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Pro XAVC Long GOP compatibility bulletin 2015.1

Pro XAVC Long GOP compatibility bulletin 2015.1

More XAVC Long GOP compatibility reports are now coming out of the woodwork.

By Allan Tépper | February 28, 2015

I recently published an article about the breakthrough pro XAVC Long GOP códec/format from Sony, which is the third group of XAVC born in 2012. In the first article, I covered the status of third party software that support professional XAVC Long GOP. Since then, more compatibility reports are coming out of the woodwork. Ahead is a compatibility update, and even a video from a Canadian reader.

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Codex Multi-Camera Recorder

Alexa Mini partner

By Dan Carr | February 27, 2015

 

Alongside the launch of the exciting looking ARRI ALEXA Mini a few days ago, long-time ARRI partner Codex, revealed a new multi-camera recorder.  The recorder features 8 HD-SDI inputs meaning that up to 4 simulatneous ARRIRAW streams can be recorded with a total... Read More

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Miller Air Carbon Fiber Tripod System Review

Lightweight, affordable DSLR focused support

By Dan Carr | February 27, 2015

The Air Tripod System Range is comprised of the Air Alloy and Air Carbon Fiber and both feature the same Air Fluid Head.  The Air Tripod System is billed as a lightweight and affordable option for DSLR users, though a Canon C100 MKII or similar would... Read More

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Sony FS-7 Gets A Firmware Update

Adds support for 4K (4096x2160) and ProRes codec added

By Brian Hallett | February 27, 2015

In the FS-7 firmware V2.0 the versatile camera will add 4K (4096x2160) recording in XAVC-I which is an improvement over the UHD 4K the camera currently records (3840x2160).  

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Understanding & using the breakthrough XAVC Long GOP códec/file format

Understanding & using the breakthrough XAVC Long GOP códec/file format

The third category of Sony’s XAVC is the most enticing for me.

By Allan Tépper | February 25, 2015

Back in 2012, Sony deployed the first version of XAVC, one that can offer color depths of 8-bit, 10-bit, and 12-bit and chroma subsampling of 4:2:0, 4:2:2, or 4:4:4. That first version is i-frame and found on very high-end cameras. Then Sony released the consumer version, XAVS S, which is Long GOP up to 4:2:0 and 8-bit and is found in such cameras as the A7S. But the most enticing version (for me) is the professional XAVC Long GOP, which offers up to 4:2:2 10-bit in cameras like the PXW-X70 at up to 50 megabit/second. More ahead…

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HPA Tech Retreat 2015 - Final Thoughts

What just happened? Plus, Mark's fiendish quizzes

By Adam Wilt | February 17, 2015

[Updated 10:53 PST 18 Feb: Quiz 5 winner]

The HPA Tech Retreat is an annual gathering of some of the sharpest minds in post, production, broadcast, and distribution – and the 2015 Retreat is now over. As Leon Silverman and Jerry Pierce like to ask, what just... Read More

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Managing Sound Effects in Final Cut Pro X

This Week on MacBreak Studio

By Mark Spencer | February 17, 2015

How do you preview sound effects in Final Cut Pro X?

If you've been using the Sound and Effects Browser, Steve Martin from Ripple Training has a great tip for you today. In this week's edition of Mac Break Studio, he shows us a method for storing, filtering, and... Read More

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Davinci Resolve: Roundtripping with Final Cut Pro X

A workflow overview in under 5 minutes

By Mark Spencer | February 16, 2015

In this Under 5 episode, Alexis Van Hurkman from Ripple Training shows you how to export a project out of Final Cut Pro X as an XML, import it into DaVinci Resolve while maintaining the effects and assets of the Final Cut Project, and then send the final result back to Final Cut Pro... Read More

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Accelerated File Uploads for Production & Post

Using UDP-based transfer protocols to speed file delivery.

By Chris Potter | February 15, 2015

As production and post workflows become increasingly distributed, the ability to send large source files quickly and reliably is becoming more important.

Unfortunately, upload speeds can be a huge bottleneck for people that want to move source files from one place to another over the Internet. Upload speeds aren’t increasing nearly as fast as file sizes. What may possible with HD source files is not possible when you move to a 4K workflow.

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HPA Tech Retreat 2015 - Day 4

SMPTE, AXF, MPEG-H, lightfield capture, QC, analysis, optimization, and more... even a half-day is chock-full.

By Adam Wilt | February 13, 2015

From SMPTE updates to the speed of future Ethernet and a really-big announcement from Belden's Steve Lampen, plus the post-retreat treat, which – unusually – is not a Mark Schubin confection.

[Updated 13:35 PST: Final]

The HPA Tech Retreat is an annual... Read More

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2015 hpa hpa tech retreat tech retreat

HPA Tech Retreat 2015 - Day 3

Acquisition, creative intent, the cloud, not your mama's post, and more

By Adam Wilt | February 12, 2015

At the Tech retreat today: technical aspects of 4K capture, grading colorspaces, ACES 1.0, and... wait for it... drones for dummies!

[Update 19:15 PST: Final again (save for any additional corrections); added missing Josh Pines preso and "Snowflakes to Standards" panel; added closing... Read More

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HPA Tech Retreat 2015 - Day 2

Year in Review; Washington Update; UHD; CES; Broadcasters, and more

By Adam Wilt | February 11, 2015

 

From Mark Schubin's Intro and Year in Review, through Pete Putman's CES Review, it's day 2 of the Tech Retreat. Plus, we get to debate integer vs. fractional frame rates again, a topic that will never die.

[Updated 18:58 PST: Final except for fixups.]

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Blackmagic At Sundance Film Festival

Four films shot with Blackmagic Cameras and countless others using DaVinci Resolve

By Brian Hallett | February 11, 2015

Everyone loves a camera that makes a show at the Sundance Film Festival, and Blackmagic embraces that rebellious, independent spirit that makes their cameras and software a perfect match for passionate Indie Film-makers world-wide.  

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HPA Tech Retreat 2015 - Day 1

Supersession: Shift Happens – Not Your Father's Post – What’s going on here?

By Adam Wilt | February 10, 2015

Leon Silverman, Michael Cioni, and Mark Schubin start off the discussion of how post is – yet again – evolving.

[Updated 21:25 PST: Some typos fixed (including links to Mark's video clips). Final, except for various typo fixes and other corrections.]

The HPA... Read More

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Interweaving in 3D space in Motion

This Week on MacBreak Studio

By Mark Spencer | February 10, 2015

Can you wrap a light streak around text in Motion?

That's the question on this week's MacBreak Studio with Steve Martin from Ripple Training that I attempt to answer, using an example from an earlier episode on creating light streaks.

In that episode I... Read More

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Media Composer 101 - Advanced - 4K Workflows Part 2: RED 4K Offline/Online in v8.3

Navigate the Ins and Outs of shooting in 4K and finishing in HD in Avid Media Composer

By Kevin P. McAuliffe | February 08, 2015

In the second part of our look at 4K workflows inside of Media Composer Subscription, we take a look at a RED offline/online scenario working totally in 4K, with a little help from REDCINE-X PRO.

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Canon 5D Update Leaked

As well as a new wide lens

By Brian Hallett | February 05, 2015

Canon's latest update to the 5D line has been leaked. Some of this news we have seen, like the 50.6MP CMOS Sensor, and some of this news is new.  For me, I hadn't seen the new 11-24mm F4 lens until today, which by the way is very wide.  

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Blackmagic Design Releases DaVinci Resolve 11.2

Improved Cinema DNG processing & adding Avid's new codec

By Brian Hallett | February 04, 2015

Blackmagic Design releases DaVinci Resolve 11.2 adding new codecs, cinema DNG tone improvements, and edit page improvements that move the color correction software closer to an NLE that can handle more than simple edits.  

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Media Composer 101 - Advanced - 4K Workflows Part 1: HD Projects

Navigate the Ins and Outs of shooting in 4K and finishing in HD in Avid Media Composer

By Kevin P. McAuliffe | February 01, 2015

In this first of a two part look at working in 4K in Media Composer, we look at the scenario of a client shooting 4K material, for a project that will only ever see the light of day in HD.

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Media Composer Quick Bite 1

"Working with Photoshop Guides" for Media Composer editors

By Kevin P. McAuliffe | January 31, 2015

Media Compser editors know that our Title safe and Picture safe guides are an essential part of our titling workflow.  Working in Photoshop is no different, but sometimes I see editors run into problems with their guides in Photoshop, and just need a little push in the right direction. Read More

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