When it comes to managing your media on location shoots, the tool of choice is typically a laptop. However, laptops can get very expensive quickly, require big external power supplies and bags, and, for simple media management (copying files to a client’s drive) they are overkill. Today’s laptops are also powerful enough do basic grading, editing, and even media conversion and uploading while in the field. But what if you don’t need all of that capability? What if you just need to copy your camera files to an external hard drive for the client to take with them?
As people willingly walk into the future, they are being lured by streaming this, virtual that, and the ever vague “cloud.” What they do not see or realize is the vanishing control of things they had taken for granted for so long.
The first crack in this “utopia” was when Amazon had to pull books from its bookstore because the entity selling them through Amazon did not have the rights to do so. Well, that’s all proper you’d say, but they also reached into the pockets of the end users who had bought those books, and took those books out of the buyers pockets.
Good quality light fixtures are well worth the money spent as they will provide years, even decades of faithful service. But a single, good fresnel light head, stand, doors, etc can easily run several hundred dollars. Then, to get creative, you still need an external dimmer, and several colored gels to craft the light into something more creative.
Alternatively, LED panels have been gaining popularity for their energy efficiency and cool running features. Looking beyond the small set of white and bi-color LEDs specifically made for video production, you can find a whole other world of LED fixtures made for other markets- including “disk jockey” LED lights and controllers. For the cost of one good fresnel light, you can have a multi-light, expandable LED lighting package.
Today, external hard disk drives are a “dime a dozen” so to speak. They all use drives from a handful of companies, wrap them in a plastic or metal enclosure with USB, eSATA or some other interfaces, add a cheap external power supply, and box it up for sale. What all these drives lack, however, is security for your data. Sure, you can use a RAID, but if catastrophe hits- a fire, flood, tornado, etc, your data is gone. This is where ioSafe stakes their claim. Continue reading “REVIEW: ioSafe SoloPRO Fireproof External Drive”
What does it take to master 11 DVD’s, 4 WMVs, and 3 .mov’s onto one disc? Not a lot. But it does take a thorough of understanding what goes into mastering a DVD and what the shortest distance is between Source and Delivery.
The Dallas Screenwriters Association had gathered more than 12 movies for it’s 2011 Showcase. Add to this some PSA’s and some new media created specifically for this program, and you have the makings for a special challenge. But there’s a way around this potentially tricky multiformat maze that enabled the finished DVD to be delivered in just a couple days- and that includes delays for work on other projects, and the need to create a few new media bits. Continue reading “Mastering the Dallas Screenwriter’s Association – 2011 Short Film Showcase”
Say goodbye to the Pro Apps as you know them. The writing has been on the wall for several years, yet many Final Cut Pro and Final Cut Studio users continue to cling to the hope that Apple will make a major leap with Final Cut Pro and bring it into 64-bit computing, and finally address the numerous issues that have been on wish lists, sometimes for an entire decade.
Well, Apple demoed iMovie Pro at the FCP SuperMeet this past Tuesday April 12th and made absolutely no qualms about visually signifying the end of the Pro apps as we know them. There was no talk of Color. Soundtrack, Motion, Compressor, DVD Studio Pro, Blu-ray authoring, 3D authoring, feature film features, etc. No the focus was solely on Apple iMovie Pro.
How did we get to this sorry state? Well, I think there was a conversation in January that sort of went like this: Continue reading “Apple’s new iMovie Pro. (aka Final Cut Pro X)”
There are, however, an incredible amount of HDV and other tape-based HD camcorders out there, still working hard and producing great images. How do you get these camcorders up to speed with the new flash-media workflow? With an external recorder.
Thus far, the need for external devices to record HD footage has primarily been served by Focus Enhancements’ FireStore line. However, there has been growth in the segment recently and Datavideo has entered the fray with a unique design and price point under $500. Does the Datavideo DN-60 Solid State CF Card Recorder give the more expensive recorders a run for their money? Let’s find out. Continue reading “IEBA Review: Datavideo DN-60 Solid State CF Card Recorder”
YouTube recently added rentals to their streaming portfolio, and with a catalogue of outdoor adventure videos that were basically sitting dormant here, I decided to bring the entire video series into the new Millennium- including direct sales on Amazon, streaming on Amazon Unbox, rentals on YouTube and availability on Netflix’ portfolio.
I’m in the finishing the Amazon process with my first video there, and was just notified that two of my videos were approved for rental on YouTube. Continue reading “You Tube Rents Videos – Mine Included!”
I can understand shrinking budgets. I can understand low budget production, I can understand working for free. But so many of these videos have popped up in the past year or so that it demonstrates a bit of push-back: the abuse of production professionals is really becoming an epidemic.
If two ops, a camera package, with ENG audio and basic lights used to cost $1200/10 then why do producers, or corporate people who are needing a video made, somehow think it’s now okay to pay $500 for it? Continue reading “How NOT to treat production professionals.”