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HPA Tech Retreat Day 2

ATSC 3.0, the Olympics in 8K, and more...

By Adam Wilt | February 20, 2013

The Tech Retreat is an annual four-day conference (plus Monday bonus session) for HD / Video / cinema geeks, sponsored by the Hollywood Post Alliance. Day 2 covered design considerations for HDR displays, ATSC 3.0 and the future of TV, broadcasters' concerns, mobile DTV, 8K UHDTV, and... Read More

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San Francisco SuperMeet 2013:  Technicolor Color Assist

New Color Grading Software Is the Perfect Compliment for HDSLR Footage

By Clint Milby | February 20, 2013

 

I purchased Technicolor's Color Assist upon its release in November 2012, and I did so based on my experience with Technicolor's CineStyle User Profile for Canon EOS.  What you'll find is a very smooth interface that transitions very similarly to... Read More

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Why does the Mac still deal with connected HDTV monitors haphazardly?

Why does the Mac still deal with connected HDTV monitors haphazardly?

Open Letter to Apple AT2013.b, for the OS X development team

By Allan Tépper | February 20, 2013

It is good that OS X can now offer proper spatial resolution for HDTV monitors at 720p and 1080p on the Mac’s native GPU outputs. It is also good that OS X’s Display Control Panel allows setting the output for different framerates (i.e. 24, 50, or 60), according to the... Read More

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Why does FCP X still deal with pro i/o interfaces haphazardly?

Why does FCP X still deal with pro i/o interfaces haphazardly?

Open Letter to Apple AT2013.a, for the FCP X development team

By Allan Tépper | February 20, 2013

Since Apple released Final Cut Pro X in June 2011, there have been seven updates and many valuable features have been added. Although FCP X fortunately achieved partial compatibility with professional audio/video interfaces as of version 10.0.4, we are now at version 10.0.7 and it... Read More

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Exporting Still Images from Final Cut Pro X

On this week's MacBreak Studio

By Mark Spencer | February 20, 2013

 

Every editor at some point needs to get a still image out of their editing application:  to email a sample frame to a client, to create a representative shot for a website, or to import into an image editing application for further manipulation.

This week on... Read More

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HPA Tech Retreat Day 1: Super-sized Session: More, Bigger, but Better?

Looking at HFR, HDR, high-res, immersive sound, and more...

By Adam Wilt | February 19, 2013

The Tech Retreat is an annual four-day conference (plus Monday bonus session) for HD / Video / cinema geeks, sponsored by the Hollywood Post Alliance. The program for this year's show is online at http://www.hpaonline.com/2013-program and the opening "Super-sized Session" was on "More,... Read More

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HPA Tech Retreat: Charles Poynton on High[er] Frame Rates

A discussion of perception and display issues pertinent to HFR presentations

By Adam Wilt | February 18, 2013

The 2013 Hollywood Post Alliance Tech Retreat started today with a presentation from Charles Poyton on "High[er] Frame Rates". Charles couldn't attend in person, as his Canadian passport expired unnoticed, so we enjoyed him via a live webinar instead (which had all the "cone of silence"... Read More

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Hands-on with the UltraStudio Mini Monitor

Hands-on with the UltraStudio Mini Monitor

Why you might need an UltraStudio Mini Monitor, what’s good, and what I’d improve.

By Allan Tépper | February 17, 2013

Although I have covered Blackmagic’s new US$145 UltraStudio Mini Monitor interface in prior articles (links ahead), I have now become even more familiar with it since the company sent me a sample unit, together with a Thunderbolt cable. Ahead I’ll cover why you might need one, everything I liked, and the few details I’d like improved.

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The New 4K: Different from the Old 4K

4K TV is on its way, and it has the potential to change the way we shoot--especially when it comes to composition.

By Art Adams | February 15, 2013

On a recent visit to Sony Studios I saw a 4K monitor for the first time. For the first time ever I thought to myself, "I hope they hold this shot long enough for me to see everything in it!"

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The Masters of Compositing Series - Part 1: Petro Vlahos (1917-2013)

Inventor of the Sodium Vapor Compositor and the Blue Screen Color Difference Traveling Matte & Multiple Oscar recipient

By Jeff Foster | February 14, 2013

*REPOSTED: This is the first in a series of interviews with the pioneers and masters in the compositing/VFX film & television industry. I originally recorded these interviews for my published book "The Green Screen Handbook" (Sybex/Wiley, pub) and had intended to produce one full-length documentary from the materials. But after a couple of years past now, I thought they would be better served as individual parts of a series to help educate and inform people about these historic times from the early days of VFX compositing through modern-day techniques.

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Who Wants to Take a Lighting Class?

I'm teaching a lighting class in Southern California on March 2nd. Here's why you should come...

By Art Adams | February 14, 2013

Lighting is both emotional and technical: we use tools to create a feeling. Most DPs can talk about the emotional reasons behind a lighting approach, but very few can state clearly and plainly exactly what problems they were trying to solve with each light. Apparently this is something I'm good at, and I'm going to give you a chance to exploit this on March 2nd.

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Rodney Charters Honored with ASC Career Achievement in Television Award

HDSLR Pioneer ASC, CSC Charters Recognized by ASC

By Clint Milby | February 12, 2013

 

 

One needs only glance at Rodney Charters’, ASC, CSC, accomplishments, and it is clear why the Society of American Cinematographers chose to recognize him.  

Charters has a lineage of television credits dating back to the... Read More

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Saving Favorite Effects in Final Cut Pro X

On this week's MacBreak Studio

By Mark Spencer | February 12, 2013

On this week's MacBreak Studio, I show Steve Martin from Ripple Training how you can modify effects in Final Cut Pro X and then save them for later use.

  Saving favorite effects (including titles, transitions, generators, and effects) in Final Cut Pro X works quite a bit... Read More

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San Francisco Super Meet 2013:  Cinema 4D

3D Application Claims to Have Shortest Learning Curve

By Clint Milby | February 11, 2013

There was a bevy of software companies at the San Francisco SuperMeet 2013, and beyond who you’d expect to see, including Adobe and Avid and newcomer Technicolor, (look for coverage of their new product later), it was my pleasure to get up close and personal with... Read More

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How Sony should hack a Bravia to create an awesome prosumer editing/grading monitor

How Sony should hack a Bravia to create an awesome prosumer editing/grading monitor

Here’s a recipe for Sony’s pro monitor division to create an awesome prosumer editing/grading monitor from a consumer Bravia.

By Allan Tépper | February 08, 2013

Recently, I published an article which described why Miami-based PRODU.com chose to purchase a “foreign” Sony consumer Bravia HDTV set for video editing. That model surpassed the limitations of many segregated U.S. consumer models by allowing for all standard worldwide framerates,... Read More

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Hands on with the PROCUTX app for Final Cut Pro X

It's nice to look at but doesn't offer any significant speed improvements ... yet

By Scott Simmons | February 07, 2013

If you’ve been around the internet (or social media) in the last few days then you’ve probably heard of PROCUTX. This is an iPad app (iTunes link) that is designed as a control surface for Final Cut Pro X. It’s a gorgeous app that is very well designed. There’s lot of little buttons all over the interface to perform any number of FCPX tasks. There’s also a big jog wheel that dominates the center. At $25 it isn’t a cheap iPad app as iPad apps go. Is it worth it? Probably not for me in its current form so I doubt I'll use it very much but it sounds like there is some real potential for the future.

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Log vs. Raw: The Simple Version

Raw is all the rage, but should it be? Log gives us 99% of the benefit of a raw file in a grade but with much smaller files.

By Art Adams | February 06, 2013

Years ago I wrote an article describing how log encoding works using Sony's S-Log as an example. Sony's S-Log2 is coming down the pike in a big way in their F5 and F55, so it seems like an appropriate time for an update.

First of all, I should warn you that this is a much, much... Read More

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Product Review: Flashpoint 500C Portable LED Light

Product Review: Flashpoint 500C Portable LED Light

A temperature-adjustable 500 LED light panel for $200?

By Jeff Foster | February 06, 2013

Adorama introduces another hit in their line of affordable video and photo lights, with the Flashpoint 500C - a 500 LED portable light panel that features adjustable dual color temperatures and output running on either AC or battery power (battery not included), works on overseas voltage and includes sturdy, built-in reflective barn doors - all for about $200.

 

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Back to the Drawing Board

In which I field complaints about my C300 matrices, and commit to fight anew...

By Art Adams | February 05, 2013

I've been getting sporadic complaints on Twitter about one of my C300 matrices turning reds a bit blue on some cameras. Time to take another look…

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Exporting Audio Components and Roles in Final Cut Pro X

On this week's MacBreak Studio

By Mark Spencer | February 05, 2013

 

On this week's MacBreak Studio, Steve Martin from Ripple Training talks about exporting roles and individual audio components from Final Cut Pro X.   Since there are no "tracks" in Final Cut Pro X, audio is assigned to "roles" as a form of metadata. The audio from... Read More

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