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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. 
Quick 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 PrimesLSS Notes: Sony F3/FS100 preso at MTE; “C300 = Awesome”Quick Look: Canon EOS C300 LSS 1080p CamcorderQuick Notes: ETE Panel; MTE Open HouseCaleb Crosby’s FS100 Top HandleCine Gear Expo LA 2011NAB 2011 - Odds ‘N’ EndsNAB 2011 - Plasma Lights, and The Problem With LEDsNAB 2011 - SCCE ChartsNAB 2011 - CamerasNAB 2011 - Camera SupportNAB 2011 - LensesNAB 2011 - Stereo 3DNAB 2011 - RecordersNAB 2011 - FilmLightNAB 2011 - Ikegami’s HDS-F90 LSS 4/3” CamcorderNAB 2011 Video - 3rd-Party Support for the AG-AF100NAB 2011 Video - Panasonic AG-HPX250NAB 2011 Video - Panasonic’s second-generation 3D CamcorderNAB 2011 Video - Panasonic AJ-HPX3100NAB 2011 - Arri AnnouncementsNAB 2011 Video - Two New Video Recorders, and More…
January 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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Review: Panasonic AG-AC160 and AG-HPX250 1/3” 3-MOS camcordersPanasonic delivers full-res, full-function, feature-rich 3-chippers.
While all the attention is focused on large-single-sensor cine-style camcorders, Panasonic has come out with a line of high-quality 1/3” 3-MOS handhelds that leave little to be desired. The HPX250 is a handheld version of the shoulder-mount HPX370, while the AC160 and its simplified sibling, the AC130, bring the same fundamentals to the AVCCAM (AVCHD) world. [Update 2012.01.30: SDI out is 10-bit only on 250, not 160.] more »
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compression •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
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Most recent comments by:
Adam Wilt,
speaker2a,
IEBA,
Adam Wilt,
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NAB 2011 - RecordersOn-camera recording devices, plus the end of tape?
If NAB had an unofficial theme this year, it was “the year of compact on-camera digital recorders.” And the subtext? Suddenly, silently: ProRes everywhere. more »
Apple •
compression •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
NAB 2011 •
Production •
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Most recent comments by:
lightprismtv,
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HPA Tech Retreat 2011 Day 3After the fear and trembling yesterday, suggestions of solutions; OLEDs; DSLRs; and more.
Day 3 (by my counting; HPA calls this Day 2, because Tuesday’s Super Session doesn’t count) covered LTO-5, LTFS, IMF, HDSLR, OLED, FIMS, SOA, SLA, monitors vs. displays, file-based mastering, Hollywood in the cloud, and Disney restorations. more »
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GentryMedia Sister Sites •
ProVideo Coalition •
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Stereoscopic •
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HPA Tech Retreat 2011 Day 2Mayhem, confusion, and chaos continue!
Day 2 of the Tech Retreat covered the year in review, CES, cloud storage, broadcasting, pool feed audio, content protection, transcoding, stereo subtitles, and more… more »
*VIDEO* •
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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 •
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compression •
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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 »
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tvmark,
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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 »
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Most recent comments by:
Ivan Oliveira,
Adam Wilt,
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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