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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
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Monday, November 03, 2008
How to pick the best workflow… and the best version of a “segregated” camcorder to avoid being Twisted into knots
There are many times when it makes more sense to shoot and edit video at 25p than at 24p, regardless of the final framerate(s) to be delivered to various distribution formats, even if you live in an NTSC (or ex-NTSC) country. You may know that “24p” video is almost always really recorded at 23.976p (although Apple and some camera manufacturers often like to round it to “23.98p”). This article is about:
- Why and when you would want to shoot low framerate video at all.
- In many of those cases, why it often makes more sense to shoot and edit at 25p instead of 23.976p.
- The reasons why with certain “segregated” camcorders, you are much better off purchasing or renting the 25p/50Hz version, even if you live in an NTSC or ex-NTSC country.
- 25p workflows: How to go from your 25p universal master to all imaginable output formats.
more »
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