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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 
Blackmagic: We’re ready to remove the Band-Aid!How the Blackmagic Cinema Camera will indirectly take sales from AJA, Matrox, and MOTUAbelCine updates its free Field Of View Comparator for Blackmagic Cinema CameraSony quietly announces the NX30 camcorder, a little sister to the NX70Make your iMac matte without spending money or applying any screen protectorAJA announces T-TAP, the US$249 palm-sized, self-powered bridge from Thunderbolt to HDMI or SDIFor broadcast news, “Starbucks is the new microwave!”iPad video journalism comes of age at NAB 2012NAB 2012 applause! Blackmagic’s cinema camera uses HFS+ formatting rather than weak FAT32At NAB 2012: Jordan, Okada & Tépper join Laporte and Lindsay on MacBreak Weekly1st handheld dynamic microphones with hybrid XLR/USB/iPad connectivity from Audio TechnicaPsF’s missing workflow, Part 10: FCP XWhy an iPad is like a 4x5 view camera, and why you’ll need a black “focusing cloth”Sound Device’s PIX recorders: a closer look as of firmware 1.07Bandito Brothers use multiple HP DreamColors + Adobe Premiere for Act of ValorGH2 adds missing AVCHD 29.97PsF… but worsens its already non-standard HDMI outputAJA and Sound Devices embrace Sony NXCAM’s timecode-over-HDMIHow 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 update
May 2012April 2012March 2012February 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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PsF’s missing workflow, Part 2: the Canon XA10 camera
At US$1,999 street price including balanced XLR audio inputs, the Canon XA10 AVCHD camera is quite interesting from several perspectives, and that’s probably why so many of my consulting clients who favor 25p or 29.97p and need balanced audio have chosen it. The XA10 reminds me of a shrunken, sexier-looking Panasonic AG-HMC40. The XA10’s CMOS sensor is larger than that of the AG-HMC40, and rather than oversampling with higher than 1080p resolution, Canon decided to make it native 1920x1080 and skip the 720p modes altogether, so there is no scaling and better sensitivity than the HMC40. But this article is not a review about the XA10s specs and feature set, but how it stands in terms of PsF status, and how that unfortunately complicates —or jeopardizes— its ideal post workflow for those producing 25p or 29.97p. more »
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PsF’s missing workflow, Part 2: the Canon XA10 camera
At US$1,999 street price including balanced XLR audio inputs, the Canon XA10 AVCHD camera is quite interesting from several perspectives, and that’s probably why so many of my consulting clients who favor 25p or 29.97p and need balanced audio have chosen it. The XA10 reminds me of a shrunken, sexier-looking Panasonic AG-HMC40. The XA10’s CMOS sensor is larger than that of the AG-HMC40, and rather than oversampling with higher than 1080p resolution, Canon decided to make it native 1920x1080 and skip the 720p modes altogether, so there is no scaling and better sensitivity than the HMC40. But this article is not a review about the XA10s specs and feature set, but how it stands in terms of PsF status, and how that unfortunately complicates —or jeopardizes— its ideal post workflow for those producing 25p or 29.97p.
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