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PVC NAB 2011: Mushroom Networks TeleporterLive Shots Keep Getting Easier PVC Mushroom Networks Teleporter from ProVideo Coalition on Vimeo. Mushroom Networks offers live HD from anywhere you can make a phone call. more »PVC NAB 2011: TVUPackWill Cell Phones Replace Satellite Trucks? PVC TVU Networks from ProVideo Coalition on Vimeo. HD over 4G was definitely one of the growth categories at NAB 2011. TVU Networks showed the TUVPack. more »PVC NAB 2011: MinicasterBackhaul Thru The Cloud PVC NAB 2011: Minicaster from ProVideo Coalition on Vimeo. If you have access to the Internet, you can broadcast anywhere you want - with the Minicaster. more »FreshDV NAB 2011 Video CoverageOur complete video content and coverage of the NAB 2011 expo
Welcome to FreshDV’s coverage of NAB 2011! The FreshDV crew is in Vegas for NAB week, bringing you video coverage from the show floor. If you can’t be on-site at NAB, we are the resource to watch. Watch our coverage of the show in the playlist below. If you’ve enjoyed it, drop us a line on Twitter @FreshDV. Watch below… more »Advertisement 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 »Is Netflix the “New” Studio Model?Netflix is making it’s own programming now. What does this mean for the existing networks and cable outlets? Philip and I consider the changes to the financial dynamics caused by Netflix’s funding of “House of Cards.” Is Netflix a new studio model? Where’s the opportunity for innovation in programming if everything is data driven? Are we trading one set of controllers for another? more »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? more »No More HDCAMSR Stock! Now What?The tape shortage crisis and what it means to production and post. Terence and Philip start discussing the tape shortage crisis – particularly HDCAM SR – caused by the situation in Japan: is tape dead, or will it merely lead to a resurgence of D5? Who’s accepting file-based delivery, is that even practical, and who gets to drive the need for tape delivery? Remember, “No-one ever voluntarily changes their workflow”! Considerations of tape shortage leads to discussion on archiving non-tape sources, and the issues surrounding that. Click below to join in on the conversation in Episode 23 of The Terence & Philip Show. more »Page 2 of 18 pages < 1 2 3 4 > Last » Advertisement |
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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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