TecnoTur
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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Streamstar’s touch screen interface to a video mixer will please iPad and other tablet lovers, since they will press actual images instead of buttons.
By Allan Tépper | November 13, 2012
Straight from Bratislava, the capital city of Slovakia in Europe, Streamstar has announced two new products for live web streaming that I find quite intriguing, and I am sure that many ProVideo Coalition readers will too. Webcast Case is a portable device to switch/mix, record, and stream live from multiple local cameras with a touch screen user interface rather than a traditional button-based panel, so the Webcast Case is it: no external panel or video monitor is required! On the other hand, Webcast System is a DIY components + software kit for you to integrate into your own computer case. Both versions include instant replays with inboard slow/fast motion playback which will be very attractive for live sports production. This article will cover the specs and features of each, and make system suggestions.
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Learn all the ins and outs about the new smaller tablets, both for digital content consumers and producers.
By Allan Tépper | November 05, 2012
Back in June 2012, I published Google's new Nexus 7: a general first look for content creators and consumers. At that time, I thought I’d write a sequel with more details for audio/video and ebook distribution. However, I decided to hold off until I could properly compare it with what seemed to be coming soon thereafter: the Kindle Fire HD from Amazon and the iPad mini from Apple. Both took longer than expected (but finally arrived), so here is the roundup comparing all three for audio/video and ebook distribution, for content producers & content consumers. All of that, plus a comparison chart!
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Picking the right monitoring interface for your editing/grading system is a very critical decision. Learn the important factors to help you make that decision in this article.
By Allan Tépper | November 01, 2012
Earlier this week, I published UltraStudio Mini Monitor: competition to T-TAP? together with a detailed comparison chart. Among many other things, that chart clarified that T-TAP does not work with the industry’s most revered grading program (DaVinci Resolve), and that UltraStudio Mini Monitor does. At US$145, UltraStudio Mini Monitor certainly won’t win any awards for Brevity of a product name, but it will certainly win one for least expensive interface for a full-raster/proper framerate interface to see your grading (or editing) results in realtime on an HD monitor or HDTV set. In fact, even if you own a DreamColor monitor and want to make it work with DaVinci Resolve as a program monitor, the sum of US$145 + US$495 for the “Band-Aid” = US$640 which still represents the least costly connection, even with the irony of the “Band-Aid” now costing more than the “wound”. But that brings us to my title question: Should you use it for serious grading?
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Let's compare the T-TAP and the UltraStudio Mini Monitor. Both offer inexpensive monitoring with proper rasters and framerates from your Thunderbolt Mac.
By Allan Tépper | October 30, 2012
Wait a minute! AJA just recently started shipping its US$295 T-TAP (I published my review yesterday) and already Blackmagic is about to deliver its new UltraStudio Mini Monitor for only US$145? C’mon! That’s less than half of the price of the T-TAP! You probably know that they are both out-only Thunderbolt audio/video interfaces. Ahead, you’ll see what’s the same and what’s different between AJA’s T-TAP and Blackmagic’s UltraStudio Mini Monitor.
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Native progressive video from HDMI cameras for live studio production? Átomos now makes it possible!
By Allan Tépper | October 29, 2012
If you previously read my first look at the Connect H2S from Átomos, consider this article to be a sequel. Last week I received my loaned H2S via DHL directly from Australia, and was able to test it as a bridge with a Sony HDMI camera (the NEX-FS100 NXCAM) to a TriCaster using a pure progressive session at Midtown Video in Miami! (Sessions in a TriCaster are like Projects or Sequences in a video editing program.) Ahead I’ll review why the H2S is truly Like a bridge over troubled waters to connect self-sabotaged HDMI cameras properly in a progressive multicam studio environment, and explain the results of my tests.
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We've been patiently waiting since April 2012 to find out exactly how compatible the T-TAP is. Now you can know...
By Allan Tépper | October 28, 2012
Back in April 2012 at NAB in Las Vegas , the USA-based AJA first announced and showed their US$295 T-TAP out-only audio/video Thunderbolt interface, which makes a lot of sense in the age of file-based video production. Since April, I have covered the product in a few articles, and kept pressing AJA for more details, specifically with regards to very detailed specs to meet the beloved (yet demanding) HP DreamColor monitor. Finally, AJA lent me a T-TAP so I could test it myself. Ahead you’ll find AJA’s own warnings, my findings, and then my observations about where and when the T-TAP will logically fit in a system.
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Matrox Thunderbolt docks offer convenience in connectivity, but we have to understand the pros and cons of each version.
By Allan Tépper | October 18, 2012
At IBC, Matrox announced its MXO2 Dock, a Thunderbolt-based accessory that allows users of any MXO2 i/o interface and a Thunderbolt Mac to create what the Canadian company calls “an ideal ergonomic workspace for video editing and content creation”. From a single Thunderbolt connection, users can add multiple peripherals including an HDMI display, keyboard, pointing device, with its gigabit Ethernet port, one USB 3.0 port and two USB 2.0 ports. I asked several questions and got answers about the MXO2 Dock and Matrox’s other Thunderbolt docks. The answers are ahead in this article.
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The new Connect H2S adapter goes beyond simple HDMI>HD-SDI conversion, adding built-in pulldown removal, test patterns and even a flashlight (torch)!
By Allan Tépper | October 16, 2012
In prior articles, I have covered both the challenges and solutions for getting true native progressive video from HDMI cameras that have been sabotaged by their own manufacturers via 2:2 or 2:3 pulldown on their outputs for recording to an external 4:2:2 recorder with ProRes422 or DNxHD códecs. That left pending the impossible dream of using multiple sabotaged HDMI cameras in true native progressive mode with a video mixer (“switcher”) that can handle native progressive 1080p video at the popular framerates of 23.976p, 24p, 25p, and 29.97p. HDMI>HD-SDI converter boxes have existed for years from other manufacturers, but Átomos seems to be the first to include the key feature of pulldown removal in such a box to undo the sabotage, together with a built-in test generator and even a flashlight (torch)! Ahead is a first look at Átomos’ new Connect converters and their use in this application.
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Thanks to Plurimedios.com of Buenos Aires, Argentina, I was able to do 4 performance tests on a Little Disk-Thunderbolt RAID.
By Allan Tépper | October 09, 2012
Many ProVideo Coalition magazine readers will recall my review of the excellent PROMISE Pegasus Thunderbolt RAID from January 2012 and its related articles. At NAB I spoke with a few manufacturers who were showing smaller, lower priced Thunderbolt RAIDs but to date, none have sent me any review units so far. However, I had a short time to do 4 quick tests on a LaCie Little Big Disk-Thunderbolt (2TB) before it flies to Buenos Aires, Argentina. Ahead you’ll see performance tests via screenshots in 4 possible configurations, how they differ, the pros and cons of journaling your media drives and RAIDs, and some initial conclusions.
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Pick the right HDMI recorder for better quality than possible with the camera’s inboard recorder.
By Allan Tépper | October 07, 2012
Many owners of HDMI cameras would like to record their progressive HD video externally at better quality than what’s possible internally in the camera. Frequently, they want to record their progressive HD with full raster and 4:2:2 sampling, rather than 4:2:0 which is the case with most HDMI cameras’ internal recording, and with less compression. Sometimes, they even want to record 4:4:4/RGB. Unfortunately, almost all HDMI cameras still output their progressive video in a non-native way over HDMI (with a nasty 2:2 or 2:3 pulldown), which brings workflow challenges. Some HDMI recorders now include circuits to correct this nuisance prior to recording; many still do not. Ahead you’ll learn all of the ins and outs of this issue and help you pick an appropriate recorder.
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By Allan Tépper | September 26, 2012
I first covered the term “anachronism” back in 2009 when I published Beware the attack of the anachronisms!. Now that I just published Panasonic GH3: Behind the scenes of Genesis, with Philip Bloom, I am asking myself whether we should consider the term “short film” as anachronistic when the piece is shot on video. Ahead we’ll review the term anachronism and discuss how we should call “short films” and “footage” when shot on video.
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Philip Bloom is the D.P. of the short film Genesis, which is being shot with the new Panasonic GH3 camera.
By Allan Tépper | September 26, 2012
Philip Bloom is the director of photography of the short film Genesis, which is being shot with the new Panasonic GH3 camera. Genesis is being directed, filmed and edited by Mick Jones. Philip Bloom created the behind the scenes video which you’ll see ahead. The behind the scenes video was actually shot with the GH2, except for the inserted scenes from Genesis, which were shot with the GH3. You’ll also get a link to my first look article, Panasonic Lumix GH3 gets more serious about audio & video than its predecessors and other related articles.
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By Allan Tépper | September 23, 2012
Blackmagic has said that they plan to send me an evaluation unit of their Cinema Camera for review. While I await it, Marco Solorio of One River Media has already received his unit and has a comparison video with the Canon 5D MKIII. Ahead is his video…
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With each generation after the original Lumix GH1, the camera gets more serious about audio/video performance and features, including wireless WiFi monitoring and control from your Android/iPad/iPhone.
By Allan Tépper | September 22, 2012
After a much extended product cycle than first expected, Panasonic has just announced the Lumix GH3 camera, which will replace the GH2, which is even called the “predecessor” in the official GH3 press release dated September 17, 2012. The GH3 is somewhat larger and tougher, which I know many will applaud, and is full of audio/video improvements including a full 3.5mm mic input instead of the prior 2.5mm, manual audio levels when recording, a headphone jack for monitoring, as well as several new video recording formats, including much higher bit rate recording without having to hack the camera. Ahead you’ll see a promotional video from Panasonic and many of its new audio/video specs.
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Sony has potentially fulfilled the impossible dream for video people who long for a huge sensor and interchangeable lenses, but also demand their electric zoom.
By Allan Tépper | September 20, 2012
I know some videographers (especially those with a “video” background, as opposed to a “cinema” background) who have longed for a camera with a very large sensor and interchangeable lens capability, but up until now have rejected current models because they demand electric zoom capability, which hasn’t been available with such cameras. Potentially, Sony has just satisfied them with the US$4200 NEX-EA50 camera. The first package/kit to be offered is a WorldCam model which includes an 18–200mm servo zoom lens, microphone, and other accessories. Although it comes with the mentioned servo zoom, you can remove it, mount a prime lens, and be able to zoom electronically without degrading the image. Learn how, and see footage ahead.
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The UltraStudio 4K audio i/o interface now represents the top end Thunderbolt device from Blackmagic. I asked about RGB-over-HDMI for the DreamColor monitor…
By Allan Tépper | September 18, 2012
At IBC 2012, Blackmagic announced the US$1295 UltraStudio 4k audio/video i/o, which now represents the top end Thunderbolt device from the Australian company, which is now known not only for its interfaces, but also for its DaVinci Resolve software, cameras, and other products. Unlike prior UltraStudio Thunderbolt interfaces from Blackmagic, this is the first to have a 19-inch rack form factor. It is an obvious step up from its sister, the US$995 UltraStudio 3D, whose name sometimes confuses people, since it also handles 2D… and of course the UltraStudio 4K can also do 3D, and features an LCD monitor and hardware buttons for source selection. As you can imagine, the first question I asked Blackmagic was: Does the UltraStudio 4K offer digital RGB-over-HDMI? I asked on behalf of DreamColor owners, because the total price of the UltraStudio 4K is lower then the sum of the UltraStudio 3D plus the “Band-Aid” (the HDLink Pro 3D DisplayPort). Of course, I know that the HP DreamColor is not a 4K monitor (at least not the current one).
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Allison Sheridan of the NosillaCast asked Allan T©pper to help with a listener's question about microphones and how to isolate background sound from a waterfall.
By Allan Tépper | September 17, 2012
Last week I was happily surprised when Allison Sheridan of the NosillaCast invited me to participate in her episode 384. The tagline of the NosillaCast describes the program as being: “a tech geek podcast with an ever so slight Macintosh bias”. Allison asked me to help her answer a question from one of her listeners about microphones, specifically a situation where it is necessary to isolate from some strong background noise. Allison remembered that this is one of several points I covered in my most recent book, Hybrid USB/XLR microphones: the missing workflow for independent voice talent and podcasters. If you’re not already subscribed to the NosillaCast, listen to episode 384 at the following link.
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By Allan Tépper | September 14, 2012
Those ProVideo Coalition readers who saw my First look at the TriCaster 40 will recall that I asked NewTek seven questions about topics not documented in the brochure or website. In this article, you’ll see the seven questions with their respective answers, of which some of them have induced me to write a few more articles.
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JuicedLink now does dynamic mic test comparisons with equipment from Beachtek, Edirol, Sound Devices, Tascam, and Zoom.
By Allan Tépper | September 07, 2012
Back in July, I published JuicedLink video illustrates audio quality with DSLRs via RiggyAssist versus an H4n recorder. After that, I asked Robert Rozak from JuicedLink to repeat his test using a dynamic microphone, since that way both preamps (the one in the H4n and the one in the Riggy-Assist from JuicedLink would need to work harder, since they’d receive a lower level from their respective mic. Fortunately, he did, and in August I published JuicedLink accepts our dynamic microphone challenge; re-does comparison test. Now Robert has taken our request even further, to a full range of tests, which include comparisons with equipment from Beachtek, Edirol, Sound Devices, Tascam, and Zoom.
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Download it today free, even if you don’t (yet) own an iPad.
By Allan Tépper | September 03, 2012
Back in February 2012, I first wrote about Avid Studio for iPad, including its initial features and limitations. Then in April, I published iPad video journalism comes of age at NAB 2012 and in June, Flaw in Avid Studio & iMovie for iPad makes them more appropriate for broadcast news than for new media. Later that month, Avid announced that it would divest its consumer businesses and streamline its operations. One result of that divestment is that Corel Corporation quickly rebranded the Avid Studio for iPad app as Pinnacle Studio, re-released it to the Apple iOS App Store, and added some of the missing features I had covered previously. Avid Studio for iPad is temporarily free. Ahead I’ll cover the upgrade details, reiterate the missing features, and include some screenshots.
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