And Then The Camera Spun Around And Bit Me On The Ass.

Meet the Sony HDW-790, a 2/3” high-def ENG/EFP camera that records to HDCam (read: Beta-shell) cassettes.  This camera - and its two brothers - are the day-to-day field-shooting workhorses for Wisconsin Public Television, where I have worked for the last 23 years.  Lately (as in the last 9 years or so) my career path has taken me a bit away from the daily shooting grind, but I still fill in the photography gaps now and again,  Keeps you young, dontcha know. 

Except when it tries to kill you.

Zeiss Eye Candy

I attended a local tradeshow yesterday and today, and Zeiss had a display table showing off still and cine lenses. Herewith, some images for your viewing pleasure.

The HS-2000 at Screenplay Magazine’s Media and Innovations Summit

Earlier this year, Ken Pyle at Viodi LLC, contacted us about what equipment he could use to switch and record multiple video sources and computer sources for a setup he was creating for Screenplay Magazines Media and Innovations Summit (at the Directors Guild of America in Los Angeles) in September of this year.

Super 35 size me

Next month marks the debut of Sony’s first handheld Super 35mm model for professionals: the PMW-F3.  It’s also Sony’s first such camera with XDCAM EX recording and first with CMOS technology.  And the F3 starts at just $16,000 MSRP.  The new camera is beginning to make a name for itself after some sweet pre-production tests and first-on-the-block Vimeo posts.  In this article, we’ll take a look at the new camera’s Super 35mm image sensor, and see exactly what Sony means by “Super 35.” 

How about application parity between the Tangent Wave and Euphonix MC Color

When it comes to affordable hardware for post-production, “affordable” is often a relative term. What may be affordable for one is not necessarily affordable for another.  Sometimes there may be limited choices for a particular piece of hardware so the price point is the price point and there’s not much the purchaser can do about it. Color grading control surfaces are no different. While some applications like Apple Color and RedCine - X support both the Tangent Wave and Euphonix MC Color others, like DaVinci Resolve and The Foundry’s STORM, don’t. This article is a call for developers to support both.

What $300 Buys These Days

OK, folks, have a look at “Lazy Teenage Superheroes,” a funny, really watchable (and slightly NSFW for language) 13-minute riff on science fiction:

Google political move stifles web video distribution & complicates our workflow

In case you didn’t hear yet, Google recently announced the elimination of support for H.264 in HTML5 video in its popular Chrome web browser within the next few months, in favor of WebM (VP8) and Theora video códecs. Despite Google’s official justifications for the move in the name of openness, many analysts (including myself) see this as a political move against Apple, and even hypocritical since the Chrome browser has contained (and will continue to contain) an embedded Flash player. Our logical conclusion is that Google’s next step will be to drop support for H.264 in its Android operating system too. This happens after H.264 already has achieved support from Adobe, Apple, and even Microsoft. Up until now, Google’s Chrome browser has directly supported H.264 with HTML5’s video tag. Before this shocking below the belt punch, many content producers were well along the way of offering HTML5 video with H.264, playable as raw or automatic fallback to the same file embedded in Flash if the browser didn’t support it in HTML5, as I have covered in my seminars. However, as we see the writing on the wall, this will likely no longer be sufficient for the ever popular Android devices as they likely become updated to newer versions which would purposefully exclude H.264 playback, especially considering the poor Flash performance on most of the current Android devices that even support it at all. So within a short time, the preferred video códecs for Android devices will likely be WebM (VP8) or Theora, while for Apple iOS devices (AppleTV, iPad/iPhone/iPod Touch), it will remain to be H.264.

A Look Back on 2010

In this episode of the Terence and Philip Show – with able assistance from Secret HQ’s Greg Huson – take a look back on what changed in 2010 from our perspective.

There’s a lot in this show from Resolve to dissolve.

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