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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. 
Want To Fly In First Class On Your Next Gig? Here’s How!REVIEW: Fast Forward Video Sidekick HD Recorder/MonitorIs TV Broken?Canon Cinema EOS C300: A Dissenting ViewThe One Collaboration I Need Adobe To MakeREVIEW: Litepanels Sola ENG LED Fresnel LightThe Phantom HumToday The GoPro Let Me DownBlackmagic Design at NAB 2011 Part 2Blackmagic Design at NAB2011 Part 1PVC NAB 2011: Rotor ConceptsPVC NAB 2011: Topaz LabsPVC NAB 2011: Camlight Focusing LED Studio LampPVC NAB 2011: Arri L7T LED Fresnel LightPVC NAB 2011: Mushroom Networks TeleporterPVC NAB 2011: TVUPackPVC NAB 2011: MinicasterPVC NAB 2011: SteadisegPVC NAB 2011: Petrol Cambio SuitcasePVC NAB 2011: Hoodman Photo FramesPVC NAB 2011: PortaBrace Audio Organizer FlexPVC NAB 2011: Markertek VPTR1 Production TrailerPVC NAB 2011: Litepanels Sola ENG LightPVC NAB 2011: Ikan Monitors at NAB 2011A DSLR Resurrection
December 2011November 2011September 2011July 2011June 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010March 2010February 2010January 2010November 2009August 2009July 2009June 2009April 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008Complete Archives |
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REVIEW: Fast Forward Video Sidekick HD Recorder/MonitorTwo for the price of one?
PREFACE: The ProRes Dilemma Let’s start this review off by dispelling a long-held rumor. I’m a PC guy, just always have been, and after reviewing just about every PC NLE at least once, I have settled on Adobe Premiere Pro (and the CS 5.5 suite) as my editor of choice. Not too long ago, I had a freelance client that absolutely insisted on Apple ProRes files for the output of a project. Unfortunately, Apple does not allow PCs to write ProRes files, and at the time PC’s couldn’t read them either. Fast-forward a few months: Imagine my dismay as I walked the aisles of NAB 2011, looking at all kinds of new recording devices from Aja, Atomos, Sound Devices and others that promised long recording times and transfer speeds – yet the catch was: Only records in Apple ProRes. So when I was offered the opportunity to review the Fast Forward Video Sidekick HD combination video recorder and camera-top monitor, I was distressed to think that I could shoot the footage, but couldn’t edit it. So I put the question to my colleagues on the Vidpro listserv – can PC Premiere Pro play back ProRes? My pal (and fellow Wisconsinite) Steve Oakley FTP’ed me a few Apple clips that seemed to work, so I went ahead and received the Sidekick HD. And I can now say with 100% certainty – Adobe Premiere Pro 5.5 can play back Apple ProRes files, even happily combining them on the same timeline with just about any other type of clip you want to add – .AVI, .M2T, Photoshop files, Canon 50Mb, Sony 35Mb, After Effects comps, you name it. (The theory is that the ProRes playback capability came along with one of the many Quicktime updates Apple shoots out. Hey, who knew?) more »
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ProPhoto Coalition •
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(5) Comments •
Most recent comments by:
Review Maze,
skimmel,
Bruce A Johnson,
skimmel,
wsmith,
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The One Collaboration I Need Adobe To MakeI don’t think I’m really asking much…am I?
Hey folks, been gone a while, but it’s fall and time to get back in the swing of things. One of the interesting side-effects of writing for PVC is that I am on just about every PR person’s mail list. Usually these missives are easy to toss to the side, but the other day I got one from Adobe, talking up their presence at IBC 2011 in Amsterdam (for the record, IBC is the international version of NAB, held in early September every year.) As a long-time Premiere Pro and CS-suite convert, I paid a little bit more attention to this one than average. Unfortunately, I neglected to save the URL, but the gist of it was this: more »
Audio •
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GentryMedia Sister Sites •
Mac Coalition •
ProAudio Coalition •
ProVideo Coalition •
Hardware •
NAB 2011 •
Post Production •
(2) Comments •
Most recent comments by:
Vancouver Videographer,
Erik Higgs,
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Blackmagic Design at NAB 2011 Part 2Have A Look At Hyperdeck The extended death of tape continues. Blackmagic Designs gives us a look at the Hyperdeck line. Again, the audio is pretty rough, but the info is good enough to share.
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GentryMedia Sister Sites •
Mac Coalition •
ProVideo Coalition •
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Post Production •
Production •
(2) Comments •
Most recent comments by:
maagzuur8,
ThomasKoch,
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Blackmagic Design at NAB2011 Part 1A quick look at Davinci Resolve 8
Here’s a quick look at Blackmagic Davinci Resolve 8, including discussion of its new XML capabilities to ease the workflow with Final Cut Pro. A combination of a loud room and a hoarse throat doesn’t help the audio, but the info is good enough to share anyway. Enjoy!
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ProVideo Coalition •
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(0) Comments •
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PVC NAB 2011: Topaz LabsA Pretty Incredible Demo You know how hard you laughed when you watched “CSI” or any other cop show and the detective told the computer kid to “zoom in on that photo…and…enhance”? This demo might just give you pause. Great looking software, too.
*VIDEO* •
Editing •
GentryMedia Sister Sites •
HDSLR •
ProPhoto Coalition •
ProVideo Coalition •
NAB 2011 •
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A Modest Proposal Regarding Editing Software...with apologies to Jonathan Swift In the beginning, there was Avid…and it was OK. more »
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GentryMedia Sister Sites •
HDSLR •
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(3) Comments •
Most recent comments by:
Rich Young,
Bruce A Johnson,
mal,
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First Impressions From NAB 2011...As I Get Ready To Leave It’s amazing how much I both look forward to - and simultaneously dread - coming to NAB. more »
Apple •
Final Cut Pro •
Cameras •
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Editing •
GentryMedia Sister Sites •
HDSLR •
Mac Coalition •
ProAudio Coalition •
ProVideo Coalition •
Hardware •
NAB 2011 •
Post Production •
Production •
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Most recent comments by:
scottieb,
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Tantalizing News From TelestreamApple ProRez Encoding On The PC?
It’s no secret that I am a PC user. I’m very happy with the performance of Adobe Premiere Pro CS5 (and all the other programs in the Adobe suite) on my HP Z800 machine. However, some of my client’s end-users are Mac people, and have at different times demanded output in the Apple ProRez codec… ,,,which, of course, PCs cannot do. At least, until now, if what Telestream has to say pans out. Imagine my interest when I saw this headline in an email: Telestream Enables Encoding to ProRes on Windows Server Products Details as of now are hazy, and I have asked for clarification. But if this turns out to be what it sounds like, it could be a great step forward in making peace between the Windows and Apple editing camps. Sounds too good to be true, doesn’t it? What do you think?
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compression •
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GentryMedia Sister Sites •
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ProVideo Coalition •
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Most recent comments by:
wsmith,
Mel Feliciano,
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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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