How to get the “24p” look for your live-switched multicam shoot

Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.

Sony’s FS100 camera to become “WorldCam” via free firmware update

Sony USA has just officially announced that the (so-far) segregated 59.94Hz FS100 camera (officially known as the NEX-FS100, often followed by a regional suffix, and then sometimes by the letter “K” to indicate that it is a kit, packaged with a lens) is about to go “WorldCam” via a free firmware update sometime at the beginning of 2012. “WorldCam” is a term used to indicate that a camera has the necessary framerates to be used worldwide, similar to an unlocked quad-band GSM phone that I have used for more than a decade to travel internationally without roaming charges. Beyond using a camera worldwide, having a WorldCam camera is also helpful when a producer needs to acquire content to be broadcast primarily in another country which uses a different framerate. This article will cover the novelistic history of the FS100’s uncertain potential capacity to become WorldCam, as well as some other improvements included in the upcoming firmware update… and some other improvements that are still missing.

PsF’s missing workflow, Part 6: Tépper asks the camera manufacturers…

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In part 4, we did the same with several file-based HD video recorders from 6 different manufacturers. In part 5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. Starting with part 7, I’ll begin offering workarounds within several software editing programs, and with at least one external application. However, here in part 6, I am asking questions and making suggestions to the 3 professional AVCHD camera manufacturers who are responsible for creating this entire mess in the first place.

PsF’s missing workflow, Part 5: Átomos hires a stripper!

In part 1 of PsF’s missing workflow, we introduced the new terms benign PsF and malignant PsF (Progressive Segmented Frame), reviewed their vital importance and fragility in post-production, and clarified the PsF status of two Panasonic professional AVCHD/AVCCAM cameras. In part 2, we revealed the PsF status of the Canon XA10 professional AVCHD camera. In part 3, we clarified the PsF status of Sony’s professional AVCHD/NXCAM cameras. In part 4, we covered some portable HD recorders and their PsF status. Now, in part 5, we’ll learn why Átomos (manufacturer of the portable HD recorders creatively called Ninja and Samurai) has hired a stripper to help correct the malignant PsF signal that many cameras output via HDMI.

PsF’s missing workflow, Part 4: file-based HD video recorders

In part 1 of PsF’s missing workflow, we introduced the new terms benign PsF and malignant PsF (Progressive Segmented Frame), reviewed their vital importance and fragility in post-production, and clarified the PsF status of two Panasonic professional AVCHD/AVCCAM cameras. In part 2, we covered the PsF status of the Canon XA10 professional AVCHD camera. In part 3, we clarified the PsF status of Sony’s professional AVCHD/NXCAM cameras. Now, in part 4, we’ll cover some file-based recorders (from manufacturers like AJA, Átomos, Blackmagic, Convergent Design, Datavideo, and Sound Devices), their PsF status, and their purpose in your system and workflow.

Review: Roland OCTA-CAPTURE 8/10-channel USB 2.0 audio interface

Many of the affordable pro audio interfaces that are available on the market have a maximum of two balanced microphone inputs, and few of them include hardware-based limiting, compression, or gating. Among the special features of Roland’s OCTA-CAPTURE is the fact that it contains 10 total audio inputs, of which 8 are balanced microphone inputs. The OCTA-CAPTURE allows recording to a standalone audio recorder and/or to a computer. At least when used with a computer and a compatible piece of audio software, the operator can even record all of the available inputs on individual tracks, which provides extra flexibility in post-production, i.e. to mute a cough, or to re-adjust volume or equalization of any particular source after-the-fact without affecting any other source recorded simultaneously. The OCTA-CAPTURE also features onboard compression and gating. In this article, I’ll cover the OCTA-CAPTURE’s features, setup, preamp quality, compatible audio software, and then offer my conclusions.

Panasonic AF100 joins forces with Sony encoder for 25p Euro spot in Miami

Recently I was put in charge of the technical workflow for an HD 1080/25p real estate commercial spot to be shot in Miami, Florida, and broadcast in several European countries. I suppose my years of writing articles and giving seminars about 25p workflow in (ex) NTSC countries had something to do with my being chosen. This article covers: why director Rubén Abruña chose the Panasonic AF100 rather than the Sony FS100, the lenses used, how the Sony “Beyond XDCAM-HD” encoder in the nanoFlash recorder achieved a superior 4:2:2 recording, the technical workflow used in the production and post, and even how we were able to display the final 25p spot on the client’s segregated HDTV set (which normally rejects anything 25Hz or 50Hz) without having to convert the signal. You’ll also be able to view and hear all four language versions of the 30-second spot: Castilian, English, French, and Italian.

Untapped features in Sony NXCAM’s new HDMI output

Sony’s latest NXCAM cameras fortunately feature unprecedented new features with their live HDMI outputs, including uncompressed 1080p at 50p or 59.94p, timecode, and even RGB 4:4:4 capabilities as an alternative to the standard YUV 4:2:2 modes. They also offer special pulldown modes for 23.976p (2:3), 25p (2:2), or 29.97p (2:2) (model dependent) with flags to help an external recorder reverse-telecine and recover the original, pure progressive signal. This is great for those of us that —for certain projects— want to record an even better signal than what’s possible inside of the camera with AVCHD. However, today’s external HDMI recorders don’t yet support these new features. This article is about which NXCAM models include these new features, more details about them, and the response from each external recorder manufacturer about the likelihood of supporting these features, either in their current —or future— models. We’ll also explore which new NXCAMs say farewell to 29.97p.

Do you work in the broadcast industry? What does “broadcast” mean?

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.

TecnoTur English episode 4: interviews with AJA, DVKitchen, and Carla Sánchez

TecnoTur episode 4 (English) is now available. In episode 4, Allan Tépper converses with Carla Sánchez, a USA-based Venezuelan actress, model, and spokesperson. Next comes Josh Mellicker, creator of DVKitchen, the program which is TecnoTur‘s favorite application for calculating, encoding, posting, and embedding video for the web and the most popular mobile devices, including iPad/iPhone/iPod Touch, Blackberry, and Android devices. Listeners of TecnoTur can get a special discount on DVKitchen when purchasing it directly from the manufacturer by entering a promotional code. DVKitchen is compatible with Matrox’s MAX hardware accelerator for H.264 encoding, which is available both as a standalone card, or as a factory-option with any MXO2 interface device. Finally, TecnoTur converses with Bryce Button of AJA, who tells us about AJA’s latest announcements from the entire product line. Here are details about how to hear TecnoTur free, or become a subscriber.

TecnoTur episode 3 (English): Karl Soulé of Adobe and Tamara Benavente of Ellanvannin Multimedia

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.

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