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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
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AJA KiPro Mini review + commentary
Like a miniature version of the original KiPro from AJA (which I reviewed in October 2009), the KiPro Mini performs many of the same functions (although not all of them) in a fraction of the space —and at a fraction of the cost— and is designed to dock onto the back of many professional camcorders, while it makes a higher quality recording than that is possible internally with most of them. With a flood of other 4:2:2 dockable recorders reaching the market (and one that existed previously which recorded MPEG2 8-bit), this article will attempt to point out the KiPro Mini’s unique virtues, so you’ll have a better idea why it may —or may not— be the best one for you. more »
*VIDEO* •
Apple •
Final Cut Pro •
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compression •
Editing •
GentryMedia Sister Sites •
Mac Coalition •
ProVideo Coalition •
Hardware •
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Do you work in the broadcast industry? What does “broadcast” mean?The term “broadcast” has multiple meanings and contexts.
Do you work in the broadcast industry? What does the word broadcast mean to you? If you work for a radio or TV station or network in almost any capacity, you probably consider yourself to be a broadcaster. If you’re a stringer (an independent videographer who shoots news for TV), then you probably consider yourself to be a broadcaster too. If you manufacture or sell “broadcast” cameras or other equipment, then you probably consider yourself to be part of the broadcast industry. There was a time when people questioned whether a particular camera, recorder or other device was “broadcast quality” or not. As a certified translator, I am very aware of a particular word’s many nuances, especially when someone asks me to translate that word. In this article, we’ll explore and define different meanings of the term broadcast in various contexts. Then these meanings will become reference points for upcoming articles. more »
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NAB 2011 - SCCE Charts
Hard numbers (such as they are) resulting from the Single Chip Camera Evaluation.
Steve Hullfish has already nicely described the Single Chip Camera Evaluation that Robert Primes, ASC organized at Zacuto’s behest. I just have a couple of comments to add, along with images of the three charts of actual numbers that emerged from the tests.
CMG Hidden Gems: Chapter 22 – Applying and Using Effects
Another selection of “hidden gems” (and essential advice), this time from Chapter 22 of Creating Motion Graphics with After Effects.
We’re going through our book Creating Motion Graphics with After Effects 5th Edition (CMG5) and pulling out a few “hidden gems” from each chapter. These will include essential advice for new users, plus timesaving tips that experienced users may not be aware of.
One of the richest areas for exploration in After Effects is its “effects” side. The variety of effects supplied with After Effects ranges from the extremely utilitarian to the extremely wild, each with anywhere from one to over 100 parameters you can adjust. In Chapter 22 of CMG, we start with an overview of how to apply and edit effects. We then move onto some more sophisticated tricks using effects, such as animating their Effect Point, using adjustment layers, exploiting mask paths, and adding blending modes. We end with Layer Styles: a powerful alternative to common effects such as bevels, glows and shadows, borrowed from Photoshop.
We’ll assume you know how to apply an effect to a layer using either the Effect menu or the Effects & Presets panel. If you need instructions, please consult Help > After Effects Help. Below are a few tips that may have escaped you:
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