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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
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Panasonic AF100 joins forces with Sony encoder for 25p Euro spot in MiamiThe Sony encoder in the nanoFlash allowed for 4:2:2, 25p recording from the AF100
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. more »Click to audio / video »
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Panasonic AF100 joins forces with Sony encoder for 25p Euro spot in Miami
The Sony encoder in the nanoFlash allowed for 4:2:2, 25p recording from the AF100
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.
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