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Allan Tépper
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 VO-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 frequent radio/TV guest on several South Florida Latino stations, and on a couple of Venezuelan stations too. As a certified ATA (American Translators Association) translator, Tépper has also translated and localized dozens of advertisements, catalogs, software, and technical manuals for the Spanish and Latin American markets. Tépper’s most recent translation was the user interface for a Hong Kong company which makes a calling card application (BerryDialer) for Blackberry users. Over the past 17 years, Tépper’s articles have been published in more than a dozen magazines, newspapers, and electronic media in Latin America, mainly in Producción & Distribución and TTV. In 1998 Tépper founded SOPRÉPROC, the Sociedad para la preservación y progreso del castellano or Society for the Preservation and Evolution of the Castilian language (the world’s most widely used Spanish language). From 2000-2002, Tépper was also the editor of TTV, of the Izarra Group. From the end of 2006 until September 2007, Tépper was the co-director of the South Florida Final Cut Pro User Group. Currently, Tépper is writing for ProVideo Coalition and editing more episodes of his TecnoTur audio podcast, which includes international telephone interviews of industry professionals in Spain and Latin America. Subscribe free to TecnoTur in iTunes or at TecnoTur.us 
How to get the “24p” look for your live-switched multicam shootAvid now lets you edit video on your iPad for US$4.99. Should you?AJA’s Io XT w/ Thunderbolt is now available, but it is not Riker: What’s the cover-up?Pegasus Thunderbolt RAID5 from PROMISECan a professional really use Premiere Elements 10?PsF’s missing workflow, Part 9: Premiere Elements 10Sony’s FS100 camera to become “WorldCam” via free firmware updateSony’s NX70 camera to receive its missing 29.97p framerate via free firmware updatePsF’s missing workflow, Part 8: ClipWrap to the rescuePsF’s missing workflow, Part 7: Adobe Premiere Pro CS5.5.xPsF’s missing workflow, Part 6: Tépper asks the camera manufacturers…PsF’s missing workflow, Part 5: Átomos hires a stripper!PsF’s missing workflow, Part 4: file-based HD video recordersPsF’s missing workflow, Part 3: Sony’s AVCHD & NXCAM camerasPsF’s missing workflow, Part 2: the Canon XA10 cameraPsF’s missing workflow Part 1: BENIGN PsF versus MALIGNANT PsFMac Mini for pro video editing: a field report from GuatemalaDaVinci Resolve training at Staff/HDTV in GuatemalaBlackmagic breaks Thunderbolt price budget with US$299 Intensity ExtremeAJA announces Io XT interface with Thunderbolt at IBC in AmsterdamMatrox adds optional Thunderbolt connectivity to existing MXO2 family interfacesBlackmagic delivers its first Thunderbolt-based i/o interface, the UltraStudio 3DRelief after Apple’s segregation of keyboards in the USARoland QUAD-CAPTURE: the little sister of the OCTA-CAPTUREWhy FCP X’s secondary monitor should be 1920x1200, not 1920x1080
February 2012January 2012December 2011November 2011October 2011September 2011August 2011July 2011June 2011April 2011March 2011February 2011January 2011November 2010September 2010August 2010July 2010June 2010May 2010April 2010March 2010February 2010January 2010December 2009November 2009October 2009September 2009August 2009June 2009May 2009April 2009March 2009February 2009January 2009December 2008November 2008September 2008Complete Archives |
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Revisiting HDV’s VirtuesSome videographers would “rather fight than switch” from tape
Among my clients and friends who are video professionals, many of those who produce commercials, corporate, and music videos have already embraced tapeless acquisition with such cameras as JVC’s high definition Everio, Panasonic’s AG-HMC150/151, and Sony’s EX1 & EX3. However, those who shoot events (Bar Mitzvahs, Quinces/Sixteen Parties, Weddings) —and some of those who shoot documentaries— are relentless in defending their need to shoot on tape. They cite the following HDV advantages over tapeless acquisition:
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The Top Ten Things After Effects Users Love and Hate about Motion
I teach Motion to a lot of After Effects users. Sometimes they end up in my class because they want to be there; other times their organization has sent them and they arrive kicking and screaming, ready for a fight. Either way, after clearing away a lot of misconceptions and getting them to actually use Motion for 3 days, I find almost every After Effects user comes away with a new respect for - and frustration with - this wonderful yet sometimes annoying application.
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