with its announcement today of Episode 6. For the first time, users can pool resources to share encoding work across multiple computers in a mixed environment of Macs and PCs. Episode also brings cross-platform scalability from the desktop to the server, another industry-first. Combining exclusive One-Click Clustering™ and integrated file sharing allows users to easily share wor
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 Matrox® Video Products Group today announced support for Adobe® Creative Suite® 5 Production Premium software with Matrox MXO™2 I/O devices for Windows. The key features of this new release include: full-resolution, full-frame-rate, multi-layer, realtime video editing via Matrox RT™ technology; lightning fast H.264 hardware encoding for Blu-ray, the Web, and mobile devices via Matrox MAX™ technology; and professional audio and video input and output with 10-bit hardware up/down/cross conversion.
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 Matrox® Video Products Group today announced a cost-effective HD monitoring solution for the newly launched Avid® Media Composer® V5 and NewsCutter® V9 editing systems. Matrox MXO2 Mini turns a user’s HDMI screen into a professional-grade video monitor with color calibration tools including blue-only. The small, lightweight, external box is ideal for file-based workflows in studio, on set, in the field and in OB vans. It provides HDMI, analog component, S-Video, and composite output and cross-pl
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 Adobe Systems Incorporated announced Adobe® Creative Suite® 5 Production Premium, the complete solution for creating professional video, audio and interactive content that can be delivered online, on-air and on device. Packed with performance breakthroughs and offerings to streamline script-to-screen workflows, Adobe Creative Suite 5 Production Premium contains new releases of flagship CS components, including Adobe After Effects® CS5, Adobe Premiere® Pro CS5, Adobe Photoshop® CS5 Extended (see
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 Buy Media Composer 4 today, get free upgrade to MC5 when it ships in June!
Avid tapeless workflows with MC5 are a game changer. This is amazing. Just left the reseller meeting at NAB! GREAT JOB AVID!
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 We've been busy publishing and updating the Guides on our website!
Videoguys' Guide to DSLR Workflows
Videoguys Guide to Migrating From Avid Liquid to Avid Media Composer
Videoguys Guide to Understanding HD Formats
Videoguys' FAQ: Matrox MXO2 Family of Products
Wedding & Event Videography Guide from the Videoguys
Videoguys' Professional Video Editing and Production Guide
NAB 2010 IS COMING!!Keep up with the latest news and information by following the Videoguys
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 Now that the word is out - April 12th is the big day when ALL of CS5 will be announced, I'm seeing a lot of misinformation on Twitter over what's necessary to take advantage of Premiere Pro CS5 and the Mercury Playback Engine:
1. It won't run on laptops. FALSE I'm running it today on my MacBook Pro, and taking full advantage of 64-bit goodness and multicore optimization. Even though there's not a supported GPU in my MacBook, the performance gains over CS4 and CS3 are very significant. In m
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 Legal videographers need to make high quality A/V recordings and archive safety copies of them for 60 to 90 days. Deposition videos are usually recorded and delivered on DVD and backed up to SVHS for failsafe copies. But with the pro video community as a whole moving away from tape as an acquisition or even backup up format, the obsolescence of SVHS tape as well as problematic storage and archiving issues, non-tape back up just makes more sense these days.
Datavideo makes a family of Stan
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 I’ve covered Matrox for a number of years. With the development of the MXO and MXO2 units, Matrox has put together one of the strongest families of I/O products that are available for the Apple Final Cut Pro editing customer. The original MXO was designed to use the video signal from one of the internal graphics card’s DVI ports and turn that into a broadcast quality signal for output and monitoring. The MXO2 was built as a more traditional ingest and output system. Instead of DVI, the MXO2 conn
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 The Matrox MXO2 Mini is definitely a solid piece of hardware that will not disappoint. At just $450 for the Matrox MXO2 Mini without the MAX hardware you have a solid I/O device that can capture just about any source a client will throw at you. Also, Matrox’s calibration software will allow you to monitor your video properly to any HDMI monitor. The choice of codec and bitrate will fit any project that you might face and the HDMI in and out is a dream if you’re neurotic about your cabling – e
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 After Canon PR jumped the gun a bit on the release of the EOS Movie Plugin-E1 for Final Cut Pro, they have finally released the tool here in the back half of March. If you haven’t heard about the EOS Movie Plugin-E1 for Final Cut Pro it’s adds an option to the FCP Log and Transfer tool to import Canon 1D, 5D Mark II and 7D H.264 Quicktime files and transcode to any of the ProRes flavors (or Apple Intermediate Codec) in the process.
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 We all know this fact: The Canon DSLRs (5D, 7D, 1D) use the H.264 codec for the video they shoot and wrap that into a .mov QuickTime. While Final Cut Pro does work with .movs, these H.264 versions are clunky to edit requiring much rendering when in a FCP timeline. H.264 wasn’t designed to be a robust edit format anyway so the files need to be transcoded into something more edit friendly.
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 While we wait for AMA support of AVCHD there is an improvement that I found that some may know but I thought I would share it here for those that missed it.
Step one - Convert AVCHD (.mts etc.) file to avi using Cineform Neo Scene. This $100 product is gaining alot of attention because other NLEs are beginning to support the Cineform Codec natively. This works with cameras like the Canon 5D/7D too. It converts the color space to 4:2:2, handles 24p correctly and is considered visually lo
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 Firmware Version 2.0.3 incorporates five enhancements to the movie function and a fix to the manual sensor cleaning function of the EOS 5D Mark II camera.
1. Adds or changes the following movie frame rates.
NTSC:
1920×1080 : 30 fps (changed - actual 29.97 fps)
1920×1080 : 24 fps (added - actual 23.976 fps)
640×480 : 30 fps (changed - actual 29.97 fps)
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