Thursday, November 20, 2008

Why Pro Res Should Be Your Only Res & The AJA IoHD Part 1

Kevin P. McAuliffe | 11/20- 09:24 AM

Unboxing the AJA IoHD, and setting up

I thought that for this next article series, I would take a look at Apple’s biggest addition to Final Cut Studio 2, and that is the inclusion of their newest QuickTime codec, Pro Res 422 (and Pro Res HQ).  Most editors might think “Big deal, I can already edit in HD, so why would I use Pro Res?”.  Well, I’ll tell you why.  First of all, you get real-time HD capture across HD-SDI at 8 or 10-bit.  You also get HD frame sizes at SD file sizes (in all major HD formats), you get a codec that gives you quality that is almost as good as codecs that you are currently using to edit HD with, and the best part is that you can edit in Pro Res 422 and Pro Res 422 HQ in the comfort of your own home on FireWire hard drives.  Oh, and did I mention that because it’s “Pro Res 422”, you are working in a true 4:2:2 color space?  Until Final Cut Studio 2, Avid has thrown in our faces the fact that they have great quality, compressed HD for their editors to work with, and Final Cut editors don’t.  Well, not anymore.  The big advantage we have over Avid editors right now is choice.  We can choose the hardware we want to use as our input/output device, and Avid editors really don’t have the choice.  So that brings up a very interesting question.  How do you actually get Pro Res into your system and edit with it?  High end post production houses use MacPros that you can install HD capture cards into for all your editing needs, but what about the rest of us?  Now I know that some editors might think that editors who don’t use high end MacPros aren’t professional, and are only working on corporate and wedding videos, which is completely untrue.  I am currently working on thirty webisodes of a show that I am editing in Pro Res that will be shown exclusively on the web, as opposed to on television.  Let’s take a look at how professional editors can edit anywhere with AJA’s IoHD and Apple’s Pro Res 422.

Thursday, November 20, 2008

AppleTV, WDTV, or Blu-ray: Which one is best to distribute your HD project?

Allan Tépper | 11/20- 09:28 AM

Even if your HD project isn’t destined to be shown over the air, you’ll still want your client be able to play it on an HDTV set

Even if your HD project isn’t destined to be broadcast over the air, you’ll still want to have your client be able to play it on an HDTV set, not just on a computer. The good news is that you have several options to make that happen, including Blu-ray, AppleTV, and the brand-new WDTV device from Western Digital. During this transitional period, it is often the producer who influences the client as to which HD player to acquire. Many producers even incorporate the cost of one of these HD players in the project price and then give the device to the client “as a gift” with the first HD project, if the client doesn’t already own any HD player. It’s great to have options, but you must understand them fully (both their strengths and weaknesses) in order to pick one, two of them, or all of them, depending upon the exact format of HD you have produced, the hardware you own (or are willing to buy), the type of client, and the type of delivery. This article will help you learn the details that will help you make the appropriate decision.

Sunday, November 16, 2008

RED ONE: Obsolete Already?

Adam Wilt | 11/16- 11:54 PM

Where does the current RED hubbub leave the RED ONE?

An R1 yesterday. It doesn’t look too worried.

With last Thursday’s epic announcement (pun intended) from RED, the other shoe has fallen.

Four years ago at DV Expo 2004, a couple of folks working on what was then simply called the “Oakley Special Project” took me aside to discuss a top-secret operation, launched in a remote mountain stronghold in southern California. Eccentric millionaire playboy Jim Jannard (it seems like most modern superheroes have that as a lifestyle description), a camera fancier with something like 1,500 cameras in his personal collection, had decided to build the One Camera to Rule Them All… only it wasn’t one camera.

Thursday, November 13, 2008

Here is RED Scarlet / Epic

Scott Gentry | 11/13- 09:15 AM

As a follow up to Mike’s spec post…

Monday, November 10, 2008

Review: Hood-Pro Sock-loupe

Adam Wilt | 11/10- 06:54 PM

$80 turns your PMW-EX1’s LCD into a big, beautiful viewfinder.

The Hood-Pro Sock-loupe turns the EX1’s LCD into an EVF.

Lots of people have said, “if only there were a viewfinder lens I could mount on the PMW-EX1‘s LCD, I’d be happy.” Palm Desert shooter Mike Stevens not only said it, he did it: his Hood-Pro hood is a strap-on LCD hood, and the Sock-loupe is, well, a sock with a +7 diopter loupe sewn into the toe. Pull the sock over the hood, and hey presto! You’ve turned the LCD into an eye-level EVF, arguably better than the one on the EX3. The floppy sock squishes up against your face, whether or not you wear glasses, providing a good seal against extraneous light, while the two-element lens provides a close-up, detailed view of the LCD.

Thursday, October 23, 2008

Redrock Micro Launches Cinema Accessories for Video DSLRs

Matt Jeppsen | 10/23- 08:00 AM

Redrock delivers the missing link for transforming new Canon, Nikon video DSLRs into production-ready cinema solutions

October 23, 2008 Dallas, TX – Redrock Micro, the leading provider of cinema accessories for digital filmmakers, today launched new cinema accessory bundles for video DSLR cameras from Nikon, Canon and others. These Redrock products deliver the necessary form factor, support, and features that transform video DSLRs into full-fledged, production-ready cinema tools. 

“Canon is very pleased with the tremendous response the new Canon 5D Mark II has generated from the filmmaking community,” said David Sparer, Senior Manager, Professional Products Marketing for Canon USA. “We are excited about what Redrock’s products bring to the table, expanding the 5D Mark II’s potential with the form factor and tools needed for digital cinema production.”

The latest releases of video DSLRs produce amazing high quality HD video and deliver the advantages of 35mm lenses, but remain awkward for use in video and movie production. Redrock accessories bring the needed cinema form factor, support, and features to video DSLRs, including:

- Rock-solid 15mm support system
- Follow focus for accurate and repeatable focusing
- Swing-away mattebox for light management and easy access to changing lenses
- Shoulder mount and handgrips for steady handheld use
- Support cage for enhanced stability and low angle shots

Redrock accessories are highly regarded as high quality, extremely affordable solutions designed for ownership. The modular approach allows photographers and videographers to select only those items needed, and expand as their needs grow.

“We have taken our expertise from years of developing low cost, high quality cinema accessories for independent filmmakers and have now made them available for video DSLRs,” said James Hurd, Chief Revolutionary for Redrock Micro. “This new breed of cameras combined with Redrock cinema accessories creates a powerful package for producing incredibly high quality cinema results.”

“The Redrock cinema accessories complete the picture for me,” said Vincent Laforet, Pulitzer prize-winning photographer and author of the buzz-creating clip ‘Reverie’ shot with a prototype Canon 5D Mark II. “The 5D Mark II combined with Redrock gear creates a new era of low cost, incredibly high performance options for indie filmmakers. I have never been more excited to be involved in digital still and motion photography.”

The Redrock bundles for video DSLRs are being showcased at Photo Plus in New York October 23-25th in the Canon and Zeiss booths.
The Redrock Micro video DSLR bundles are available to ship November 1, 2008 and can be found at www.redrockmicro.com.

About Redrock Micro
Redrock Microsystems delivers high quality cinema accessories for digital filmmakers at revolutionary prices. Redrock Micro’s products are designed to enhance DV, HD and video DSLR cameras including Panasonic, Sony, Canon, and JVC for true cinema-style shooting. At the heart of the Redrock family is the award-winning Redrock M2 Cinema Lens adapter, which creates the shallow depth of field, angle of view, and focus techniques typically only found in 35mm motion pictures. Additional cinema accessories include the microFollowFocus, microMattebox, microSupport system, and microShoulderMount. Through a unique business approach of direct-to-customer and build-to-order, Redrock delivers the quality and features of premium solutions at a fraction of the price. This approach is ideal for independent filmmakers, owners/operators, film educators and students, and budget-conscious moviemakers. Redrock Micro has offices in Dallas, Texas, and Hollywood, California. Redrock Micro can be reached at and www.redrockmicro.com.

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