Bruce A. Johnson

A 1981 graduate of the Boston University College of Communication, Bruce A. Johnson got his first job in broadcast television at WFTV, an ABC affiliate in Orlando, FL. While there, he rose through the ranks from teleprompter operator to videographer, editor, producer and director of many different types of programming. It was in the early 1980's that he bought his first computer - a Timex/Sinclair 1000 - a device he hated so much, he promptly exchanged it for an Atari 400. But the bug had bitten hard.

In 1987, Johnson joined Wisconsin Public Television in Madison as a videographer/editor, and still works there to the present day. His responsibilities have grown, however, and now include research and presentations on the issues surrounding the digital television transition, new consumer technology and the use of public television spectrum in homeland security. He freelances through his company Painted Post MultiMedia, and has written extensively for magazines including DV and Studio Monthly.


Friday, April 20, 2012

NAB 2012: Trucolor Ohm Space Light

400 watts of LED replaces a 6K?  Sounds good to me.

Next time you need to flood a room with soft light - in whatever color temperature - you should give the Ohm a look.



Friday, April 20, 2012

NAB 2012: EZ-Jib

EZ to use, EZ on your wallet

I’ve always been intrigued by jib arms, and usually put off by their high prices.  EZ-FX might have a solution to that problem.



Wednesday, April 18, 2012

NAB 2012: Profoto Reflector Umbrellas

The big one in the picture is TEN FEET TALL!

When I walked past these the first time, I thought they might be antennas left on the Moon to shoot signals back to earth.  But a little research proved to me that these are great lighting devices.  NOTE: a big “Thanks!” to my colleague Erik Higgs for letting me edit on his laptop while I was in Vegas.



Wednesday, April 18, 2012

NAB 2012:  Eizo 4K Monitor

You are going to have to look at your 4K footage on *something.*

At NAB 2012, when you see a crowd of people clotted around a small booth, it’s a sign you should pay attention.  The Eizo full 4K monitor I found there was easily one of the most beautiful I saw all week, with a price tag to match.  Also:  A belated “Thanks!” to my colleague Erik Higgs for letting me edit on his laptop while in Vegas.



Tuesday, April 17, 2012

NAB 2012:  T3 Motion Camera Transporter

Kind of an unholy marriage between Ben-Hur and Blade Runner, and super-cool to boot.

Steadicams have great uses, and some downsides - like severe back strain.  Here’s a great product that can help you get fantastic shots and keep you out of traction.


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Tuesday, April 17, 2012

NAB 2012: Swedish Chameleon DSLR Shoulder Mount

No, it isn’t a lizard.

There are a lot of DSLR mounts out there, but this one lets you say:  “Look Mom, no hands.”



Tuesday, April 17, 2012

NAB 2012:  PhotoHigher Hexacopter

...can lift a lot of cameras.

I’m always looking for the next great aerial platform.  This looks like a good candidate.



Friday, December 09, 2011

Want To Fly In First Class On Your Next Gig?  Here’s How!

...and it is actually CHEAPER than coach!

I just got back from a whirlwind cross-country trip for a freelance gig I’m working on.  Between me, my field producer and my audio operator, we managed to boil down our equipment complement to six checked bags and three carry-ons. Now prices vary on different airlines, but the way it worked for me was this:

We flew USAirways from Cleveland to Phoenix, changing planes in Charlotte.  When I got online to check us in the night before, I was resigned to paying $60 in checked bag fees for each of us ($25 for the first bag and $35 for the second, all meticulously packed and weighed to be less than 50 pounds.)  However, in the middle of the check-in procedure, a pop-up box asked me if I would like to upgrade my entire party to first class - for $50 each.  On USAirways, this upgrade includes TWO FREE CHECKED BAGS.  (Bonus:  They can then weigh up to 70 pounds.)  In the time it took me to click the “yes” box, I had saved $30 overall and managed to get prime seating for the crew, and moved to the head of the boarding queue to guarantee overhead-compartment space for the two cameras and backpack-full-of-computers-and-iPad we were carrying onboard.  I call that a bargain at twice the price!

Coming home at the end of the shoot from Tucson to Madison, I played the same game on United.  Since both of those flights were on regional jets, first class was not offered, but once again the cost of checking two bags and first-call boarding was less than the cost of checking the bags alone.  While it is easy to imagine scenarios where this technique may not work (e.g., first class is booked full) it is a trick that I will be trying every time I need to check bags from this day forward.

Got any travel tricks of your own you’d like to share?  Let’s hear them!


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Compositing in FCP X

Mark Spencer | 05/23- 05:03 AM

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.

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David Atkins Enterprises and Digital Pulse use Adobe software for record-setting arena projection

Todd_Kopriva | 05/22- 12:31 PM

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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