Canon Countdown to the 29th September 09

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Canon-countdown-6

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JVC HM700 & HM100 Editing Update

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I must emphasise that although JVC claim that the HM700 and HM100 produce quicktime files that will sit on your Final Cut Pro timeline with no rendering…that’s perfectly true but there is a compromise and that is the way the file is brought in.

MPEG-2 is directed at broadcast formats at higher data rates; it provides extra algorithmic ‘tools’ for efficiently coding interlaced video, supports a wide range of bit rates and provides for multichannel surround sound coding. That’s the official line…

How does it affect you…I have been forced to use Final Cut Studio 3 without my AJA io HD therefore forcing me to ingest footage via the SDHC card itself, I soon discovered a very dark side to editing without my trusty AJA Pro-Rez box. My first serious filming with the HM100 was at my sons wedding in Italy and as I knew I was going to be busy I decided to edit a 2min sequence to upload onto Exposure Room.

Everything went fine till I used a program called “Looks” this is a program from Noise Industries that gives your footage a certain look…I added Looks to my footage and pressed render all…to my amazement I got a box telling me that my MPEG2 footage was conforming, the two minute sequence took almost one hour to render.

Since then I have re-installed my Leopard/FCP-2 hard drive to use the AJA box again and hey presto as if by magic my HM100 footage is now ingested via Apple Pro-Rez and no more MPEG2. As an aside I was filming a theatre show using a Sony EX-3 and a JVC HM100 at 1080 50i and you cannot tell the cameras apart, except for one tel-tail sign…the EX-3 suffers from IR discolouration on the blacks turning them a brownie red, the HM100 having a CCD gives me perfect blacks. Fortunately the HM100 is on wide and the EX-3 is tight so the problem is minor.

The moral of the story is do not be fooled by the hype …you can edit MPEG2 on a FCP timeline as long as you do nothing to it…and don’t expect to be able to use 2 HM100/700s ingest via the SDHC and try to edit a two camera multicam edit…IT WON’T WORK (WRONG IT DOES). The only way to ingest HM100/700 for two camera editing is via an AJA io HD, Express or a Matrox MX02.

Although I would still advise ingesting via a Matrox or AJA as Pro-Rez I was mistaken by telling you not to use HM100/700 as a multicam edit….

SEE HERE… http://www.hdwarrior.co.uk/2009/10/15/multicam-indeed-works-with-jvc-hm100-mpeg-2-file/

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Focus MediaShare…From $79 a month 10 projects/10GB storage

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FocusMediaShare

The New Web-Based Video Content Management Service for Video Professionals

Focus Enhancements introduces the next revolution in your FS DTE™ recorder workflow, a Direct To Web™ solution.  No matter where your clients are located, Focus MediaShare will give you quick and easy review, approval, and sharing of all your video project related assets-with no software to install.  With Focus MediaShare, you can transfer proxies of your recording, complete with metadata, straight to the web where team members and clients can view clips instantly.  You can also upload proxies of dailies, rough cuts and finished projects.  Focus MediaShare has built-in annotation and clip rating tools making project review quick and convenient.  With its Direct To Web workflow and robust browser-based interface, MediaShare reduces production time, increases opportunity for collaboration, and improves productivity-all for a modest monthly fee.

Focus MediaShare Features include:

Instant Proxy Publishing

  • Go from acquisition to sharing with Direct To Web workflow

  • Transfer proxies, complete with metadata, to your MediaShare online workspace

    Online Video Library

  • Store and deliver proxies and source files of your entire library online

  • Use native and user-defined metadata to tag, organize, and find clips in your library

    Sharing, Collaboration, and Broadcast

  • Provide team members and clients with online access to dailies, rough cuts, and finished projects with unprecedented speed

  • Use the annotation tool to add notes to clips; perfect for collaboration, review, clip rating, and signoff

  • Publish reels, clips, and completed content with a simple, flexible multi-clip embed channel or single clip embeds

    Video on the Go

  • Access your video library from any location
  • MediaShare creates mobile-ready proxy files that are optimized for viewing on your iPhone or other smart mobile devices

    Start using the MediaShare Direct To Web solution today to store, manage, share, and broadcast your media.  With no software to install and for the cost of your daily cup of coffee, you are only a few clicks away from a new, improved, and cost-effective workflow that you can use from anywhere.

  • For all your video production needs in Scotland, get in touch with Small Video Productions

    Rumour starts for September 29th announcement from Canon

    Categories: Miscellaneous 1 Comment

    Canon-Poster-CF-35-web

    Now remember this poster is not real…lets hope Canon have been listening and bring out something just as sexy.

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    “Jaw Dropping” HD footage shot on a Canon 5D Mk11

    Categories: Miscellaneous 2 Comments

    Timescapes Timelapse: Mountain Light from Tom @ Timescapes on Vimeo.

    This is where the blend of the old and the new comes together in a cameraman who thinks out of the box and takes the Canon 5D Mk11 using it as intended as a stills camera but adding timelapse to some fantastic evening shots and adding movement via a homemade electronic dolly that moves the camera millimetres at a time.

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    Correcting Rolling Shutter

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    The Foundry today released Rolling Shutter, a new plug-in available for After Effects and Nuke.

    This plug-in cleverly reuses one of The Foundry’s strongest bits of intellectual property – optical flow as utilized in effects in the Furnace plug-in set including Kronos, as well as licensed by Adobe for use in the Timewarp effect for After Effects – in order to solve a problem particular to video cameras containing CMOS chips, which require an interval of time to scan an entire frame, line by line, and generally top to bottom.

    In cameras with a speedy frame refresh rate, such as RED One, the effect is rarely noticeable other than under extreme conditions, but it is more commonplace when shooting with the Canon 5D Mark II and completely ubiquitous with consumer level cameras such as the latest iPhone.

    Because a given shot typically contains multiple planes of action, correcting rolling shutter artifacts involves more than simply un-skewing the image. The problem is similar to that faced when compositing a 3D shot, and The Foundry has added similar technology to Nuke to make it a leader in 3D compositing.

    Rolling Shutter will help not only to make an image look better but also to make it possible to matchmove the shot in 3D, which would otherwise be a nightmare with an unevenly scanned shot. As long as the movement of the camera is unidirectional – whether sideways, forward or backward, this plug-in will correct for it; more chaotic handheld shots with circular or otherwise inconsistent motion might be beyond its abilities.

    Rolling Shutter $500 for Nuke or After Effects, direct from The Foundry website. A demo version is also available for download.

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    Tiffen T1 filter test…Sony take note !

    Categories: Miscellaneous 1 Comment

    If you own an EX1, EX3 or F35 then this is the filter you’ve been waiting for

    t1featured

    As you may have noticed from previous articles, I’ve done a lot of research on which cameras allow infrared or far red to contaminate dark fabrics and change their color. There hasn’t been a satisfactory solution for the Sony EX1, EX3 and F35 cameras–until now.

    Silicon is sensitive to infrared energy above all else, so camera manufacturers work hard to prevent their sensors from seeing anything but the visible spectrum. These three cameras don’t have a classic infrared contamination problem where they mistake heat energy, beyond the visible wavelengths of light, for actual visible light.

    Sony installs very effective hot mirrors in their cameras to prevent any IR from reaching the sensor(s), but as these cameras see what Sony calls “broad spectrum color” they tend to be very sensitive to red. This isn’t a bug, it’s a feature!

    This sensitivity to red can cause problems with dark fabrics that reflect not only infrared (which is cut very effectively in these cameras) but far red, which is red on the edge of the visible spectrum. Humans may have a little trouble seeing this hue of red but these cameras don’t, and sometimes it can be a bit much. The color red has, until recently, been the bastard stepchild of colorimetry because it’s very hard to reproduce properly–and thanks to Sony’s new broad spectrum color you’ll see beautiful hues of red you’ve never seen before. But there’s always a price to pay.

    A while back I tested a prototype filter for Tiffen that worked brilliantly. It cut through far red like a knife. Previously the only filter that worked on any of these cameras was the Schneider Tru-Cut 680, which worked exceptionally well except for vignetting on wide lenses: the dichroic hot mirror was so thick that when viewed at an angle the filter turned cyan, so wide lenses yielded an image that was cyan around the edges. Tiffen’s filter, originally known as T1 for “Test 1,” used dyes alone to absorb far red, completely avoiding the risk of vignetting. Their reasoning was this: if the camera’s hot mirror works fine, and since we’re cutting visible light instead of heat energy, it’s clear that we can use a dye, which doesn’t vignette, over a hot mirror, which will. (The more a hot mirror cuts, the heavier the dichroic coating has to be. When cutting non-visible infrared the dichroic layer can be fairly light, but cutting visible far red requires a very heavy dichroic coating, which causes off-axis vignetting on wide lenses.)

    While the T1 prototype worked marvelously, Tiffen wasn’t satisfied. The dyes used in the prototype weren’t stable and would fade over time. After trying a number of different formulas, all of which I’ve tested at one point or another, they settled on the current version which works exactly the way the original T1 did but without the original’s color instability. Having perfected it, Tiffen is now ready to release this filter into the wild.

    fabric-chart-no-filter

    Sony EX-3 without T1 filter (Notice the contaminated black cloth turning a shade of brownie/red)

    fabric-chart-with-filter

    Sony EX-3 with the Tiffen T1 filter in place

    Production will begin October 1st, and it may take four weeks before all sizes are available. Standard sizes will include 72mm, 77mm, 82mm, 138mm, 4×4, 4×5.6 and 6.6x6x6. Other sizes will be available as a special order.

    Lets hope we don’t get charged an extortionate price for a 77mm filter that Sony should be supplying FREE !

    Feature by Art Adams   http://provideocoalition.com/

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    AJA io HD Week-9 FCP-7 & Snow Leopard Incompatibile

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    AJA-io-HD-Wk9-V2

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    Shot with two ARRI D-21 HD cameras

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    D21 banner

    It’s nothing new that shooting on HD is known to be conducive for productions that take place in the studio and highly controlled environments. On the upcoming HBO series Bored to Death starring Jason Schwartzman, the camera crew put two ARRIFLEX D-21s to the test on a challenging shoot comprised mainly of location work.

    Director of Photography Vanja Cernjul describes, “We shot in every neighborhood in New York City, at every different time of day. We were outside a lot with sunny exteriors and on the schedule we were on it was really hard to control the sunlight. I was lucky to have a camera that handled the highlights so well.” Read on to find out more about this highly anticipated series and Cernjul’s latest experience shooting with the D-21.

    technical-intro

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    Calibrating a Broadcast LCD Monitor by Guy Cochran

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    Calibrating a Broadcast Monitor + New Pro Features from Guy Cochran on Vimeo.

    Got this neat tutorial from…  http://hd-cinema.blogspot.com/

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