Wednesday, April 16, 2008

Snapshots - NAB 2008 Day 2

Adam Wilt | 04/16- 01:44 AM

Codex Digital, SpeedGrade, Tangent, SI2K, and Nila

Codex Digital Portable and disk pack

Highlights of my walking around the show floor on Tuesday…

Codex Digital showed working versions of their Portable digital cine recorder. $44K gets you the lunchbox plus a three-hour drive pack, and the superb Codex user interface.

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Wednesday, April 16, 2008

Things to know about NAB

Bruce A Johnson | 04/16- 12:31 AM

There’s more than gear to consider.

First thing to know about NAB:  Las Vegas is probably one of the last cities in the world where you can routinely expect to pay exorbitant money for Internet service in your hotel room.  However, at McCarran Airport, wifi is free.  That probably explains why I’m posting this now, as I wait to board my flight home.

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Tuesday, April 15, 2008

Snapshots - NAB 2008 Day 1

Adam Wilt | 04/15- 03:20 AM

Various images from the show floor

Carlos Acosta shows off his prototype shoulder mount for the F23

Carlos Acosta shows off his prototype shoulder mount for the F23 at the Band Pro booth. Fully flexible configuration: grips rotate freely or lock down, and adjust laterally, vertically, and in or out. Shoulder pad is positionable and can be angled; split foam padding velcroed in place allows easy changes, such as a thicker pad on the “outboard” side for better balance. Completely tool-free adjustment and assembly, too; and squeak-free by design. Nice work!

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Monday, April 14, 2008

Killer Camera Support From Sachtler

Scott Gentry | 04/14- 08:11 PM

I spent some time today at the Sachlter booth checking out the Artemis vest and support – ACT 2.  I enclosed a press release after the jump, but here’s what caught my attention:

• Build quality seems top quality
• Carbon Fiber, Carbon Fiber, Carbon Fiber!
• This sucker was built on a vibration table to optimize its ability for quick motion and no flex
• New internal electronics to handle the higher wattage camera systems such as RED
• Revised vest ads to breathability and flexibility

While I don’t have a need for one of these slick items, I still want one…

Press release after the jump:

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Monday, April 14, 2008

Petrol Bags

Scott Gentry | 04/14- 07:56 PM

Clever Rain Covers From Petrol

As I’ve mentioned in a previous post – I’m a bag person.  Today I stopped by the folks at Petrol and got a glimpse of some of their newer products.  Lucky for me my checkbook was elsewhere.

Prior to leaving for NAB, I was looking for a back that I could walk the floor, quickly pull out my video camera, microphone, etc and start shooting.  But I also needed my Nikon D300 in case I needed to get a few great shots.  Oh yeah, and I almost forgot, I need my computer to post during the show if necessary.  Petrol has such animals, and more.  While the bags got my attention, a slick rain coat for my camera kept my attention.

Rain slickers tend to be very good form fitting products you buy for specific camera models.  What if you want to add a Matte Box?  You’re out of luck likely.  Similarly if you’d like to share slickers across different cameras, you’ll find they don’t fit.  Petrol’s newest is pretty slick indeed.  While not form fitting, it attaches to the hot shoe to stabilize it, but it’s got velcro to wrap where necessary.  Clever idea really.

Full press release after the jump:

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Monday, April 14, 2008

Red One News - Builds, Lenses, Accessories

Mike Curtis | 04/14- 05:40 PM

Build 16 news, new lenses & details, new Pro Accessories

...so besides Scarlet, Epic, and Red Ray, there was (Oh Yeah!) news for Red One too. They have some new lenses, accessories, and firmware builds coming for the Red One. I got hands on with the big honkin’ 18-85mm zoom, and it is GOOD. I looked at the new 7” Pro LCD and I like it. Read on for the details that aren’t on the website.

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Page 3 of 6 pages  <  1 2 3 4 5 >  Last »



2D Footage with a Stereo 3D Rig in After Effects CS5.5
Jeff Foster

Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5

How to get the “24p” look for your live-switched multicam shoot
Allan Tépper

A contracted article, sponsored by Datavideo Corporation.

Gear In 60 Seconds – Nauticam NA-60D
Matt Jeppsen

Getting watery trick shots with this DSLR housing

Any Way You Want It
Mark Spencer

Setting Up a Rig in Motion 5 on MacBreak Studio

Editing with Final Cut Pro X
Mark Spencer

7 Professional Editors Share Their FCP X Experiences

Another week in After Effects
Rich Young

A news roundup

Redrock Micro’s ultraCage for the C300
Clint Milby

New Cage Fits New Camera Like A Glove

Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switch
Scott Simmons

If you haven’t heard they have moved from FCP7 to Media Composer

Kicking the tires on the Final Cut Pro X 10.0.3 Multicam update
Scott Simmons

The ease of setup and managing multicam clips makes this the best FCPX update yet

25 Camera Angles in 25 Minutes
Mark Spencer

Multicamera Editing in Final Cut Pro X

Expression Shorts - Numerical Readout
David Torno

Create numerical readouts for use in HUD style graphics.

If You Make Your Living In Post, Don’t Miss The HPA Tech Retreat
Terence Curren

The best event for keeping up to speed in the post production world.







2D Footage with a Stereo 3D Rig in After Effects CS5.5

Jeff Foster | 02/10- 06:09 PM

Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5

Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.

image

How to get the “24p” look for your live-switched multicam shoot

Allan Tépper | 02/10- 04:23 PM

A contracted article, sponsored by Datavideo Corporation.

Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.

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