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by Allan Tépper

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Allan Tépper has been working with professional video since the early eighties, since he first learned to edit video using the open-reel 1/2” EIAJ-1 format with a Sony AV-3650 editing deck in his high school in Connecticut. Since 1994, Tépper has been consulting both end-users and manufacturers via his Florida company. Via TecnoTur, Tépper has been giving video technology seminars in several South Florida’s universities and training centers, and in a half dozen Latin American countries, in their native language. Tépper has been a freque...

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EditReady 1.2 now overshadows ClipWrap

EditReady 1.2 now overshadows ClipWrap

The 1.2 update of EditReady from Divergent Media now overshadows its own ClipWrap.

By Allan Tépper | March 06, 2015

Since 2011, I have appreciated how ClipWrap added proper support for malignant PsF within just days of my initial request, alleviating the woes of many Canon AVCHD camera owners who appreciated pure progressive without any unnecessary de-interlacing. More recently, I was surprised to see how ClipWrap’s creator —Divergent Media— added support for professional XAVC Long GOP to EditReady, and did not do so with ClipWrap. So I asked whether they were now favoring their EditReady instead. They answered with a big yes, with pre-release info about the EditRead 1.2 update that was released earlier this week. Ahead you’ll learn all about it.

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Pro XAVC Long GOP compatibility bulletin 2015.1

Pro XAVC Long GOP compatibility bulletin 2015.1

More XAVC Long GOP compatibility reports are now coming out of the woodwork.

By Allan Tépper | February 28, 2015

I recently published an article about the breakthrough pro XAVC Long GOP códec/format from Sony, which is the third group of XAVC born in 2012. In the first article, I covered the status of third party software that support professional XAVC Long GOP. Since then, more compatibility reports are coming out of the woodwork. Ahead is a compatibility update, and even a video from a Canadian reader.

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Understanding & using the breakthrough XAVC Long GOP códec/file format

Understanding & using the breakthrough XAVC Long GOP códec/file format

The third category of Sony’s XAVC is the most enticing for me.

By Allan Tépper | February 25, 2015

Back in 2012, Sony deployed the first version of XAVC, one that can offer color depths of 8-bit, 10-bit, and 12-bit and chroma subsampling of 4:2:0, 4:2:2, or 4:4:4. That first version is i-frame and found on very high-end cameras. Then Sony released the consumer version, XAVS S, which is Long GOP up to 4:2:0 and 8-bit and is found in such cameras as the A7S. But the most enticing version (for me) is the professional XAVC Long GOP, which offers up to 4:2:2 10-bit in cameras like the PXW-X70 at up to 50 megabit/second. More ahead…

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48 reasons why GarageBand is kryptonite for video production

48 reasons why GarageBand is kryptonite for video production

GarageBand’s lack of 48 kHz sampling rate even limits audio producers from making soundtracks for video

By Allan Tépper | February 17, 2015

The market is full of capable digital audio editing applications. I am familiar with many of them and have covered several. Many are capable of recording —and all are capable of editing and delivering — a final product of 44.1 or 48 kHz (or more) with a single glaring exception: GarageBand from Apple. That makes GarageBand kryptonite for video producers, and even for audio producers who either want to shoot themselves on video or ever produce a soundtrack for a video producer. Ahead we’ll review what this all means, including what audio sampling rate is, and best practices for a producing a music video.

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Sports Solutions white paper for NewTek LatAm/EMEA

Sports Solutions white paper for NewTek LatAm/EMEA

I wrote a new white paper for NewTek Latin America, and Europe/Middle East/Africa is now requesting an English translation.

By Allan Tépper | January 30, 2015

After the great popularity of the NewTek New Scopes white paper I published for NewTek US, the Latin American department then contracted me to translate/localize it for its own region. Later, the NewTek Latin American division requested a series of other white papers, starting with the NewTek Sports Solutions white paper. Despite its rather narrow title, this white paper will also be quite valuable for anybody planning a live multicamera video system. Shortly thereafter, the NewTek EMEA (Europe, the Middle East and Africa) division requested an English translation/localization. Ahead you’ll find the table of contents and more.

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In Guatemala, Shogun reverses 29.97PsF pulldown for 8-camera live-switched show via Datavideo HS2800

In Guatemala, Shogun reverses 29.97PsF pulldown for 8-camera live-switched show via Datavideo HS2800

Thanks to the reverse telecine feature in the Shogun and other Átomos recorders, Staff/HDTV got its wish.

By Allan Tépper | January 27, 2015

Staff/HDTV in Guatemala really wanted to record pure progressive 1080/29.97p for its multi-camera TV shoots. They strongly considered NewTek’s TriCaster lineup, but TriCaster didn’t offer any option with 8 HD-SDI inputs in their desired price range, so instead they chose Datavideo’s HS2800 mobile studio, which starts with 8 HD-SDI inputs and is expandable to 12. The initial problem was that the SE–2800 contained in the HS2800 package only handles interlaced 1080i, but a workflow I previously published solved the problem and allowed Staff/HDTV to have their cake and eat it too. Details ahead.

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Why Digital Sprockets edits video with DaVinci Resolve instead of FCP X

Why Digital Sprockets edits video with DaVinci Resolve instead of FCP X

Benjamín Fernández of Digital Sprockets has 6 reasons why he prefers to edit video with DaVinci Resolve instead of FCP X.

By Allan Tépper | January 24, 2015

Benjamín Fernández is the director of Digital Sprockets in México City, where since 1994 he has offered post-production, telecine (film-to-tape) and film restoration services. While I’m in México City doing seminars, I visited Digital Sprockets and heard all 6 interesting reasons why Benjamín prefers editing video with DaVinci Resolve than with Final Cut Pro X.

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Allan Tépper to give 4 tech seminars in México City

Allan Tépper to give 4 tech seminars in México City

From January 26–29, Allan Tépper will give seminars in México City.

By Allan Tépper | January 15, 2015

From January 26–29, I’ll be giving four tech seminars in México City. Actually, three of the four will be tech (audio/video/podcast production/post/distribution), while the first presentation will be free, and will be about language issues. All four presentations will take place in México City, and will be presented in Castilian/castellano (aka “Spanish”). Details ahead.

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First look: Cinema FV–5 for Android, similar to FiLMiC Pro for iOS

First look: Cinema FV–5 for Android, similar to FiLMiC Pro for iOS

With USB audio coming to Android, I began to explore Cinema FV–5 and initiated talks with the developer.

By Allan Tépper | January 15, 2015

I recently covered how proper digital USB audio is coming to Android (link ahead), which means that iOS devices like iPad/iPhone/iPod Touch will now face some healthy competition for audio/video production. That’s why I purchased and began conversing with the developer of an Android app called Cinema FV–5, which is similar to FiLMiC Pro on iOS. Initially, I’ll be using Cinema FV–5 with the Sony Exmor IMX214 sensor (f/2.0 aperture, 13MP, 4K DCI and UHD) in the OnePlus One phablet/phone. Ahead you’ll see features, a demo, and the developer’s response to my first comments and questions.

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IK Multimedia: Android will finally receive proper USB audio support

IK Multimedia: Android will finally receive proper USB audio support

Thanks to IK Multimedia, many Android devices should receive proper USB audio support soon.

By Allan Tépper | January 10, 2015

For the past few years, I have been covering many third-party USB audio devices for iOS phones and tablets in ProVideo Coalition magazine, including digital microphones and audio interfaces with built-in A>D conversion. Even though I am a Mac user who prefers Android for my mobile phone, I have so far emphasized iOS (iPad/iPhone/iPod Touch) since there has been such weak support for digital USB audio with Android. This was supposed to change with Android 5 (Lollipop). However, there have still been latency issues. IK Multimedia promises to be the hero to resolve this soon for certain Android phones and tablets. Details ahead.

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First look: Panasonic DMC-FZ1000 4K UHD camcorder

First look: Panasonic DMC-FZ1000 4K UHD camcorder

With its 25–400mm permanent electric zoom and 1" type sensor for under US$900, it is worth a good look.

By Allan Tépper | December 18, 2014

I first paid attention to the Panasonic DMC-FZ1000 4K UHD camcorder when my friend and director Luis Palomo told me he had one on the way for him. I looked up the specs and price, and was intrigued. Like the Sony PXW-X70 I’ll be reviewing soon (already purchased by two local friends), the DMC-FZ1000 has a 1" type sensor which is capable of 4K UHD, as well as 1080p and below. It has a 25–400mm permanent electric zoom (35mm equivalent). Here is my first look (including audio details not published by Panasonic), while I perform a full evaluation with Luis.

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Tascam DR–60DmkII audio recorder: enticing for US$199

Tascam DR–60DmkII audio recorder: enticing for US$199

With the new DR–60DmkII, Tascam boosted the preamps to+64dB, and lowered the price to US$199.

By Allan Tépper | December 15, 2014

Many readers are familiar with the original Tascam DR–60D recorder, which was less capable with a higher price tag than the new DR–60DmkII. Woody Woodhall of ProVideo Coalition first announced the improved DR–60DmkII in October 2014, which fortunately offers up to 64dB of gain on its microphone preamps. I have already made several recordings with it, from both dynamic and condenser mics, and have plenty to report. Ahead you’ll see what I like, and what I would improve.

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An unfair yet justifiable mic comparison: AT2005USB versus Plantronics .Audio 326

An unfair yet justifiable mic comparison: AT2005USB versus Plantronics .Audio 326

Even though it may be unfair, I have logical justifications to make this mic comparison/shootout.

By Allan Tépper | December 09, 2014

I have covered the Audio Technica AT2005USB hybrid microphone (analog XLR + digital USB) in past articles and ebooks, and it has been my chosen studio microphone for my recent podcasts. On the other hand, I recently reviewed the Plantronics .Audio 326 headset microphone with outstanding results. Now, even though it might be considered unfair, I am doing a direct shootout. Ahead are my justifications and test results, including simultaneous recordings through each mic.

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How I tripled my podcast listenership after Apple iTunes censorship

How I tripled my podcast listenership after Apple iTunes censorship

Apple censored my CapicúaFM podcast in October 2014. Now I have more than 3x more listeners than before, and they still increase

By Allan Tépper | December 06, 2014

Apple censored my CapicúaFM podcast at the end of October 2014. There was no notification or explanation. They just removed CapcúaFM from iTunes, while leaving my older TecnoTur podcasts (two different language versions) untouched in iTunes. CapicúaFM was first published in June 2014. Between June and October, CapicúaFM had then earned over 4000 listeners. Now it has over 13,000 listeners according to Podtrac Inc., and continues to increase steadily each week. Ahead are the details.

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iMovie 10.0.6 gets official ProRes, audio only export, and more

iMovie 10.0.6 gets official ProRes, audio only export, and more

Now Apple’s free editing tool gets more flexibility, and there’s a way to set framerate to 23.976p, 25p, or 29.97p.

By Allan Tépper | November 29, 2014

With iMovie version 10.0.6, Apple’s free editing program now gets official support for ProRes, new custom H.264 export, and audio only export. Although previously there have been unofficial ways to use ProRes with iMovie, it is finally official. Also, learn how to set an iMovie 10.x project framerate to 23.976p, 25p, or 29.97p despite no official settings to do so in this version.

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The making of a music video in Spain, including crowdsourcing of B-roll

The making of a music video in Spain, including crowdsourcing of B-roll

For her latest music video, Sole Giménez crowdsourced the B-roll…

By Allan Tépper | November 28, 2014

For her latest music video, where the main shots were shot on a beach in Valencia, Spain, singer/songwriter Sole Giménez crowdsourced the B-roll shots via social media. Ahead are production details, including cameras, directors, editors, and graders.

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Dear Vimeo: Before supporting 4K, please prioritize this more urgent need

Dear Vimeo: Before supporting 4K, please prioritize this more urgent need

Many people are requesting 4K on Vimeo, but there’s something easier that is needed much more urgently.

By Allan Tépper | November 24, 2014

It is clear from the buzz in forums that many people are obsessed about having Vimeo offer 4K, whether it be the UHD (Ultra HD) version or the larger DCI version. However, there is something much more urgent for Vimeo to support, which is both easier and a higher priority than either of the 4K requests because it immediately affects many more video producers who already have multiple years of footage, and countless more viewers already own a proper screen for it.

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SmartView 4K monitor: like a DreamColor monitor with built-in Teranex?

SmartView 4K monitor: like a DreamColor monitor with built-in Teranex?

SmartView 4K monitor features built-in 3D LUTs, Teranex scaler, and more.

By Allan Tépper | November 22, 2014

At IBC in Amsterdam, Blackmagic showed its US$1995 SmartView 4K (Ultra HD) monitor, which features built-in 3D LUTs, Teranex scaler, adjustable on screen markers, H/V delay, blue only, 12G-SDI inputs, and more. Many readers may immediately imagine that the SmartView 4K might be a direct competitor to an HP DreamColor. I conducted a short interview about some of its yet unpublished specs. Let’s see in which respects it’s like a DreamColor, and in which it isn’t.

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Amadeus Pro, Audio Hijack, Sole Giménez and CapicúaFM

Amadeus Pro, Audio Hijack, Sole Giménez and CapicúaFM

How I used several Mac audio apps to produce the latest episode of CapicúaFM

By Allan Tépper | November 19, 2014

Previously, I described how to produce a podcast live-to-drive using BossJock Studio with an automatic mixer (article links ahead). However, that isn’t practical when you’re interviewing a Spaniard singer/songwriter like Sole Giménez (ex-Presuntos Implicados) about her latest album via an international phone call, and also want to intertwine pieces of her own music based upon her sometimes unexpected responses. Ahead is the workflow and the final recording I used with CapicúaFM’s latest episode, including many of the audio apps used.

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First look: Sony PXW-X70 10-bit/4:2:2 handheld camcorder

First look: Sony PXW-X70 10-bit/4:2:2 handheld camcorder

Its 1" sensor, 4:2:2/10-bit internal recording, and 4K UHD upgradability make the PXW-X70 unique in its price class.

By Allan Tépper | October 30, 2014

I am quite intrigued with Sony’s new under US$2600 PXW-X70 camcorder. It has been a while since I used that term, but there is a good reason, since the “—corder” part of the X70 is at least as important as the “cam—” part in this compound word. The “cam—” part employs a 1-inch 4K UHD sensor, while the “—corder” part features up to 50 megabit/second 4:2:2 10-bit recording. So I decided to publish a first look before doing a full review later.

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