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.

Matrox adds optional Thunderbolt connectivity to existing MXO2 family interfaces

Matrox is the first (and so far, the only) manufacturer of professional audio/video interfaces to offer the possibility of adding Thunderbolt connectivity to any of their existing products which are already in the field. Matrox now offers this capability for any of the MXO2 family of interfaces, which currently include the MXO2 Mini, MXO2 LE, MXO2 (original), and MXO2 Rack. Since almost the beginning of the MXO2 family, all of the interfaces have been available either with (or without) Matrox’s Max option, which performs hardware-based accelerated H.264 encoding from within popular professional video editing and encoding applications, and with a choice of either PCIe or ExpressCard/34 interface to a host computer. As first shown at NAB 2011 and now delivering in September 2011, Thunderbolt is the third available option, allowing connection of any Thunderbolt-capable Mac. This article covers how this works, what it means, and what the upgrade will cost you (or the price of admission if you don’t yet own any MXO2 family interface).

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.

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.

Google political move stifles web video distribution & complicates our workflow

In case you didn’t hear yet, Google recently announced the elimination of support for H.264 in HTML5 video in its popular Chrome web browser within the next few months, in favor of WebM (VP8) and Theora video códecs. Despite Google’s official justifications for the move in the name of openness, many analysts (including myself) see this as a political move against Apple, and even hypocritical since the Chrome browser has contained (and will continue to contain) an embedded Flash player. Our logical conclusion is that Google’s next step will be to drop support for H.264 in its Android operating system too. This happens after H.264 already has achieved support from Adobe, Apple, and even Microsoft. Up until now, Google’s Chrome browser has directly supported H.264 with HTML5’s video tag. Before this shocking below the belt punch, many content producers were well along the way of offering HTML5 video with H.264, playable as raw or automatic fallback to the same file embedded in Flash if the browser didn’t support it in HTML5, as I have covered in my seminars. However, as we see the writing on the wall, this will likely no longer be sufficient for the ever popular Android devices as they likely become updated to newer versions which would purposefully exclude H.264 playback, especially considering the poor Flash performance on most of the current Android devices that even support it at all. So within a short time, the preferred video códecs for Android devices will likely be WebM (VP8) or Theora, while for Apple iOS devices (AppleTV, iPad/iPhone/iPod Touch), it will remain to be H.264.

TiVo Premiere for professional use

For a long time, I have had my eye on TiVo to use instead of the Comcast-provided Motorola DVR. I have known for a few years that the workflow required to re-purpose DVR recordings is much smoother, cleaner, and easier with a TiVo than what’s feasible with a conventional DVR. Up until recently, the price for an HD TiVo unit —together with the monthly TiVo fee— had kept me away. However, in the month of September 2010, TiVo was giving away the latest entry level model known as TiVo Premiere when one signed up for a 2-year contract. Under this agreement, the TiVo monthly fee is only US$3 more than what Comcast charges for the old Motorola DVR rental, so the offer became irresistible. This article describes the process to upgrade from your conventional DVR to TiVo Premiere, and the available workflows to re-purpose content for personal or professional use, including the steps to enable editing in Adobe Premiere Pro CS5 or (with additional steps) with Final Cut Pro.

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 2 (English): Radio Lollipop + Matrox’s announcements at NAB 2010

TecnoTur episode 2 (English) is now available, and includes an interview with Radio Lollipop, and with Matrox regarding all pro video announcements at NAB 2010. Brittany Smith of Radio Lollipop —an international radio network based in the UK, with affiliate stations in children’s hospitals throughout the world— tells TecnoTur about her background in commercial radio, and her current position at Radio Lollipop. Then Rubén Abruña and Allan Tépper travel to NAB 2010 in Las Vegas and interview Wayne Andrews, a Matrox pro video product manager. Wayne tells us about ProRes422 encoding in Windows, compatibility with Avid MC5, and MAX 2.0 with scene analysis and VBR encoding.

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