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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. 
NAB 2012: Trucolor Ohm Space LightNAB 2012: EZ-JibNAB 2012: Profoto Reflector UmbrellasNAB 2012: Eizo 4K MonitorNAB 2012: T3 Motion Camera TransporterNAB 2012: Epic HD1080 Danger CamNAB 2012: Swedish Chameleon DSLR Shoulder MountNAB 2012: PhotoHigher HexacopterNAB 2012: Art Lebedev Optimus Popularus KeyboardNAB 2012: Mini Dolly SliderNAB 2012: Plasticase NanukNAB 2012: Maybe this means nothing.NAB 2012: Sony Press ConferenceREVIEW: Blackmagic ATEM 1 M/E Video SwitcherWant 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 Concepts
April 2012March 2012December 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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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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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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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.
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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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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 »
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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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Has Shakycam Finally Run Its Course?Let’s all hope so…
GREAT review of the new movie “Battle: Los Angeles” by Matt Zoller Seitz at Salon.com, taking the filmmakers to task for the evil combination of long zoom, short depth of field, and lack of shot stability that equates to nausea for the viewers. Huzzah! Huzzah! Something that has needed to be said for over a decade! Will it make a difference? Doubtful. You see as many faux-Steadicams as decent tripods at NAB, a travesty I expect to continue next month. Anybody want to lay odds? And no, I haven’t yet seen “Battle: Los Angeles,” but once it hits the Roku I promise to pop a few Dramamine and give it a go.
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lightprismtv,
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So You Think You Have An Original Idea?Think Again. Big thanks to Gary Bettan of Videoguys.com for pointing out a really interesting take on modern creativity. It’s at a site called EverythingisaRemix.info . A guy named Kirby Ferguson just disassembles two of the most sacred cows of the last forty years - Led Zeppelin and Star Wars - in a funny, deadpan way that makes “This American Life” sound like “Family Guy.” And they aren’t the only victims here - be sure to hang on through the credits for even more fun! There are currently two episodes out (of a promised four). Even though there are embed links in this post, be sure to go to his site and click on the “Donate” button. This guy deserves a little dough!
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Dylan Pank,
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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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