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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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NAB 2012: Is BMD the new RED, Part 2?BMD Cinema Camera specs; video preso from Dan May; unwarranted speculation and wild conjecture.
The Blackmagic Design Cinema Camera was the surprise of the show. In this second report on the BMDCC, I gather together facts (such as they are at this early stage of the game), informed commentary, crazed guesswork, and pointers to more info. [updated 2012-04-29: CinemaDNG data rate corrected; 2012-05-07: better video embedding.] more »
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Most recent comments by:
Adam Wilt,
Mike N,
Adam Wilt,
Mike N,
Mezigue,
lightprismtv,
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Is BMD the new RED?And is EF the new PL? More on the BMD Cine Camera.
A few pictures of the $3000 BMD Cine Cam and some infonuggets. [update: added EOSHD’s sensor size comparison.] more »
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NAB2012 •
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Most recent comments by:
Vijayendran,
Adam Wilt,
Vijayendran,
Marco Solorio,
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$3000 BMD Cine Camera?Blackmagic Design announces a cine camera for $3000! I’m just passing on a rather astonishing announcement from Blackmagic Design. I’ll try to get a look at this puppy later today, but now, I simply bring you the words of BMD’s Grant Petty, received in an email… more »
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Most recent comments by:
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Ivan Oliveira,
Ivan Oliveira,
wsmith,
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NAB Sunday: Canon’s PresentationMore details on the Canon 1D C and C500 digital cine cameras.
Canon held a meeting in the Brenden Theater at the Palms, showing off two 4K short films (one shot by Shane Hurlbut with the 1D C, the other by Jeff Cronenweth, using the C500) and turning Larry Thorpe loose with a wealth of technical details. more »
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NAB Sunday: Panasonic and Sony Press ConferencesWhat the two big camera companies taked about officially.
When big companies hold press conferences, they’re a mix of marketing / sales encomiums from happy customers, and some actual useful information about technologies and products. I’ll mostly focus on the tech stuff that Panasonic and Sony announced today (and adding my own snarky commentary in [square brackets]). more »
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Steve Crye,
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FS700: Fire & IceMore Super Slow Motion studio tests with Sony’s new LSS camcorder.
The day after my fun with matches, Art Adams came by. We played with fire a bit more, then turned to water and ice. more »
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IEBA,
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Testing the NEX-FS700 at Meets The EyeMore slo-mo under controlled conditions.
I took the FS700 into work and shot under various lighting conditions to see what would happen. I also swapped out my cheap Nikon lens adapter and support kit for an updated Hot Rod Cameras Tuner Kit (sliding baseplate, PL mount, and 15mm rod adapters). more »
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An NEX-FS700 Amuse-BoucheSome slo-mo from Sony’s newest LSS camera.
Last week, Sony announced the NEX-FS700, a super-slo-mo follow on to the NEX-FS100. On Saturday, a pre-production FS700 arrived on my doorstep. On Sunday, I went to the coast to try it out; I offer a small sampler of the results for your delectation. more »
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tunny,
stevecrye,
Mike Curtis,
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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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