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Scott Gentry
Scott Gentry started his career as a child actor then moving to ABC All My Children first in production straight out of college, then in front of the camera for a short stint as a regular walk-on (woo-hoo!).
Scott also worked the stadium camera for NY Jets and Giants games, as well a a multitude of events at the Meadowlands arena in NJ. From there he got into publishing and 6 months after sending his resume to DV magazine, he was the publisher. DV went from last to first place and Scott moved on to AV Video Multimedia Producer and led the team to turn that into Studio Monthly and launch Studio Daily.
Scott founded and helped establish PVC by gathering the best writers and video gurus in the market and putting them all in one place.
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Tuesday, April 19, 2011
A six pack of Zeiss
Richard Schleuning was our host at the Zeiss booth for some lens eye candy. Besides primes, the six pack caught our attention.
Monday, April 18, 2011
Bryce Button and AJA, part 2
A quick update on Kona.
Monday, April 18, 2011
New from KTEK
Ktek makes pretty great products. I have 2 poles myself and love checking out the goodies every NAB.
Monday, April 18, 2011
I want….
Zaxcom booth is always understated, but the products are drool worthy. We’re hoping to get our ProAudio Coalition guys to review this soon. Stay tuned…
Monday, April 18, 2011
Blazing fast speeds with Premiere Pro and Thunderbolt!
(updated with extensive Comments at the end from Dave Helmly of Adobe on 4k, multicam, and hardware - it’s a second article in itself)
We’re all waiting for Thunderbolt peripherals, but Adobe’s booth had some to play with, and was able to demonstrate the speed at which Premiere Pro can really fly. This is cool. Watching the demo, really made me want to edit these videos this way.
Monday, April 18, 2011
This mic would have been a good choice for NAB coverage.
Cool announcer voice guy walks us through Audio-Technica head-worn microphone. This is part one for Audio-Technica.
Friday, April 15, 2011
Bryce Button provides a walk through
One of our favorites, Bryce Button, gives us the skinny on some soon to be released AJA products. This is part one of two and runs about 4:15
more »
Friday, April 15, 2011
A detailed video walk through from Sony’s senior product manager.
We spent time with Juan Martinez at NAB who walked us through step by step with the FS100. My apologies for the audio, as you can see Juan had his hands full of microphone and camera.
Running time about 5:50.
more »
Page 3 of 16 pages < 1 2 3 4 5 > Last »
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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
Allan Tépper
A contracted article, sponsored by Datavideo Corporation.
Matt Jeppsen
Getting watery trick shots with this DSLR housing
Mark Spencer
Setting Up a Rig in Motion 5 on MacBreak Studio
Mark Spencer
7 Professional Editors Share Their FCP X Experiences
Rich Young
A news roundup
Clint Milby
New Cage Fits New Camera Like A Glove
Scott Simmons
If you haven’t heard they have moved from FCP7 to Media Composer
Scott Simmons
The ease of setup and managing multicam clips makes this the best FCPX update yet
Mark Spencer
Multicamera Editing in Final Cut Pro X
David Torno
Create numerical readouts for use in HUD style graphics.
Terence Curren
The best event for keeping up to speed in the post production world.
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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.
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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