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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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How to fix embedded Vimeo videos on your Kindle Fire HD

How to fix embedded Vimeo videos on your Kindle Fire HD

I consider the Kindle Fire HD to be the best tablet to consume content. Now, fix the way embedded Vimeo videos appear.

By Allan Tépper | December 25, 2012

Whether or not you read my recent comparative article about the popular smaller tablets (iPad mini, Kindle Fire HD, and Nexus 7), if you or your clients own or have access to a Kindle Fire HD, you may have noticed that embedded Vimeo videos in the Silk browser unfortunately don’t access the HD version. Instead, the Silk browser sadly accesses the smallest mobile phone version of the Vimeo video and blows it up to 720p, which makes it look quite pixelated. Ahead you’ll find a solution to that problem and simultaneously correct two other ones to boot…

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Review: iRig Pre XLR mic preamp for iPad/iPhone/iPod Touch

Review: iRig Pre XLR mic preamp for iPad/iPhone/iPod Touch

Now there is a better way to connect your pro XLR mic to your iPhone.

By Allan Tépper | December 18, 2012

Back in 2009, I published an article called How to connect your pro XLR microphone to your iPhone. At that time, it required a special cable adapter that I had to order from the Netherlands and shipped to the USA, and that was a passive device which depended entirely upon the iPhone’s own internal preamp. At that time, it cost €30.28 (about US$39.74) including freight to Miami. Now a new solution has arrived, and it is called the iRig Pre. For approximately the same price, the iRig Pre pre-amplifies the mic signal for better performance, and also offers optional phantom power in case you want to use a condenser microphone.

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Vimeo to offer pay-per-view service in 2013

Vimeo to offer pay-per-view service in 2013

I welcome this pay-per-view service from Vimeo Pro, as an alternative to CreateSpace and MOD Machine.

By Allan Tépper | December 10, 2012

In early 2013, Vimeo will open its new pay-per-view service to all Vimeo Pro members. The company recently launched a public preview of the pay-per-view service, including six movies. This add-on service to Vimeo Pro will offer content creators like us a channel to sell our “movies” directly to audiences worldwide, giving us control over pricing, viewing periods, release geography, and bonus content features. According to Vimeo, viewers who buy access to our pay-to-view movies will find them automatically downloaded to their “Watch Later” list so they can access the films immediately on any Vimeo-compatible device — including smart phones, tablets, popular HDTV sets with an inboard Vimeo’s app, setup boxes like AppleTV, Boxee, GoogleTV, Roku, WDTV, and certain Blu-ray players.

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Why you should use Japanese NTSC with a TriCaster 40 if you use SD cameras

Why you should use Japanese NTSC with a TriCaster 40 if you use SD cameras

Get proper black levels and improve your overall quality from an analog SD NTSC camera connected to your TriCaster 40

By Allan Tépper | December 05, 2012

Whether or not you enjoy Sushi or other Japanese food (as I do), you are best served by using Japanese NTSC if you use a TriCaster 40 with SD NTSC cameras, even if you live in the Americas. The reasons for this go back to a topic I first covered a decade ago in the palindromic year of 2002, when I published a 3-page print article called Los negros todavía no tienen igualdad in the Latin American magazine Producción & Distribución. It has to do with black video levels and the varied presence or absence of pedestal (setup) in analog PAL, analog NTSC video in the Americas, analog NTSC video in Japan, digital video worldwide, and HD video worldwide. Coincidentally, about a week after I published that article, Adam Wilt published a similar, 1-page article in DV magazine, called We’ve been set up!. Later JVC Professional released an awesome tutorial called Dirty Little Secrets about the same topic, which apparently was inspired by my article. Ahead I’ll review this topic and explain why and how you should go Japanese if you use SD NTSC cameras with a TriCaster 40.

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The iMac 2012 is finally for sale: a first look for video professionals

The iMac 2012 is finally for sale: a first look for video professionals

The iMac 2012 will likely become the preferred editing platform (even for grading) for all but the most demanding.

By Allan Tépper | November 30, 2012

Apple’s 2012 iMacs took a long time to be announced, then the 21.5" version was promised for November, and today (the last day of November) it is finally available, while the larger 27-inch version is at least capable of being ordered now. Most pro video users who consider it will likely prefer a BTO (built-to-order) version, which is available either directly from store.Apple.com (in the USA) or from the few —but important— independent dealers and pro video integrators who have access to BTO versions. In addition to its improved specs and looks, the most important difference for me (and many others) is the 75% reduction in reflectivity (less glare). Here’s a first look for video professionals.

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Broadcaster Wi-Fi Webcam: a first look

Logitech offers its first HD video camera marketed for video professionals.

By Allan Tépper | November 28, 2012

Logitech has just announced its Broadcaster Wi-Fi Webcam, the first Logitech product marketed specifically for video professionals. Although not specifically marketed towards professional producers, for quite some time the Logitech C910 with 720p HD has been used as a recommended remote host/guest camera for Mac-based remote hosts/guests (C920 for Windows-based ones), and each of those sold for under US$100 and connected via USB. Now the under US$200 Broadcaster Wi-Fi Webcam is cordless, features an external microphone input + built-in pan/tilt, internal mono mic, illumination lamp, and H.264 encoder. More details ahead in this article.

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11 things I love about Vimeo Pro

I am surprised how many video professionals I meet who aren’t aware of Vimeo Pro, the US$199/year service.

By Allan Tépper | November 26, 2012

#In case it wasn’t completely clear in the title, I really love the US$199/year Vimeo Pro to distribute video for the web, mobile devices, and even for Internet connected HDTV sets. I am quite surprised to find so many video professionals in multiple countries who are completely unaware of the Pro version of the Vimeo service, which exists since August 2011 and includes many unique features not available with the free or Plus versions of Vimeo. Ahead in this article, you’ll find 11 things I love about Vimeo Pro, as a prelude to the upcoming article called Vimeo Pro’s few but glaring deficiencies as of November 2012. But first you’ll hear the good stuff that make me love it so much.

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Webinars in December: Allan T©pper will present 3 different topics live

Register and tune in for any or all of 3 sessions: Cameras, Internet Studios, and Responsive Websites.

By Allan Tépper | November 26, 2012

The first week of December 2012, Allan T©pper will be presenting 3 different topics live on your computer, tablet, or smartphone. The presentations will be on December 3rd, 5th, and 7th, and will be available at 11 am in English and at 1 pm in Castilian (aka “Spanish”) (both USA Eastern Time). On December 3rd, the topic will be How to pick the best cost effective camera for digital cinema, TV spots, documentaries, news, or modern TV studios. On December 5th, it will be Internet Studios. On December 7th, it will be Responsive Websites.

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FiLMiC Pro 2 can finally record correct 48 kHz audio!

After a very long wait, FiLMIC Pro 2 for certain iOS devices can finally record correct 48 kHz audio!

By Allan Tépper | November 23, 2012

After a very long wait and multiple requests of the developer, version 1.2 of FiLMiC Pro 2 for certain iOS devices can finally record correct 48 kHz audio! For those unfamiliar, FiLMiC Pro 2 is the relatively new incarnation of the original iOS app called FiLMiC Pro, and is offered separately for US$4.99 (or a similar amount in your region). Unlike the original version, FiLMiC Pro 2 is only compatible with later iOS devices which feature a faster processor. Ahead in this article you’ll see which exact models iPads, iPhones, and iPod Touches are compatible, and some changes I’d still like made in the audio portion of the app.

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Audio Technica BPHS1 broadcast headset with dynamic mic: review + comparison

In this article I review the BPHS1’s construction, specs, and applications, and include comparative recordings with another microphone.

By Allan Tépper | November 18, 2012

Head mounted microphones have specific virtues, including isolation, consistent distance between mouth and element, elimination of the cost & complexity of mounting gear, and -in some cases- built-in listening devices. I have been anxious to compare the BPHS1 broadcast headset with the AT2005USB hybrid mic, which I’ve already covered in three articles in ProVideo Coalition magazine, and in one ebook which is available in two languages. Thankfully, Audio Technica obliged my request and sent me a review unit of the BPHS1, so ahead you’ll find my comments on its construction, specs, applications, and cost analysis, followed by recordings, subjective analysis, and conclusions.

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Streamstar announces Webcast Case and Webcast System

Streamstar announces Webcast Case and Webcast System

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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Small tablets (Kindle Fire HD, iPad mini, Nexus 7) for content producers and consumers

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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UltraStudio Mini Monitor works with DaVinci Resolve, but should you use it for serious grading?

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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UltraStudio Mini Monitor: competition to AJA’s T-TAP?

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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The H2S makes self-sabotaged HDMI cameras work as they should in a progressive multicam environment

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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T-TAP Thunderbolt out-only interface: the details in general + with a DreamColor monitor

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 announces more Thunderbolt docks… Let’s try to understand them all!

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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Native progressive video from HDMI cameras for live studio production? Átomos now makes it possible

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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LaCie Little Big Disk-Thunderbolt RAID: 4 quick tests before Argentina trip

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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Record progressive 4:2:2 or beyond from your HDMI camera with an external recorder

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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