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Adam WiltAdam Wilt has been working off and on in film and video for the past thirty years, while paying the bills writing software for animation, automation, broadcast graphics, and real-time control for companies including Abekas, Pinnacle, Omneon, CBS, and ABC. Since 1997 his website, adamwilt.com, has been a popular reference for information on the DV formats. He has reviewed cameras for DV Magazine and written its "Technical Difficulties" column, and taught classes and led panels at NAB, IBC, and DV Expo. He co-authored the book,"Optimizing Your Final Cut Pro System", part of the Apple Pro Training series; he hopes you'll buy a copy, as there's still a large advance to be paid off. 
NAB 2012: Assorted SnapshotsNAB 2012: REDNAB 2012: Camera SupportNAB 2012: Unmanned Aerial VehiclesNAB 2012: RecordersNAB 2012: New EVFsNAB 2012: Cameras & LensesNAB 2012: Canon C300 Image ProcessingNAB 2012: Is BMD the new RED, Part 2?Is BMD the new RED?$3000 BMD Cine Camera?NAB Sunday: Canon’s PresentationNAB Sunday: Panasonic and Sony Press ConferencesFS700: Fire & IceTesting the NEX-FS700 at Meets The EyeAn NEX-FS700 Amuse-BoucheQuick Look: Sony PVM-740 OLED DisplayQuick Look: Alpha A-mount Lenses on the FS100Review: Sony NEX-FS100 “Super35” LSS AVCHD CamcorderQuick Look: Variable ND FiltersThird-Party Accessories for the FS100Quick Look: Sony F65 4K Digital Cine CameraReview: Panasonic AG-AC160 and AG-HPX250 1/3” 3-MOS camcordersAffordable PL-mount Primes ComparedQuick Look: Three New E-Mount Primes
May 2012April 2012March 2012February 2012January 2012December 2011November 2011October 2011September 2011June 2011May 2011April 2011March 2011February 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010February 2010January 2010December 2009November 2009October 2009August 2009July 2009June 2009May 2009April 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008January 2008December 2007Complete Archives |
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Remembering the DPS SparkAye, laddie, it takes you back…
Over the weekend I cleared out a bunch of old gear, including the capture card that launched a revolution: the DPS Spark. Thirteen years ago, this card changed low-cost video editing forever. more »
Editing •
Hardware •
Post Production •
(3) Comments •
Most recent comments by:
Gerry Fraiberg,
ericescobar,
Scott Simmons,
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Permalink
Can a Mac mini handle dual-screen HD editing?I compare an early 2009 and a late 2010 Mac mini with a three-year-old MacBook Pro.
At work, I have a big, snorting, hairy beast of a MacPro, but at home I want something small, quiet, and abstemious with the power—yet still capable of dual-screen HD editing with reasonable playback performance when I need it. I’ve tested two Mac minis, with GeForce 9400M and 320M GPUs, alongside my older 15” MacBook Pro with a Radeon x1600 GPU, and the results are… interesting. They may be applicable to recent MacBooks with the same GPUs, too. more »
Editing •
GentryMedia Sister Sites •
Mac Coalition •
Hardware •
Post Production •
(3) Comments •
Most recent comments by:
Umit,
IEBA,
cmoore,
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Photos: On Location with Art Adams and the Arri AlexaProduction stills from Art’s August evening outing with a prototype Alexa digital cine camera.
Seen Art Adams’ writeup on his Alexa shoot? I have a whole mess o’ photos from that long, cold evening… more »
Cameras •
Lighting •
Post Production •
Production •
Tips •
Training •
(3) Comments •
Most recent comments by:
JohnReen,
Art Adams,
Art Adams,
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HPA Tech Retreat 2010 - Day 4LOUDNESS, 3D, 4K, and unshaking shakycam.
The fourth and final day of the 2010 HPA Tech Retreat started off with the vexing problem of TV loudness, and ended with an inspirational talk by Belden’s irrepressible Steve Lampen. more »
3D •
Audio •
Cameras •
compression •
Hardware •
Post Production •
(2) Comments •
Most recent comments by:
IEBA,
Graeme Nattress,
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HPA Tech Retreat 2010 - Day 3HDR imaging, animation restoration, collaborative networking, and more…
The Tech Retreat’s third day covered regulatory issues, HDR imaging, using a plasma for reference monitoring, SOA, networking, file-based workflows… and Mo Henry. more »
Business •
Cameras •
compression •
Distribution •
Hardware •
Post Production •
(1) Comments •
Most recent comments by:
tvmark,
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HPA Tech Retreat 2010 - Day 2Panels and papers at the Tech Retreat
The 16th Annual Tech Retreat was officially opened by HPS President Leon Silverman today. (As with yesterday’s coverage, this’ll be stream-of-consciousness coverage.) more »
3D •
Business •
Cameras •
Distribution •
Hardware •
Legal •
Mobile Devices •
Post Production •
(1) Comments •
Most recent comments by:
Ivan Oliveira,
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HPA Tech Retreat 2010 - Day 13D in the home, 3D and more in the Demo Room.
The Hollywood Post Alliance Tech Retreat is a gathering of postproduction, broadcast, TV, and cinema folks in Palm Springs every February. This year, 3D is a big topic, and Tuesday’s Super Session was “3D in the Home”, chaired by Jerry Pierce & Peter Fannon. more »
3D •
Cameras •
compression •
Distribution •
Hardware •
Post Production •
(2) Comments •
Most recent comments by:
Ivan Oliveira,
Adam Wilt,
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RED DayRED shows off their new sensor and new “color science” at their new studios.
On Saturday 16 January, RED hosted three open-house sessions in Hollywood, for CML (cinematography mailing list) members, ASC (American Society of Cinematography) members, and for RED ONE owners. I attended the CML session, and here’s a quick writeup on what we learned. [updated 10:15pm PST: M-X performance details] more » |
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Compositing in FCP X
On this week’s MacBreak Studio
On this week’s MacBreak Studio, I show Steve Martin from Ripple Training a few things I’ve discovered in my exploration of the compositing features in Final Cut Pro X.
David Atkins Enterprises and Digital Pulse use Adobe software for record-setting arena projection
Australian production studio delivers animation for the 12th Arab Games, on record-size projection space, using Adobe Premiere Pro and After Effects.
In December 2011, the 12th quadrennial Arab Games took place in Doha, Qatar at Khalifa International Stadium. As part of the planning process for the Doha games, the world-renowned event production agency, David Atkins Enterprises (DAE), was commissioned to conceive and produce the opening and closing ceremonies. Following this commission, DAE contracted Australian digital design and video production specialists, Digital Pulse, to produce the animated visuals for the opening ceremony including the athletes’ parade and cultural segments. Far from a conventional production canvas, the animated visuals that the Digital Pulse team were to produce for the event would have to play seamlessly across the stadium’s two different playback systems: a contiguous LED system installed behind all stadium seats and an 86-projector projection system that covered a world record 12,600 cubic metres of on-field projection space.
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