As tablets begin to overtake desktop and laptop computers as the “go to” piece of hardware for getting a job done, the need for a big OS and big apps falls into question. Case in point, you can shoot HD, edit and upload to your favorite web repository from an iPod Touch, Android phone, Windows Phone, etc. Apple’s latest OS- Lion, pulls liberally from the iOS devices, and Windows 8 is rumored to be a lot like their Windows Phone OS. It is with this background that I checked out how big the apps were in my Mac OS Applications folder, and I was pretty surprised by the results. Continue reading “What does it take to compute?”
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”
PRELIMINARY PRODUCT INFORMATION FOR THE SONY PMW-F3
Here is preliminary information on the PMW-F3K’s features.
This information is subject to change.
More information will be made available soon.
Click on any image for a VERY high resolution photo.
Over at the Pro Video Coalition, there are several great writers I read with enthusiasm. One of these is Art Adams whose technical geekery exceeds my own (in a good way). His recent articles on the Arri Alexa and how different ISOs affect the number of stops above middle gray has sparked what I would consider an intense debate between Art and myself in the comments of his articles because, well, I just don’t get it. Continue reading “When geeks disagree about Arri’s Alexa”
Nikon’s P7000 increased the model number from the previous model’s P6000, but actually decreases the pixel count on the chip, while increasing the size of the chip. Both factors serve to allow more light into the camera, let the camera record images with less noise, and require less noise reduction, which can obliterate fine detail.
Why the change?
Because Manufacturers are finally hearing the siren call from consumer and pundits who have proved, time and again, that increasing megapixels does not mean better pictures. After a certain point, the optics aren’t even good enough to focus all three colors onto the same pixel, and you get awful chromatic aberration.
But more importantly than that, a faster chip, and faster glass, means you can take great photos in more lighting conditions– like indoors, like at night, and it means that those photos will look better, with less blurred motion, or noise from gain. Moreover, it has the side effect of making the tiny built-n flash seem more powerful. Continue reading “The Megapixel Myth is finally reaching manufacturer’s ears.”
I personally like to get a 1 TB drive per client/project and then, when that project is done, or awaiting approval, I pull it out of the dock and put it on the shelf to work on other projects. The advantage of putting the drive in a case, aside from the protection, is that I can put some very big labels with lots of notes about what’s on the drive, which is usually a lot of stuff.
Canon says that the Canon XF300 Professional Camcorder is on it’s way to me for test & review. This camera features 50Mbps MPEG-2 4:2:2 recording to Compact Flash (CF) Cards. This high data rate should push aside all issue with compression, even though it does use the older MPEG-2 codec as opposed to the newer MPEG-4 / H.264 / AVCHD codec that a lot of newer camcorders and cameras use. The advantage to MPEG-2 is that, with a lot less compression, today’s even faster computer should handle it with ease, as opposed to the much more difficult time today’s systems have with AVCHD footage. Continue reading “Canon XF300 on the way for review. Questions? Tests? [UPDATE] It’s here.”
Looks like the race is over. Sony and Panasonic announced large sensor camcorders back at NAB but now Sony is showing off the goods. They are taking pre-orders starting today.
The goods Sony is offering look real good! As with many of the last consumer/prosumer models, you can expect the VG10 to come out in a prosumer model, with XLR inputs, and probably more video settings than the consumer model offers. But probably no different lenses.
The Alpha lenses from the digital still lineup are already designed to resolve far, far beyond the 2 Megapixels of 1080i60 HD video. So you probably won’t see different lenses than will be available in the consumer lineup, but it does open the door to the entire Minolta Maxxum line of SLR lenses, which are the basis for the Sony’s Alpha. Continue reading “Sony accepts orders for NEX-VG10: the large sensor camcorder gets REAL!”