How to get good production dialogue

Here’s a short and sweet video with a tip on the best way to get good production dialogue audio from your talent. Watch below.

New Adobe Webinars for Free Training

Adobe has a FREE series of webinars every Thursday from now until June 21.  Plus I teach one on June 7 about Adobe Photoshop CS6.
You can sign up here – http://www.adobe.com/cfusion/event/index.cfm?event=detail&id=1903730&loc=en_us

Keep reading to see the class descriptions.

A Sneak Peak at Plural Eyes Version 3

ProVideo Coalition - Pluraleyes & Singular Software at NAB 2012 from RHED Pixel on Vimeo.

A detailed look at what’s coming for the popular syncing application including 20X faster speeds and a public beta.

NAB 2012 applause! Blackmagic’s cinema camera uses HFS+ formatting rather than weak FAT32

As some of my colleagues at ProVideo Coalition magazine have already reported, at NAB 2012, Blackmagic announced its first digital motion picture camera, officially known as the Blackmagic Cinema Camera. For US$2999, Blackmagic gives you the camera, a license of DaVinci Resolve (US$995 value) and a license of UltraScope (US$695 value). Supply your own Canon EF or Zeiss ZE lens and recording media. I applaud Blackmagic for making one of the two best possible decisions regarding the formatting used on the removable SSDs (solid state drives), and for using standard códecs/file formats. Unlike what many traditional photo and video camera manufacturers have chosen to implement (the weak FAT32), Blackmagic chose to use HFS+ (aka HFS Plus or Mac OS Extended). In this first look, I’ll review the differences and advantages of either HFS+ or UDF over FAT32, and point out some other details, i.e. the audio connections and file formats.

NAB 2012: Epic HD1080 Danger Cam

Another new-kid-on-the-block aims at the entrenched leader, this time in dangercams.

1st handheld dynamic microphones with hybrid XLR/USB/iPad connectivity from Audio Technica

Over the past few years, the market has become flooded with USB microphones, but most have been condenser models, and only a couple have been dynamic. Those dynamic models have been USB-only. There has been a need for dynamic USB microphones that were also hybrid (XLR balanced analog + USB digital, together with onboard zero-latency monitoring), especially since the external converters are both costly and bulky, and USB-only microphones are —by nature— more limited in terms of applications. In this part 1, I’ll clarify when dynamic microphones are preferred over condenser models, where USB-connected microphones “fit”, cover Audio Technica’s first hybrid dynamic models, and offer three comparative recordings between our reference Heil PR–40, the legendary Shure SM58, and the new ATR2100-USB, which is one of two handheld hybrid dynamic models from Audio Technica.

Adobe MAX 2011 Technology Sneak Peeks

Adobe’s big annual MAX conference finished a couple of weeks ago, and as part of it they included a series of technology sneak peeks. I’ve gone through the videos posted on AdobeTV and pulled out the ones of most interest to us video folks:

The One Collaboration I Need Adobe To Make

Hey folks, been gone a while, but it’s fall and time to get back in the swing of things.  One of the interesting side-effects of writing for PVC is that I am on just about every PR person’s mail list.  Usually these missives are easy to toss to the side, but the other day I got one from Adobe, talking up their presence at IBC 2011 in Amsterdam (for the record, IBC is the international version of NAB, held in early September every year.)  As a long-time Premiere Pro and CS-suite convert, I paid a little bit more attention to this one than average.  Unfortunately, I neglected to save the URL, but the gist of it was this:

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