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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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EX1 Misfocusing ExplainedSome PMW-EX1s show back-focus changes when internal ND filters are used
[Updated 2008.03.29] I noticed in my unfair comparison of three cameras that the EX1’s outdoor shot wasn’t in focus. I was puzzled: I had zoomed in and focused carefully, then zoomed out and shot. Was back-focus that far off? It hadn’t been when I last checked it. Hmm… more »
Cameras •
Production •
(12) Comments •
Most recent comments by:
Steven Thomas,
Adam Wilt,
Luc Meisel,
Steve Thomas,
Scott Worthington,
Scott Worthington,
Steve Thomas,
Dan Brockett,
Adam Wilt,
harryllama,
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Three three-letter cameras: EX1, F23, REDAn unfair comparison of three entirely different cameras
On March 7th, Tim Blackmore and I visited Videofax, a San Francisco camera rental house. Videofax is unique in the area (as far as I know) in having both a RED ONE digital cinema camera and a Sony F23 HDCAM-SR camcorder. Videofax’s Leigh Blicher kindly invited us to come by and take a look, following the DCS RED Event the previous weekend. How could we refuse? more »
Cameras •
Hardware •
Production •
(57) Comments •
Most recent comments by:
tai krige sasc,
tai krige sasc,
Luc Meisel,
an actual DP,
monts,
tai krige sasc,
monts,
tai krige sasc,
Jason,
Boom Boom,
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Exporting stills from FCPCorrecting for FCP’s assumptions, and a surprising discovery.
I recently had a chance to compare the PMW-EX1 with a RED and an F23 (about which, more will be said in coming days). I collected quite a few video clips from the cameras and I’m going through the process of exporting still frames from the two Sonys, using Final Cut Pro. As I want to capture the full exposure range in the stills, there’s more to it than just parking the playhead on a frame and doing File > Export > Using QuickTime Conversion. As it turns out, there’s also a surprise. more »
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Editing •
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Most recent comments by:
Shane Ross,
Mark Weiss,
Sean Safreed,
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PMW-EX1: XDCAM Transfer 2.5.1 for Mac ReleasedFixes clock-mode timecode import bug; qualified for OS X 10.4.11 and higher Sony has released XDCAM Transfer 2.5.1, software used to import XDCAM clips into QuickTime and Final Cut Pro. This version fixes a bug where PMW-EX1 recordings made with CLOCK-mode free-run timecode were not being properly imported, and it is qualified to run both on OS X 10.4.11 and 10.5.x.
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Most recent comments by:
Greg Boston,
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PMW-EX1 Update 2Corrections and details • Adam Van Voorhis of Boston Camera says that the EX1 does indeed supply Y/C video, using the same VMC-15FS cable that works on the HVR-V1. My EX1 review has been updated with these tidbits.
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(3) Comments •
Most recent comments by:
Christopher Ruffell,
Adam Wilt,
Christopher Ruffell,
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Traveling with batteries, Pro Apps Updaters, etc.Stuff to watch out for; tips ‘n’ tricks • FAA rules on lithium battery transport HPA Tech Retreat - Day 3, etc.Cameras, compression & concatenation; displays, distribution, & demos
Day 2 Revisited PMW-EX1 - use regen timecodeFree run TC may confuse XDCAM Transfer A post on the Cinematography Mailing List yesterday indicates that XDCAM Transfer may not see all the clips on an SxS card if the EX1’s timecode was set to “clock” mode, one of the free run options. Sony is reportedly going to address this issue with an updated version of XDCAM Transfer. For now, it appears the safe thing to do for now is to leave the EX1’s timecode in regen mode. UPDATE 2008-03-06: Version 2.5.1 fixes this bug. |
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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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