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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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Sony’s 1st response to HDSLRs, its segregated progressive policy, & implications for usersWill people from 60Hz countries be again tempted to import 50Hz model cameras to shoot in 25p?
As first covered here in ProVideo Coalition by Matt Jeppsen, Sony has just announced the NEX-VG10 as a first response to HDSLRs which have been used for HD video productions for quite a while already, despite their well known limitations. Fortunately, the NEX-VG10 eliminates several of those HDSLR limitations, while establishing some of its own, with its initial segregated progressive policy. This article will establish the details of these limitations, their workarounds, and the way a professional “big sister” will likely make them unnecessary, although certainly at a higher price. more »
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Cameras •
GentryMedia Sister Sites •
ProPhoto Coalition •
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Most recent comments by:
Simon Wyndham,
Stephan,
IEBA,
Allan Tépper,
IEBA,
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TecnoTur episode 3 (English): Karl Soulé of Adobe and Tamara Benavente of Ellanvannin MultimediaKarl Soulé of Adobe: little known benefits in Premiere CS5/Tamara Benavente and her short film Lost and Found
TecnoTur episode 3 (English) is now available. Tamara Benavente of Ellanvannin Multimedia tells Allan Tépper and the TecnoTuristas about how she produced her latest short film Lost and Found, using a Sony camera and Adobe Premiere. Then Karl Soulé of Adobe tells us about some little known yet extraordinary features in Premiere CS5. Here are details about this episode contents, and how to hear it free, or become a subscriber. more »
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CS5 •
Editing •
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Pre-Production •
Production •
Software •
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Happy hacker breaths flexibility, power, and quality into the Lumix GH1Now the Lumix GH1 can record 50mb/s MJPEG or 32mb/s AVCHD!
I first wrote about the Lumix GH1 in March 2009, and at that time, I requested a review unit from Panasonic. Then in June 2009, I wrote a followup article with a written interview with Panasonic’s PR department, to clarify several technical issues. Unfortunately, all of Panasonic’s answers were negative from a pro perspective. Over a year has passed without Panasonic loaning me any review unit (while countless other manufacturers have sent me several products for reviews); and competitive cameras from Canon have come out, like the 7D and T2i, and Sony has shown similar models, at least in the consumer division. However, last week I heard that a happy hacker had modified the GH1’s firmware to permit 1080p internal recording, either 50Mb/s MJPEG or 32Mb/s AVCHD. more »
*VIDEO* •
Cameras •
(12) Comments •
Most recent comments by:
Adam Wilt,
cmoore,
Adam Wilt,
IEBA,
Burn-E,
cmoore,
Allan Tépper,
Burn-E,
IEBA,
ericescobar,
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Does Premiere CS5 achieve the “impossible dream” for critical evaluation monitoring?Can editors and colorists finally scream: “Look Ma’, no professional i/o!”?
Anyone who has ever read the seven articles I’ve published so far about critical video evaluation —be it with the HP DreamColor monitor, or any other brand and model— knows why this process has traditionally required a professional interface to do this properly. Even Apple has warned about this, both verbally at NAB 2005 when announcing the Digital Cinema Desktop, as well as in writing, in Apple’s support article TA27705. This situation has affected other professional editing programs too. This situation has convinced many video editors —even those who now deal exclusively with tapeless footage— to buy a (seemingly) otherwise unnecessary professional i/o interface from manufacturers like AJA, Blackmagic, Matrox, or MOTU. Has this situation changed with Premiere CS5, together with 10-bit/30-bit DisplayPort or HDMI connections on computers? more »
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Editing •
Hardware •
Final Cut Pro •
(10) Comments •
Most recent comments by:
Keith Moreau,
Allan Tépper,
atlastorm,
MoviesBlaster,
Allan Tépper,
MichaelSanders,
Allan Tépper,
Jef H,
Manuel López,
MichaelSanders,
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After Effects and Motion Share and Compare
MacBreak Studio Special Episode
On this week’s MacBreak Studio, I host Steve Taylor - an LA-based motion graphics designer who’s tool of choice is After Effects. I thought it would be fun and interesting to compare how After Effects and Motion handle different motion graphics tasks and so this is the first of a series of “share and compare” sessions that looks at cameras and null objects in both After Effects and Motion. Enjoy.
Mastering Motion’s Camera
Working with Angle of View
In this excerpt from Ripple Training’s newest tutorial Mastering Motion’s Camera, host Mark Spencer explains how to work with the camera’s Angle of View.
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