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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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Blackmagic shows pocket RAW camera for US$1K plus 4K camera for US$4k

Blackmagic shows pocket RAW camera for US$1K plus 4K camera for US$4k

Now Blackmagic offers three cameras, for US$995, US$2995, or US$3995 respectively.

By Allan Tépper | April 08, 2013

At NAB 2013, Blackmagic showed two new cameras to join its initial US$2995 Cinematography Camera. The new ones include the US$3995 4K camera, a big sister to the original Cine model, and a US$995 pocket 1080p RAW motion picture, which can record either Apple ProRes or CinemaDNG RAW... Read More

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How to pick your ideal HDMI or HD-SDI interface for WireCast (Pro)

How to pick your ideal HDMI or HD-SDI interface for WireCast (Pro)

Depending upon how you prioritize features, ease of camera matching, and ISO recording will help you choose the hardware.

By Allan Tépper | April 01, 2013

UPDATED: This article now updated info. Many people have heard of Telestream’s renowned WireCast (Pro) software, which can convert a qualifying Mac or Windows computer into a multiple-input audio/video mixer (“switcher”). Among its features are a character generator,... Read More

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OLED field monitor upgradable to become a recorder? Enter the Odyssey7 and Odyssey7Q

OLED field monitor upgradable to become a recorder? Enter the Odyssey7 and Odyssey7Q

A first look at Convergent Design’s new OLED field monitors that can transform themselves into recorders.

By Allan Tépper | April 01, 2013

Long time ProVideo Coalition readers know that I have been covering external progressive 4:2:2 and 4:4:4 recorders from different manufacturers for years. Several more recent recorder models I have covered have included a built-in LCD screen to double as a field monitor. Now, thanks... Read More

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Why did Apple drop Castilian video subtitles and soundtracks in iTunes 11.02?

Why did Apple drop Castilian video subtitles and soundtracks in iTunes 11.02?

Open Letter to Apple AT2013.c, for the iTunes development team

By Allan Tépper | March 01, 2013

When I published two separate Open Letters to Apple less than two weeks ago (links ahead), I didn’t expect to be publishing a third to the same company so soon. With the “update” to iTunes 11.02, Apple has just downgraded a function in the iTunes which I have... Read More

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Why you must deactivate EDID on your HDLink (aka “Band-Aid”)

Why you must deactivate EDID on your HDLink (aka “Band-Aid”)

Be sure to deactivate EDID on your HDLink Pro 3D DisplayPort for proper operation of your DreamColor monitor.

By Allan Tépper | February 26, 2013

I have clarified in prior articles how essential it is for DreamColor monitor users who also use an i/o device from Blackmagic Design to purchase an HDLink Pro 3D DisplayPort as an accessory (“Band-Aid”) to satisfy the DreamColor Engine’s absolute requirement for... Read More

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Why does the Mac still deal with connected HDTV monitors haphazardly?

Why does the Mac still deal with connected HDTV monitors haphazardly?

Open Letter to Apple AT2013.b, for the OS X development team

By Allan Tépper | February 20, 2013

It is good that OS X can now offer proper spatial resolution for HDTV monitors at 720p and 1080p on the Mac’s native GPU outputs. It is also good that OS X’s Display Control Panel allows setting the output for different framerates (i.e. 24, 50, or 60), according to the... Read More

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Why does FCP X still deal with pro i/o interfaces haphazardly?

Why does FCP X still deal with pro i/o interfaces haphazardly?

Open Letter to Apple AT2013.a, for the FCP X development team

By Allan Tépper | February 20, 2013

Since Apple released Final Cut Pro X in June 2011, there have been seven updates and many valuable features have been added. Although FCP X fortunately achieved partial compatibility with professional audio/video interfaces as of version 10.0.4, we are now at version 10.0.7 and it... Read More

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Hands-on with the UltraStudio Mini Monitor

Hands-on with the UltraStudio Mini Monitor

Why you might need an UltraStudio Mini Monitor, what’s good, and what I’d improve.

By Allan Tépper | February 17, 2013

Although I have covered Blackmagic’s new US$145 UltraStudio Mini Monitor interface in prior articles (links ahead), I have now become even more familiar with it since the company sent me a sample unit, together with a Thunderbolt cable. Ahead I’ll cover why you might need one, everything I liked, and the few details I’d like improved.

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How Sony should hack a Bravia to create an awesome prosumer editing/grading monitor

How Sony should hack a Bravia to create an awesome prosumer editing/grading monitor

Here’s a recipe for Sony’s pro monitor division to create an awesome prosumer editing/grading monitor from a consumer Bravia.

By Allan Tépper | February 08, 2013

Recently, I published an article which described why Miami-based PRODU.com chose to purchase a “foreign” Sony consumer Bravia HDTV set for video editing. That model surpassed the limitations of many segregated U.S. consumer models by allowing for all standard worldwide framerates,... Read More

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Will Blackmagic announce DaVinci Display at NAB 2013?

Will Blackmagic announce DaVinci Display at NAB 2013?

A grading monitor called DaVinci Display would make sense for Blackmagic for many reasons.

By Allan Tépper | February 04, 2013

Although Blackmagic Design has traditionally been known for its audio/video i/o cards, external interfaces and converters, through its acquisitions and other developments, the Australian company is now also known as a manufacturer of video mixers, associated rack-mounted monitors, affordable... Read More

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JVC answers questions about GY-HM650 news camera with WiFi + FTP

JVC answers questions about GY-HM650 news camera with WiFi + FTP

JVC answers my questions about the GY-HM650, i.e. WiFi bands and FTP protocols.

By Allan Tépper | January 31, 2013

Back in April 2012, I published the article For broadcast news, “Starbucks is the new microwave!” which was a recurring theme at NAB 2012. In that article, I covered proposed uses of several mobile Internet services as substitutes for microwave, and included information from Avid... Read More

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Sony KDL–40BX420E: a low cost monitor for 1080p video editing at worldwide framerates

Sony KDL–40BX420E: a low cost monitor for 1080p video editing at worldwide framerates

Why the Sony KDL–40BX420E monitor makes sense for pro video editors who can’t afford a “pro” monitor

By Allan Tépper | January 29, 2013

When Miami-based PRODU.com set out to choose the key components for a new video editing system, they already knew that they’d be purchasing a 2012 iMac and a Thunderbolt drive. However, since most HDTV sets sold in the U.S. are unfortunately segregated, what was more challenging was to achieve a good 1080p video monitoring solution at worldwide framerates and with a matte display, all for under US$1000 including an extended warranty, professional Thunderbolt a/v interface, and cables. The monitor they picked is unusual for the United States. Learn about which monitor, which interface, and why ahead in this article.

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Vimeo quietly embraces 48 kHz audio; documents non-integer framerates

Vimeo quietly embraces 48 kHz audio; documents non-integer framerates

Unexpectedly and without any press release, Vimeo has resolved two of my few criticisms.

By Allan Tépper | January 11, 2013

Since I published the article 11 things I love about Vimeo Pro (Pro Video Coalition, November 2012), I have had at least two pending articles about Vimeo’s general service and their upcoming Pay-Per-Vew service, about which I wrote briefly in December. It has taken a while, but... Read More

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Livestream shows its Broadcaster LTE for Verizon

Livestream shows its Broadcaster LTE for Verizon

The new Broadcaster LTE for Verizon from Livestream eliminates the need for a separate gateway.

By Allan Tépper | January 10, 2013

At CES 2013, Livestream has shown its new Broadcaster LTE for Verizon, to facilitate sending the live audio/video output of a camera’s or video mixer. Unlike the prior model, which requires external Internet access, the new model has it built in. Ahead I’ll go into more... Read More

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Sound Devices adds 4:4:4/RGB recording to PIX recorders via firmware update

Sound Devices adds 4:4:4/RGB recording to PIX recorders via firmware update

With ProRes4444 recording, PIX recorders instantly become the most affordable 4:4:4/RGB recorders on the market.

By Allan Tépper | January 04, 2013

Sound Devices just announced firmware update 3.0 for its PIX recorders, which (among other things) adds the option of ProRes4444 recording. The capability of recording 4:4:4/RGB is quite desirable when footage is to be graded, especially if your camera can output this color space. Although the press release indicated that after the update the PIX recorders would accept 4:4:4 via 3G-SDI, I immediately asked: “What about 4:4:4 over HDMI?”

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Documentary La Casa Ausente produced with 5 camera formats

Documentary La Casa Ausente produced with 5 camera formats

The story of shooting the documentary La Casa Ausente with five camera formats

By Allan Tépper | January 03, 2013

What do an iPhone 4s, a Sony Cyber-shot point-and-shoot camera, a JVC GY-HD250, the Canon HV20, a Convergent Design nanoFlash HD recorder, and a Panasonic AG-AF100 camera have in common? These five different video recording devices have been used to produce footage for the green documentary La Casa Ausente (The Absent House), which tells viewers about the first 100% sustainable house built in Puerto Rico and the work of its designer.

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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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