Jonathan recently made the decision to purchase the Panasonic AF101: considering budget, and the needs of himself and clients, this model offers a broad range of features, including: large sensor, interchangeable lenses, SDI output and good form factor. Jonathan goes into detail explaining just why this camera was the best option for his needs. From shooting out of helicopters, to set-up interviews, Jonathan talks about and shows footage to prove just what this camera is capable of.
Watch the amazing flying camera in action - suspended beneath a balloon, with full remote operation, this provides a gentle, controlled movement. Developed by Andy Galeazzi, CEO at Andy's Crew, Italy, this provides means to achieving spectacular, moving shots in controlled locations.
Gary Adcock talks about the current state of camera technology, including Alexa, Red, F3, Weisscam and more. Gary is the force behind Studio 37, a Chicago based Consultation Service for Film and HD Production and Post Production needs.
At IBC 2011 it was reported that sales of Adobe's professional video applications had shot up 45% since Apple released Final Cut Pro X. In this interview with two of the Product Managers from Adobe, we find out the latest from Adobe of where the suite sits now, with a hint of things to come in the future.
Gary Adcock gives his views of the current state of post production. In-depth discussion covering Final Cut Pro X and the shake-up which has resulted since its release; the surge of Adobe; the strength of Avid Media Composer; and power of Smoke on the Mac. Gary is well known in the digital video scene, having spoken all over the world & consulted for clients at the highest levels. He is the force behind Studio 37, a Consultation Service for Film and HD Production and Post Production needs.
Shown at IBC 2011 is a protype of a soon-to-be-available EOS to lens mount adapter with manual aperture control. 3 mounts will be available with controller box, for different large sensor cameras. The mounts will be available for the Sony PMW-F3, the Sony NEX-FS100; and the Panasonic AF100/101.
Bob Daniels is the Executive Director at the Center for Digital Imaging and Arts at Boston University. In this piece he talks about the potential of modern digital technology and how this is changing the means by which stories are told. At the same time, we take a look at some still functioning technology from a previous era, when equipment was built to last and keep on working.
Why shoot 24P? Stu Maschwitz he tells why shooting and replay at 24 frames per second is so important to the filmmaker. Stu is a highly regarded director, writer and visual effects artist based in San Francisco. He has worked as a senior visual effects supervisor on many films. He previously worked at Industrial Light and Magic and also co-founded a company known as The Orphanage.
From the MacVideo archive: Alex Lindsay, founder of the Pixel Corps, has been involved in computer graphics and computer animation for nearly 20 years. Alex has extensive experience in digital production including print, real-time graphics, multimedia titles, forensic animation, television, and film. He spent several years on the production of Star Wars Episode I: The Phantom Menace (at JAK Films and then at Industrial Light and Magic). Alex has taught at the Academy of Art and at the San Francisco State Multimedia Studies Programs. He writes for 3D Magazine, 3D World, and Post.
From the MacVideo Archive: recorded April, 2010. Shane Hurlbut has embraced the DSLR technology, particularly the Canon 5D Mark II, as a cinematic tool suitable for feature film production. Shane has been one of the pioneers of using DSLRs in feature films with a 15 camera system which he tells us all about.
From the MacVideo archive: recorded April 2010. Rodney Charters talks about the excitement surrounding the Canon EOS 5D Mark II and other DSRs, with comments on the, then, recently announced Arriflex Alexa and also RED digital cinema. In this piece Rodney gives his views of where cinema acquisition is going in the near to medium future.
AJA's Jon Thorn provides detailed information about Thunderbolt technology and the impact this will have on the editing world. On show is an AJA technology preview, code named Phaser, incorporating 2 Thunderbolt connections for high-speed data transfer. This 5 part interview also covers other AJA products including Kona technologyy, FS2, Ki Pro Mini portable ProRes recorder and another technology demonstration code named Riker.
Recent developments for the GoPro HD Hero miniature camera include: pairing of 2 cameras electronically to create a 3D system; the availability of plug-in screen for the back of the camera, enabling shots to be framed precisely; and the acquisition of Cineform, a leading developer of video compression and workflow technology for the professional film and television industry. In this interview, Justin Wilkenfeld, Director, Sports Marketing, at GoPro, gives details on the latest developments.
Interview with Bruce Sharpe, CEO of Singular software. Bruce explains the product range, including Plural Eyes, Dual Eyes, and the latest release, Presto. New versions of Plural Eyes and Dual Eyes are now available, with significant speed enhancements at speeds of three to 10 times greater than the previous versions.
Producer/Director Rick Young runs through camera equipment which be brings on location. A run-through of essential equipment, what you need, what to bring for different shoots, how to manage the gear. Filmed prior to the main show at MacVideo Expo, June 9, 2011.
Thunderbolt I/O technology provides two channels on the same connector with 10 Gbps of throughput in both directions. Speeds are claimed to be up to 20 times faster than USB 2.0 and up to 12 times faster than with FireWire 800. It is possible to daisy-chain multiple high-speed devices while maintaining maximum throughput.
Digital Video Expert Larry Jordan demonstrates Final Cut Pro X, and takes questions from the audience. Featuring an in-depth look at the latest incarnation of Final Cut Pro, Larry shows how the new software works, explains short-comings, and offers advice on how to implement Final Cut Pro X into your workflow.
A look at some of the key features of Avid Media Composer 5.5 including working with the PhraseFind dialogue search option in combination with Avid ScriptSync. Also a look at other productivity enhancing tools such as AJA Io Express.
6 well-known editors of the UK Final Cut Pro community, in turn, talk about about their hopes for Final Cut Pro X, their concerns, and how they are preparing for the impending change in editing technology.
In this demonstration three key pieces of equipment are used together: first, is a system known as Chromaflex by Reflec Media; Ki Pro by AJA for 4:2:2 recording; and Keylight, by the Foundry, a plug-in for Final Cut Pro. Combined this produces high quality chromakey. The results speak for themselves.