Tuesday, October 07, 2008

Sony notes, 7 Oct 2008

Adam Wilt | 10/07- 09:15 PM

Tidbits from the VMI show

The business end of the HVR-Z5.

There were a couple of unexpected surprises at VMI’s mini-Sony show today in Sunnyvale, CA. While the HVR-S270 and PMW-EX3 camcorders, the PMW-EX30 SxS recorder/player, wireless mics, and LCD displays were the main attractions, Sony also fetched along one of three prototype HVR-Z5 camcorders currently in the USA, as well as a fiber-connected studio setup for the EX3. I also saw the B4-mount lens adapter for the EX3.

Tuesday, September 30, 2008

Review: Sony PMW-EX3 Removable-lens 1/2” 3-CMOS HD Camcorder

Adam Wilt | 09/30- 05:41 PM

Under the skin, it’s an EX1. But goodness: what a different skin!

The US$8320 (street price) Sony PMW-EX3 is an eight-pound, high-definition “chainsaw” camcorder with three 1/2” CMOS sensors. It’s essentially a repackaged EX1—true 1920x1080 sensors, 1080 and 720-line XDCAM EX recording on SxS cards, variable frame rates, wide-latitude cine gammas, hugely tweakable—with an interchangeable lens mount, an impressive EVF, and improved ergonomics. Like the EX1, it makes stunning HD images, and like the EX1, it’s a handheld handful.

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.

Sunday, September 21, 2008

How To Get The Most Out Of Your Easy Setup Part 1

Kevin P. McAuliffe | 09/21- 03:07 PM

Any editor who works on FCP, no matter what version, is familiar with the Easy Setup.  You simply select the Easy Setup that is most suited to your workflow, and you’re all set to go.  For example, if you are working with a DV camera, you would choose DV-NTSC.

Saturday, September 20, 2008

AJA + Adobe = Great High-End Workflows

Dennis Radeke | 09/20- 03:44 PM

I’ll be the first to admit that I don’t have the privilege of getting to work with high-end workflows all of the time.  I go from everything to DV to Film 4K and everything in between, but clearly SD and compressed HD workflows predominate what we do. However, I have to say that I’ve been really intruiged with what AJA offers for Adobe products - all that you would expect and a whole bunch extra.  Read on to get all the details.

Friday, August 29, 2008

Migrating After Effects Between Macs

Chris Meyer | 08/29- 07:59 AM

It’s not just a matter of copying files from one computer to another…

With the recent announcement by Adobe that After Effects CS4 will not run on PowerPC-based Macs, some users are thinking about upgrading their hardware. With new hardware comes the question about how to get all of your software moved over. In the old days, you might consider just dragging folders from one drive to another. Sadly, that often doesn’t work anymore.

Page 3 of 10 pages « First  <  1 2 3 4 5 >  Last »