Sunday, September 21, 2008

Review: Panasonic AG-HPX170P 1/3”, 3CCD P2 Camcorder

Adam Wilt | 09/21- 06:39 PM

The P2-only HPX170 is a multitalented, smooth operator with improved picture quality.

The Japanese word “kaizen”, usually translated as “continuous improvement”, applies to Panasonic just as much as Toyota. Just as the HVX200 built on the success of the standard-definition DVX100, adding multiformat recording and multiple frame rates, the HPX170 takes the best features of the HVX200 and builds on them. The 170 makes a better picture. Added functionality, like HD-SDI, more frame rates, and Dynamic Range Stretch, makes it more versatile. Its lighter weight, refined ergonomics, and built-in waveform monitor make it an operator’s delight.

Saturday, September 13, 2008

RED Workflow Redux

Art Adams | 09/13- 09:53 PM

I might be just winging it, but darned if it don’t work!

I haven’t yet found a manual for working with RED footage. The methods that I’ve discovered have been cobbled together by searching through thousands of posts on Reduser.net (which has a very low signal-to-noise ratio), hundreds of posts on the Cinematography Mailing List, and just making stuff up.

Wednesday, September 10, 2008

New Red Camera Adobe Support

dhelmly aka DavTechTable | 09/10- 04:16 PM

Coming From Red: Adobe Production Premium support !

For a few weeks now I have been checking out the new Red Camera Adobe Importer plug-in for Premiere Pro, AfterEffects, and Encore. For their first Adobe CS3 plug-in, they’ve done some excellent work. Their importer plug-in makes using the native R3D file type as easy as any of the other tapeless formats we currently support with CS3. As with our P2 and XDCAM support, importing is as easy as drag and drop or you can still use the standard File>Import dialog. The Plug-in gets installed in the Adobe Common MediaCore folder and is shared by all Adobe video applications. Yes, there are plug-ins for both Intel Mac and Windows. Windows users might consider using Vista64 so they can address more than 3.6 GB of RAM for the larger frame sizes(yes - currently CS3 can only address upto 4GB of Ram on Windows ** stayed tuned ** we’ll have a better answer - more on that later) Vista users, just remember to turn off all of the friendly Vista helpful messages like “Cancel or Allow?” )

Friday, August 22, 2008

Free Book

Jay Rose | 08/22- 08:09 AM

I seem to be a premium…

I just learned that BeachTek is giving away copies of my recent Producing Great Sound for Film and Video (3rd Edition, Focal Press, March 2008), if you buy any of their products from their online store.

Saturday, August 16, 2008

What Wired Didn’t Understand about Depth of Field

Art Adams | 08/16- 04:33 PM

It’s not about analog vs. digital, it’s frame size vs. focal length

In the Sept. ‘08 issue of Wired Magazine, in an article about the RED camera called “A Star is Born,” the author states that the difference in depth of field between film cameras and HD cameras is due to “analog versus digital,” with no other explanation. I’ve written this for him and for anyone who wonders why 35mm film and large sensor HD cameras have so little depth of field.

Saturday, August 16, 2008

The Olympics

Scott Gentry | 08/16- 03:14 PM

I attended as a fan, and a camera geek.

I was lucky enough to have attended the first week of the Beijing Olympics and all I can say is WOW!

From an attendee perspective and seeing my first Olympic Games in person, to a traveler and visiting China for the first time, to a video production geek spending way too much time watching how the Olympics was being covered by the world...the experience was one of a lifetime for me.

Bruce Johnson wrote about the job he’d like to have at the Olympics, and I’d like to add that I would have been happy with almost any job. 

I really enjoyed being able to see the array of camera positions throughout each of the events I was able to attend.  Having been a camera operator for Pro Football among other things, the Olympics would have been a dream job.  Every shot a potential shot of a lifetime!  I have great admiration for many of the camera guys as positions required fast movement, constant attention, and of course they were live for all the world to see.  Some of the camera positions, like Bruce mentioned, were fantastic.  Swimming comes to mind with the under water cameras, the water level boom camera, overhead cameras and more.

My wife and I stayed at the NBC hotel (Crown Plaza) across from the Birds Nest, and were able to rub elbows with the producers, directors, on-air talent and more for breakfast and late night drinks.  I have to tip my hat to the entire NBC crew for doing a fantastic job presenting the Olympics in myriad of channels and online alternatives.  Moreover, the friendliness of everyone we met both within NBC and in China in particular was a welcomed treat. 

Now that I am home in the US and watching the rest of the Games from afar, I have a deeper appreciation for the location, the people, and fantastic show.

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