Revisiting HDV’s Virtues

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.

When 25p beats 24p…

Allan Tépper | 11/03- 03:50 PM

There are many times when it makes more sense to shoot and edit video at 25p than at 24p, regardless of the final framerate(s) to be delivered to various distribution formats, even if you live in an NTSC (or ex-NTSC) country. You may know that “24p” video is almost always really recorded at 23.976p (although Apple and some camera manufacturers often like to round it to “23.98p”). This article is about:

• Why and when you would want to shoot low framerate video at all.
• In many of those cases, why it often makes more sense to shoot and edit at 25p instead of 23.976p.
• The reasons why with certain “segregated” camcorders, you are much better off purchasing or renting the 25p/50Hz version, even if you live in an NTSC or ex-NTSC country.
• 25p workflows: How to go from your 25p universal master to all imaginable output formats.

Two Compleat Idiots Discuss RED Post

Adam Wilt | 05/12- 05:12 PM

Art and Adam discuss the aftermath of the Wii spec spot and Art’s venture into RED post…

Discussing RED, uncensoRED

Adam Wilt | 03/16- 08:09 PM

Context: Adam shot some RED footage on Friday 7 March, as part of a camera comparison, and took the raw files home to play with. Art shot a quick test with the same camera six days later. The following email conversation ensued…

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