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Wevi’s wobble but they don’t break upIDX’s new Wevi CW-5HD wireless HD system will have you looking for hidden wires and cackling maniacally when you don’t find them If I hadn’t seen it myself, I wouldn’t have believed it. I still don’t quite believe it. I just saw an on-camera HD wireless transmitter perform spectacularly, with almost no latency and no breakup at 50’. more »RED notes: Build 16 released; “nearly ready”Build 16 is ready to ship, and so are our cameras, almost.
The science project continues: back in mid-June when we looked at RED build 16 beta firmware, we saw some must-have enhancements, but some showstopper bugs. That was then; this is now: here’s how build 16 has evolved… more »It’s still not the camera!My recent shoots with the HVX-200 don’t look good just because of the camera. It’s how we used it.
Today, on the CML-Basics list, someone posted that they liked the look of my recent HVX-200 projects so much that they were thinking of asking for an HVX-200 on their next low-budget feature project. This was my response: more »Ooops, we did it againWherein a small crew on a low budget makes an HVX-200 look vastly better than it ever should. Recently I wrote of a wildly successful music video shoot I did with the HVX-200. Well, we did it again. A few weeks ago I shot a music video project with director Jono Schaferkotter. The project turned out spectacularly well in spite of working with an eager, but inexperienced, crew and an HVX-200. Between picking shots that worked within the confines of what we could achieve with the gear we had, along with some basic color correction in Final Cut Studio using Magic Bullet Looks, the project looked much better than it had any right to, considering the budget was about $200. more »Advertisement How Important is Resolution?It’s all about pixel counts… or is it?
SD, 408p, 720p, 1080i, 1080p… 2k, 4k, UDTV… it seems like the big push is to get ever-higher resolution. It’s true that given two pictures, identical in every other way, that the higher-res image will look better—if you’re close enough to see the difference. But it turns out that resolution isn’t as important as you might think. more »Quick look: RED Build 16Not a full test, but a first look at a beta build.
The sacrificial RED at Chater. Also note: labeled control buttons!Last week, Dane Brehm gave a bunch of us a tour of RED’s build 16 features (as Art Adams reports here). While three beta releases of build 16 had come out in the preceding week, the sacrificial test camera at Chater was “only” up to the second beta build. With builds coming fast and furious, it’s clear that this build isn’t considered ready for prime time just yet. Still, even with the protean nature of build 16 so far, we saw some interesting things. more »RED Build 16: A Camera Whose Time Has ComeAh, sweet 16. How I’ve waited for thee. Finally, a camera I can work with. more »Cine Gear Expo 2008 - Day 2The second day of the hottest equipment show in LA
Cine Gear Expo on the blazing-hot Universal backlot
Day 2 of Cine Gear Expo dawned sunny and hot—our in-car temperature display registered 102 degrees Fahrenheit by 1:30pm. Despite the heat, there were plenty of things worth seeing. more »Page 69 of 77 pages « First < 67 68 69 70 71 > Last » Advertisement |
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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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