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1st handheld dynamic microphones with hybrid XLR/USB/iPad connectivity from Audio Technica

Apr 10th, 2012
by Allan Tépper.
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Part 1: Background, why we needed such a microphone, comparative performance tests

Over the past few years, the market has become flooded with USB microphones, but most have been condenser models, and only a couple have been dynamic. Those dynamic models have been USB-only. There has been a need for dynamic USB microphones that were also hybrid(XLR balanced analog + USB digital, together with onboard zero-latency monitoring), especially since the external converters are both costly and bulky, and USB-only microphones are —by nature— more limited in terms of applications. In this part 1, I’ll clarify when dynamic microphones are preferred over condenser models, where USB-connected microphones “fit”, cover Audio Technica’s first hybrid dynamic models, and offer three comparative recordings between our reference Heil PR–40, the legendary Shure SM58, and the new ATR2100-USB, which is one of two handheld hybrid dynamic models from Audio Technica.

Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Audio.

PsF’s missing workflow, Part 10: FCP X

Mar 15th, 2012
by Allan Tépper.
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How to deal with 25PsF and 29.97PsF with Final Cut Pro X

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several AVCHD cameras from 3 manufacturers. In #4, we did the same with several HD recorders. In #5, we revealed how one recorder manufacturer is offering its own software to counteract the hostile HDMI output found on many cameras. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF with Premiere Pro CS5.5. In #8, I showed how ClipWrap is an excellent solution for many Mac editors. In #9, I discussed PsF with the sub US$100 Adobe Premiere Elements 10. Now in part 10, I’ll cover how to deal with 25PsF and 29.97PsF with Final Cut Pro X.  Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Cameras.

Why an iPad is like a 4×5 view camera, and why you’ll need a black “focusing cloth”

Mar 12th, 2012
by Allan Tépper.
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In case you hadn’t heard yet: Apple has just established the iPad (2012) as a viable HD video camera (among many other things). Back in the days when still photography was done with 4×5 view cameras, photographers used something called a “focusing cloth”… defined by Merriam-Webster as: “an opaque dark cloth used to cover the rear of the camera and the head and shoulders of the photographer in order to exclude most of the light except that coming through the lens”. In the case of still photography with a 4×5 view camera, it was primarily to help the photographer focus. In the case of the ultra-glossy iPad screen when used outdoors to shoot HD video, you’ll need it even to see the screen properly, in order to compose and assign the subject for autofocus and exposure… and even to start and stop the recording. In this article, I’ll cover what an iPad has in common with a 4×5 view camera, show a iPad tripod mount, a “focusing cloth”… and make a request to FiLMIC PRO, Hoodman USA and Zacuto.

Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Cameras.

Sound Device’s PIX recorders: a closer look as of firmware 1.07

Mar 12th, 2012
by Allan Tépper.
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Many people know Sound Devices as a renowned manufacturer of very high-end audio equipment for field production. They make some of the best (and higher-priced) field audio mixers and recorders available on the market, and do so since 1998. Later, Sound Devices began selling high-end USB audio interfaces, one of which I reviewed. Those items have frequently been used for audio-for-video for over a decade, but only in April 2011 did Sound Devices announce its first two video products, the PIX 220 and PIX 240 HD video recorders that offer several types of ProRes422 (Apple) and DNxHD (Avid) códecs. In this article, I’ll cover many details about these two recorders as of firmware 1.07. Yes, in less than a year, there have been seven firmware updates!

Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Cameras, Reviews in English.

Bandito Brothers use multiple HP DreamColors + Adobe Premiere for Act of Valor

Mar 12th, 2012
by Allan Tépper.
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Multiple DreamColor monitors, Adobe Premiere CS5.5, and an HDSLR used for Act of Valor

I recently had the pleasure and honor of being invited again by Hewlett Packard to their 2012 media event, where I was able to speak with Jacob Rosenberg, Chief Technical Officer and partner of Bandito Brothers, which created Act of Valor. Jacob was one of several guest speakers at the media event which took place in Las Vegas, Nevada, USA. He described several technical facets of the production of Act of Valor for the audience, including the camera, workstations, software, and monitors which I’ll summarize in this article, together with the somewhat surprising color space chosen by Bandito Brothers.

Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Cameras.

GH2 adds missing AVCHD 29.97PsF… but worsens its already non-standard HDMI output

Mar 12th, 2012
by Allan Tépper.
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An improvement for internal recording, together with further disappointment for external recording

The segregated 59.94Hz version of Panasonic’s Lumix DMC-GH2 camera (aka GH2) originally offered just two combinations of progressive internal AVCHD modes: 1080p23.976 (commonly but imprecisely known as “24p”) and 720p59.94 (commonly but imprecisely known as “60p”). With firmware version 1.1, Panasonic added a 29.97PsF AVCHD mode at 24Mb/s to the 59.97Hz segregated version of the camera (together with some other improvements), and after the update, the GH2 fortunately does make an internal AVCHD recording at 29.97 fps. Sadly, what was already unfortunate with its HDMI output before is now worse after this update, as I discovered when testing the PIX 220 HD recorder from Sound Devices with the GH2 (and other cameras). This is ironic since Panasonic originally advertised this camera as having a clean recordable HDMI output. This article will explain what this means in detail, include some test footage, and what you should know and possibly do about it.

Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Cameras.

AJA and Sound Devices embrace Sony NXCAM’s timecode-over-HDMI

Mar 12th, 2012
by Allan Tépper.
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Free firmware updates enable timecode-over-HDMI from NXCAM, but is that enough?

Many ProVideo Coalition readers may recall my article called Untapped features in Sony NXCAM’s new HDMI output from June 2011. At that point, I surveyed several external HD video recorder manufacturers as to their plans to support the multiple new NXCAM features. (This of course includes the FS100 which Adam Wilt just reviewed, along with other NXCAMs from Sony.) At that point, I received a response from AJA and from Sound Devices which both expressed intent to support at least some of the features, but no dates or other details. Now I am happy to report that both AJA and Sound Devices have embraced Sony NXCAM’s timecode-over-HDMI in some of their products. This article will review the NXCAM’s new HDMI features and clarify which are now supported (and which are not yet supported) by these two manufacturers, and what that means for you.
Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English, Cameras.

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

Mar 12th, 2012
by Allan Tépper.
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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.

Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English.

Avid now lets you edit video on your iPad for US$4.99. Should you?

Mar 12th, 2012
by Allan Tépper.
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A first look at Avid Studio for iPad, and an extrapolation as to what it can mean for pro video editors in the short and longer term.

I was privileged to find out a few hours in advance of the public announcement of Avid Studio for iPad, since Avid contracted me to translate and localize the press release, as fortunately they often do. There was something about this press release that really intrigued me. It wasn’t so much the specific advantages that Avid Studio for iPad has over other editing apps for iPad, like offering both Storyboard and Timeline views in a single iPad app, or being able to import source material from anywhere inside or outside of the iPad. It was more the fact that the announcement was coming from Avid, and the spirit of the two quotes that appear at the end of the press release. In this article, I’ll give a first look at the app, define what it is (and what it isn’t), and extrapolate about what this can mean for video editing in the short, mid, and long term. Of course, I’ll include those two quotes that intrigued me so much.
Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English.

AJA’s Io XT w/ Thunderbolt is now available, but it is not Riker: What’s the cover-up?

Feb 1st, 2012
by Allan Tépper.
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Why are William Riker and Leo Laporte involved in a Pegasus cover-up?

AJA is now shipping its US$1495 Io XT, AJA’s first Thunderbolt device which I covered in detail when it was first announced in September 2011. Some of you have asked me whether the Io XT is the same as the prototype code-named “Riker” product that AJA showed at NAB back in April 2011. The answer is no. This article will explain why the Io XT is not Riker, review the currently-available Thunderbolt audio/video i/o devices I’ve covered so far (including the Pegasus Thunderbolt RAID), and clarify William Riker’s involvement in the Pegasus cover-up, as well as that of Leo Laporte, who recently declared Thunderbolt to be “D.O.A.” and “too late” on MacBreak Weekly. Even though neither is true, I think Leo had a very good reason to say those things.  Read the full article free in ProVideo Coalition magazine.

Posted in: Articles in English.

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