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?
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.
Despite gloomy predictions from the naysayers, the Mac Mini beats the MacPro tower for video editing.
By Allan Tépper | October 18, 2011
Many readers of ProVideo Coalition magazine may recall my recent article Mac Mini w/Thunderbolt: preferred platform for many new editing systems. However, some of the readers had doubts, and one naysayer even dared to comment via LinkedIn: “This is hilarious garbage. No serious editor, in their right mind, would do this.” Another commenter via LinkedIn supposed that it would stand up for standard-definition video editing only, but would never work for HD 1080p editing. Fortunately, here is a detailed report from a very serious commercial production company in Guatemala, that has recently replaced two MacPro towers with Mac Mini i7 with Thunderbolt, together with a Thunderbolt RAID5 disk array, and a Thunderbolt-based professional audio/video i/o device. Here you’ll see the exact software and hardware configuration used, performance, and enthusiastic comments from the editor. On the other hand, you’ll even learn where not to use a Mac Mini.
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.
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.
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...
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...
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…
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.
Finally Pro Tools will be able to “bounce” and export quickly, instead of in real time.
By Allan Tépper | April 11, 2013
Forget about its brand-new engine, 64-bit architecture, and expanded metering. The most important improvement I see in the palindromic version 11 of Pro Tools is that with this update, the renowned audio editing tool from Avid will finally cure its Achilles’ heel. I am talking...