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Pro Video Coalition

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My Ultimate Field Monitor

17", Lightweight, Dual Angle, Battery-Powered and Wireless

By Helmut Kobler | October 23, 2014

A few months ago, I put together the ultimate field monitor — for my purposes, anyway. I’m so happy with it that I find myself talking it up to clients, fellow shooters, and now to you, dear Reader.

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EOS C100 Mark II: The Next Generation of Cinema EOS

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The same design as the C100 but with several new features, some requested by users, are the base for the EOS C100 Mark II.

By Jose Antunes | October 22, 2014

Canon expands its Cinema EOS System with the launch of the EOS C100 Mark II,  presented as the starting point for the new generation of cinema EOS cameras. The EOS C100 Mark II is very similar to the original C100, but introduces some new features in this large sensor professional video camera for single operators. The EOS C100 Mark II offers a comprehensively upgraded package, delivering improved image quality and greater creative flexibility alongside easier operation and wireless sharing capabilities. And a better EVF!

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Using Reward-based Crowdfunding to Build Exposure: The Results

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Judge for yourself if the strategy we followed might be effective for your purposes

By Jerome Goerke | October 23, 2014

Near the start of our reward-based crowdfunding campaign I wrote a piece for PVC outlining the ‘partnership approach’ we were taking to build exposure so that we could reach the desired ‘tipping point’ - that point where a key multiplier (popular press outlet or... Read More

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Review: Átomos Spyder monitor calibration system

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Quickly and easily calibrate to Rec 709 from Mac or Windows.

By Allan Tépper | October 23, 2014

Last year I published a short article when Átomos announced its Spyder monitor calibration system. Now I am privileged to have received one to review. With it, we can quickly and easily calibrate any calibratable Átomos monitor/recorder (i.e. Shogun, Samurai Blade, or Ninja Blade) to Rec 709 color space with a D65 white point (6500 degrees Kelvin). This is a special offering of Datacolor’s Spyder, with special software and a LANC cable. Details ahead.

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Lookout Movi You’re Not the Only Kid In Town

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My 2 Days with the Defy G5

By Bobby Marko | October 23, 2014

For the last two years the largest innovation in camera support and movement has to be the motorized gimbal. These devices have taken the filmmaking and video industry by storm. It’s hard to find one industry blog or magazine who isn’t talking about these devices. From handheld... Read More

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Remember your Ps and Qs: Performance and Quality Top Priority for Consumers Watching On-Demand

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Consumer trends guiding the industry

By John Riske | October 22, 2014

With BBC iPlayer announcing that viewers will be able to watch their favourite shows on-demand for 30 days, rather than the previous maximum of seven, the question on everyone’s mind is what’s next for VOD?

Despite being in the relatively early stages of... Read More

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LOG and RAW workflows and the Adobe video tools

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Robbie Carman answers your questions

By Eric Philpott | October 21, 2014

On October 16, colorist Robbie Carman presented LOG and RAW workflows on the Ask a Video Pro Adobe webinar series. The session was excellent and the participants had lots of great comments and questions. So many questions, in fact, that I asked Robbie if he would be willing to write answers to... Read More

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Creating lasting video impressions

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Leading entertainment production company produces sports venue and stadium entertainment with Adobe Premiere Pro CC

By Meagan Keane | October 21, 2014

When fans turn their attention to the large screens at sports’ biggest events, there’s a good chance that they’re watching the work of Van Wagner Big Screen Network Productions (VWBSN). Over the past three decades, Big Screen Network Productions established itself as the... Read More

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Visual Effects Workflow with Final Cut Pro X

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This Week on MacBreak Studio

By Mark Spencer | October 21, 2014

How does Final Cut Pro X fit into the visual effects workflow of a feature film?

Quite comfortably, as we discover on this week's episode of MacBreak Studio, where I get the opportunity to speak with Mike Matzdorff who was the first assistant editor on a big-budget studio... Read More

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Adobe ‘Gone Girl’ panel: Premiere & After Effects

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on Thursday October 23

By Rich Young | October 21, 2014

You can join Adobe for a panel discussion with the editorial and post-production team behind the movie Gone Girl from director David Fincher. As you may have heard, the Fincher team leveraged Adobe Premiere Pro and After Effects in a workflow based on RED Dragon 6K raw footage files framed in 5K.

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Kicking the Tires on the Adobe Premiere Pro CC 2014.1 Update

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It's more than kicking the tires really since I've cut two jobs in it already

By Scott Simmons | October 20, 2014

It was announced at IBC and shipped at Adobe MAX (I wonder if this will become the norm?) and it’s another big update to Adobe Premiere Pro. We dissected the features when this update was announced but now that we’ve had the chance to work with it we can dig in a bit deeper. I’d have posted this sooner but I’ve been editing!

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Small LEDs Create BIG Panels

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Phottix have new VLED lights available, small panels that can be combined vertically or horizontally to create larger LED banks

By Jose Antunes | October 20, 2014

The new series of Phottix LED lights are small, affordable LED lights for small crews – and here I mean freelancer videographers working on their own. Small LED lights are easy to transport, easy to work with and offer powerful controllable light for different projects, both in video and photography.

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Media Composer 101 - Lesson 2 - What’s New in Version 8.2

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What's New in version 8.2 of Media Composer Subscription

By Kevin P. McAuliffe | October 19, 2014

Much like with most applications, you wait for the major updates (version 4, 5, etc) for new features to add to your editing toolkit.  Well, with the new Subscription Model of Media Composer, the world best editing application now gets new features every few months.  Here's what's new in version 8.2.

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iPad Air 2 is semi-matte!/My MacBook Air is now matte too!

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The new iPad Air 2 is non-reflective and reduces glare by 56%! The "least reflective tablet on the market"...

By Allan Tépper | October 19, 2014

Frequent ProVideo Coalition readers know that I strongly prefer matte screens, whether its for media production or general use. In fact, I recently even sent my MacBook Air to have its display transplanted for a matte display. Now, I am ecstatic to see that Apple is finally offering a non-reflective screen on its latest iPad Air 2. I am only disappointed not to see it offered on the iPad Mini 3 or an any current iPhone. Details ahead.

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Review: ThunderBay IV 4-bay 12TB Thunderbolt system

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Now we can do RAID5 via software and save substantially.

By Allan Tépper | October 19, 2014

Back in June, I published my first look article on the ThunderBay IV 4-bay 12TB Thunderbolt system with the palindromic price —in this configuration— of US$979, which has since been lowered to US$959. OWC offers other configurations too, with smaller or larger capacity, and now even some with Thunderbolt 2. Ahead I review the various available configuration options (JBOD, RAID 0, RAID 0+1, RAID 4, RAID 5) and compare their performance versus redundancy, logistical benefits of each one, and more.

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PVC at AES 2014 - Exclusive Info About the DR-60D from Tascam

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Four channel audio recorder designed specifically for DSLR filmmakers

By Woody Woodhall | October 18, 2014

Improving location audio is one of the simplest ways to greatly enhance the overall quality of your productions. Exceptional digital audio recorders have dropped drastically in price in recent years, offering vastly improved field sound recordings. Tascam has been in the audio recording... Read More

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4K is Obsolete. 5K is Here, 8K Comes Tomorrow

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The launch of Apple's 27-inch 5K display is one more sign that the market never stops. 5K monitors are the next big thing.

By Jose Antunes | October 17, 2014

A selection of 4K Monitors at low prices was recently published here at PVC - 4K Monitors Under $850 - , but that seems to be old news now. Apple has just presented their new 5K monitor, and they’re not alone. Dell also has a new 5K monitor to show. These are some expensive gifts for the coming Christmas. But a new 8K DisplayPort standard was announced last September, making 8K monitors a viable option in a near future.

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Canon’s New Ultra Zoom for Sports and Nature

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A 75-1500mm focal range, 20x magnification, servo drive and 4K image quality are present in the new zoom lens for TV production.

By Jose Antunes | October 17, 2014

Canon bolsters its cine servo lens line-up with the new CN20x50 – a high performance, ultra-telephoto zoom lens for sport and nature TV production. Leveraging Canon’s long-standing and unparalleled expertise in lens design, the CN20x50 delivers superb image quality and exceptional creative control, and is the first lens of its type to combine a built-in 1.5x extender, class-leading 20x magnification and a removable servo drive, with a native 50-1000mm focal range that expands to a huge 75-1500mm.

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Adobe Creative Cloud News and Specials

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By videoguys.com | October 16, 2014

Videoguys.com Announces Adobe Creative Cloud for Teams Upgrade, 2-Year Rate Lock, and Special Multi-Seat Prices for 5 or more users

Now it is more affordable than ever to set-up your entire... Read More

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Behind the Workflow and Post-Production Process of Gone Girl

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An interview with Gone Girl post engineer Jeff Brue and assistant editor Tyler Nelson

By Jeremiah Karpowicz | October 15, 2014

David Fincher’s latest feature film, Gone Girl, was shot in 6K and reviewed in a full 4K pipeline. It’s the first feature film to be cut on Adobe Premiere and needed to employ an incredibly advanced technical workflow to handle all of the data and ensure there... Read More

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