Tuesday, January 06, 2009

Scott Gentry | 01/06- 10:11 AM

This introduction is really no surprise.  Given that Apple has moved to this type of unibody construction across their entire laptop line.  I personally have the 15” and love it.  While I suspected the 17” would be announced at MacWorld when I purchased this a few months ago, I couldn’t wait.

• 1920 x 1200 display
• 700:1 contrast ratio
• 60% greater color gamut
• Matte display
• $50 anti glare option

Inside we have a new generation of C2D CPUs—up to 8GB of RAM… new NVIDIA graphics options, discrete graphics onboard....You can upgrade to a 256GB SDD.”

the Battery
There was rumor that the battery in this bad boy would be non-removable.  The rumors were correct. 

“We’ve designed a battery that will last 8 hours on a charge, and can be charged 1000 times...The key to building a longer battery is making it bigger… the challenge is where to find the space to put it… in a removable battery there’s a lot of wasted space.”

“It comes in one config—$2799.” 2.66GHz, 4GB RAM, 320GB hard drive… it starts shipping at the end of this month.

Sunday, January 04, 2009

Allan Tépper | 01/04- 02:33 PM

For many reasons explained in my recent article, it makes a lot of sense to capture your HDV footage directly to an editing i-frame códec like ProRes422. One of the best way to do that nowadays from HDV is via HDMI. Editing directly from ProRes422 files (as opposed to hybrid editing or native editing, as explained in the prior article,) offers you visually frame-accurate editing, which is critical whenever your project includes:

• Critical multilayer editing
• Independently recorded 48 KHz audio which needs to be lip-synced

• Avoiding unnecessary D>A (digital>analog) and A>D (analog>digital) conversions by keeping your HD signal as digital (as opposed to capturing via component analog). Click here to see a breathtaking comparison video, courtesy of Convergent Design and JVC Italy. The same HDV 720p25 footage was captured from the same HDV tape both via component analog HD and via HDMI>HD-SDI, and compared. This video is in 1280x720 in WMV. If you are on a Mac and have not done so yet, please download Flip4Mac’s free WMV component for QuickTime here, which will allow you to see WMV in your QuickTime Player.
• Taking advantage of the HDV deck’s correction circuit (which is unfortunately bypassed via IEEE-1394).
• You can get a more universal HDV player (see details later in the next article, Universal HDV deck, coming January 8th).
• You can save time and space (as opposed to capturing via 1394 and converting later)
• You retain Log & Capture, deck control, original timecode, and (as a result) recapture capability (as opposed to using FCP’s HDV-ProRes422 capture preset via 1394, where you sadly lose all of these four features)

Tuesday, December 30, 2008

Allan Tépper | 12/30- 05:48 PM

Among my clients and friends who are video professionals, many of those who produce commercials, corporate, and music videos have already embraced tapeless acquisition with such cameras as JVC’s high definition Everio, Panasonic’s AG-HMC150/151, and Sony’s EX1 & EX3. However, those who shoot events (Bar Mitzvahs, Quinces/Sixteen Parties, Weddings) —and some of those who shoot documentaries— are relentless in defending their need to shoot on tape. They cite the following HDV advantages over tapeless acquisition:

• There is always an original tape for future use.
• The original HDV tape is the permanent archive.
• The original HDV tape is very inexpensive.
• Although they have to capture in real time before editing, they don’t have to worry about the time or expense of other types of long-term archival methods required with tapeless acquisition.

Saturday, December 20, 2008

Ty Lowell | 12/20- 08:20 AM

SANTA CLARA, Calif. - Dec. 16, 2008 - Further demonstrating its leadership and commitment to OpenGL and the standardization process, NVIDIA® today released fully supported drivers for OpenGL® 3.0 for Windows XP, Windows Vista and Linux on its select GeForce® and Quadro® solutions. These drivers enable software developers to take full advantage of all OpenGL 3.0 capabilities, accelerating their delivery of cutting-edge media platforms and applications.

Sunday, November 30, 2008

Scott Gentry | 11/30- 10:44 PM

Why write about a DSLR on a pro video site?  With the Canon 5D MKII all the rage, as well as the fervor mounting over the new RED cameras, it’s almost surprising that the new top of the line Nikon isn’t touting video as a prowess.  This camera is no slouch by any means.  It sports a full frame sensor and lots of Nikon love.  Check out the camera, more images, and the press release on our sister site, ProPhoto Coallition.

Newly developed Nikon FX-format CMOS sensor (35.9 x 24.0 mm sensing area)

24.5 million effective pixels

Superior-resolution image quality equivalent to medium-format digital cameras

High-speed continuous shooting of up to approx. 5 frames per second in FX format (24.5 megapixels) / 5:4 (20.4 megapixels); 7 frames per second in DX format (10.5megapixels)*1

Wide ISO sensitivity of 100 to 1600 at normal setting, with low noise performance

Two Live View modes — Handheld and Tripod

High-density 51-point (world’s largest number*2) AF system

Wednesday, November 26, 2008

Adam Wilt | 11/26- 05:20 PM

Get out, meet people, see cool things, and learn stuff. December: Learn about CineAlta cameras and different recording gammas in Cupertino. January: party with the FCP faithful at MacWorld Expo in San Francisco. February: the UK’s own miniature version of IBC takes place at Earl’s Court in London. Be there, or may your pixels be ever non-square.

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