Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
CF Card Recording
3 Native 1920x1080
CMOS Image Sensors
HD-SDI Output
Genlock Input
© 2010 Canon U.S.A., Inc. All rights reserved. Canon is a registered trademark of Canon Inc. in the United States and IMAGEANYWARE is a trademark of Canon. All other referenced products and
brand names are trademarks of their respective owners and are hereby acknowledged. HD-SDI output, Genlock input, and SMPTE time code in/out available on XF305 only.
from the editor 3
volume 18
number 6
EDITORIAL
EDITOR‐IN‐CHIEF David E. Williams
dwilliams@nbmedia.com
MANAGING EDITOR Katie Makal
kmakal@nbmedia.com
Isn’t This the Worst
TECHNICAL EDITOR Jay Holben
jayholben@gmail.com
CONTRIBUTING EDITORS J.R. Bookwalter,
3D Will Ever Look?
James Careless, Chuck Gloman, Carl Mrozek,
Oliver Peters, stefan sargent, Jon Silberg, Typically Vegas, many developers and manufacturers exhibiting at the 2010
Ned Soltz, Iain Stasukevich
ADVERTISING
NAB Show seemingly bet the house on a coming 3D TV future — a gamble Is an
EAST COAST SALES MANAGER Susan Shores
sshores@nbmedia.com 212. 378.0400 Ext. 528
that has as yet been neither won nor lost. But I certainly heard plenty of nay-
sayers griping about this technological wager, grumbling that they personally
adoption
WEST/CENTRAL SALES MANAGER Jeff Victor
jvictor@nbmedia.com 847. 367. 4073
would never wear 3D glasses to watch a stereoscopic football game, movie, of 3D today
documentary or any other such programming at home.
EUROPE SALES MANAGER Bob Kennedy bken-
nedy@nbmedia.com 011. 44. 1279. 861264 Why not? Seems like a logical question, right? But, among the 3D-phobic I as pointless
DV EXPO SALES Contact your DV representative politely challenged with this simple query, none could respond with anything as color
CLASSIFIED AD SALES Jessica Striano resembling a reasonable answer. The number-one response?
jstriano@nbmedia.com 212. 378. 0467
"It's just pointless." was in
Is an adoption of 3D today as pointless as color was in the 1960s? Stereo
ART & PRODUCTION
SENIOR ART DIRECTOR Nicole Cobban
audio in the 1980s? And HD in the 1990s? Seriously, none of these other
the 1960s?
ART DIRECTOR Annmarie LaScala
PRODUCTION DIRECTOR Fred Vega
PRODUCTION MANAGER Aaron Stone
advances are essential to enjoying high-quality televisual programming, Stereo in
whether delivered via broadcast, cable, satellite or disc. (Classic Twilight Zone
CIRCULATION reruns are still a fave in B&W mono SD.) the 1980s?
And HD in
ASSOCIATE CIRCULATION DIRECTOR, So the “pointless” argument just doesn’t really wash, does it?
AUDIENCE DEVELOPMENT Anne Drobish
CIRCULATION MANAGER Kwentin Keenan My own theory about this illogical resistance to 3D breaks down into a
CIRCULATION CUSTOMER SERVICE
Michele Fonville
two-part marketing issue. Firstly, “3D capability” has been added to numer- the 1990s?
ous products in a way that looks like hucksterism of the first order — recalling
SUBSCRIPTIONS: the shameless advertising that has long been used to sell 3D movies, replete
DV, P.O. Box 221, Lowell, MA 01853
Telephone: 888‐266‐5828 with cheezy “comin’ at ya” graphics. The second issue is that many content-creation professionals are
USA only, 8:30 a.m. ‐ 5 p.m. EST openly against having over-hyped technology crassly slathered over a project simply for the sake of a crude
978‐667‐0352 Outside the US
Fax: 978‐671‐0460
marketing hook.
E-mail: newbay@computerfulfillment.com It’s borderline pornographic — especially if it doesn’t even look good. (A point repeatedly made by
NEWBAY MEDIA VIDEO/BROADCAST GROUP DreamWorks Animation head Jeffrey Katzenberg during a Q&A presentation at the NAB Show.)
EXECUTIVE VICE PRESIDENT Carmel King But the technology of today is giving us the worst that 3D TV is ever going to look. And, from what I saw,
VP SALES/GROUP PUBLISHER Eric Trabb it still looks pretty damn good when executed well.
EDITORIAL/CREATIVE DIRECTOR Anthony Savona
EDITORIAL DIRECTOR ‐ VIDEO Cristina Clapp High-quality content will, of course, be what ultimately drives the adoption of 3D TV on the part of end
EDITORIAL DIRECTOR ‐ BROADCAST Carter Ross users, and the recent announcement that a stereo Blu-ray Avatar has been acquired by Panasonic as a cus-
WEB DIRECTOR Ragan Whiteside
ONLINE PRODUCTION MANAGER Robert Granger tomer exclusive for those who buy their sets this fall — and Alice in Wonderland by Sony Electronics — helps
prove this point.
NEWBAY MEDIA CORPORATE
So what does 3D mean for the independent professional? The readers of this publication? That depends
PRESIDENT & CEO Steve Palm
CHIEF FINANCIAL OFFICER Paul Mastronardi on the speed of the format's widespread adoption. When The Tonight Show with Jay Leno became one of
VICE PRESIDENT OF the first major network shows to broadcast in high-def in 1999, how many of you thought you would be reg-
WEB DEVELOPMENT Joe Ferrick
CIRCULATION DIRECTOR Denise Robbins ularly working in HD? And on HD wedding videos? Yes, it went that far that fast. And 3D may do the same.
IT DIRECTOR Greg Topf
CONTROLLER Jack Leidke
HR DIRECTOR Ray Vollmer
PUBLISHED BY
NEWBAY MEDIA L.L.C. David E. Williams
810 Seventh Avenue, 27th Fl.
New York, NY 10019
Editor-in-chief
Tel: 212. 378. 0400 dwilliams@nbmedia.com
Fax: 212. 378. 0470
Web: www.nbmedia.com
dv.com
4 Inside volume 18|number 6
contents | june 2010
update
6 News & Notes
We look at the FGV-Shmidle upgrade for your Canon
EOS 7D from Band Pro, K-Tek's Norbert, decoding
AVC-Intra, Anton/Bauer's Dionic 90 battery, the
Technica 3D Quasar camera rig, and more.
in review
14 EOS 7D HDSLR: Canon
This HD-capable camera has its frustrations, but it's
also an exceptional production tool.
By Jay Holben
18 Cinedeck/Extreme: Cinedeck
The next phase in “smaller, faster, cheaper” direct-
to-disk recorders.
By Michael Hanish
19 Bi-Color: Litepanels Checking out the variable Active
This LED luminaire offers exceptional flexibility. Diffusion system from Zylight on
By Chuck Gloman display at the NAB Show.
features
20 Close-Up: Craig Lieberman On Our Cover: New tools and technology seen at
This car expert is geared up for viral video production. the NAB Show.
By J.R. Bookwalter Event photos by Carl Mrozek
36
$39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All
rates are one year only. DV, Digital Video, Digital Video Magazine, DV Full Motion, DV Web Video, DV Expo, Web Video Expo, Digital Video Expo, and Digital
Video Conference and Exposition are trademarks of NewBay Media L.L.C. All material published in DV is copyrighted © 2010 by NewBay Media L.L.C. All
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to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. DV makes every effort to ensure the accuracy of all information published in the magazine;
however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.
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Update |
6 mousing
around
news & notes | june 2010
>Gale Tattersall
Director of
Photography
www.videography.com/article/95134
The ace cameraman explains how he
employed the Canon EOS 5D Mark II
DSLR on his network series House.
dv.com
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Kevin Cullen, president of
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dv.com
10 digital
Update video
tweets
>forum buzz
news & notes | june 2010
>@OnlineEditing
Adobe CS5 trial versions released,
Hot Topics from DV's Online Forum — Join the Discussion at DV-Forums.com awesome new features such as this
one...
TOPIC: Lightweight Battery-Powered Lighting? from power much of the time. I’m not a fan of on-
camera lights but hope to use it as a key or fill with >@ArtistSystems
osgoodr: I’m leaving for Vietnam in a week — shooting window or reflector. Top mastering engineer Bob Katz
interviews and need some simple battery-powered light- talks about negative effects of
ing. I’m interested in the Ikan iLED 155 kit. Anyone use TOPIC: Canon EOS 5D Mark II or the XH-A1? extreme loudness.
one of these or have any other suggestions?
>@FCPDaily
HiTech: I NEED EVERYBODY'S OPINION! Which one?
Best of the Web: The Art of the Title
Jerry_R: I haven’t used that one but I have used a couple Would you get the Canon EOS 5D Mark II or the Canon
of the small Frezzi lights, including their HMI and dim- XH-A1? I will most likely be using it more to film than any- Sequence is an awesome resource
mable. I have also used one of the Litepanels on-cam- thing else. If there is any other camera you recommend, for editing inspiration!
era lights and the Zylights. Frankly, the on-camera please let me know. Any opinion will help. Hope to hear >@dvculture
lights are not a great solution. You need some way to from you guys. Exclusive: American Idol spotted
position them as the key unless you are using other
using HDSLRs!
lights. If you don’t you get the deer-in-the-headlights Jerry_R: The A1 is a great tape-based camera, but tape
look, which is not good. If you are shooting in low is obsolete. A better choice would be the HMC150 (about >@trapezeltd
light, you may also have a problem with squinting, $3,430), or, if you are serious about the 5D price range, Just finished online registration for
due to the contrast between the light and the back- then the HPX370 (about $11,000 including P2 cards and the office trip this summer to @Sig-
ground that the subject sees. I would go with three battery). The 7D may be better than the 5D as it can be graph! Can’t wait for the technol-
Z90 Zylights (rented) and figure out how to do it right easily outfitted to take an adapter (Hot Rod Cameras has ogy, L.A., and creative inspiration!
— not just using an on-camera light. www.MSE.com one for about half the price) for taking PL-mount lenses
has some arms that I use to position the lights in front (you would rent those). You will need to add a viewfinder >@adamontherun
and to the side of the camera. You need to decide magnifier (unless you are shooting pretty much static Entire last episode of House shot on
what compromises you are going to put up with, what shots) and some support accessories. So that option Canon 5D DSLR.
you are going to be shooting and how. would be quite a bit more than the HPX370 — which, >@mojoproaudio
BTW, is a 2/3” sensor camera with over- and undercrank. Mojo Pro Audio wins DV Black
osgoodr: Yep — it’s all about compromises on this So, IMHO, all you'd gain with the HDSLRs is very-low-
Diamond Award at NAB!
shoot. I’ve got to travel really light (no pun) and free light capability and better control over DoF.
>@shannon_pr
Prime Focus expands stereo 3D
Element Technica, designer and manufacturer
5
capabilities worldwide!
of the Technica 3D family of 3D camera >@YourDigiCams
mounts, has delivered its 50th Quasar 3D rig. Interview with Wayne Rowe, author
1 The Technica 3D Quasar mounts full-sized and fully of Zen and the Magic of Photog-
easy steps equipped digital cinematography cameras such as raphy
the RED ONE, Sony F23/35 and 1500, ARRI D-21 and >@BLUWAVETECH
Genesis in stereoscopic pair configuration. 2 The Steve Jobs rips apart Flash and
3D camera rig
Quasar 3D rigs have been adopted by both feature film pro- will not use Flash for any Apple
ducers and live sports and entertainment venue productions products.
because of the precision control the rigs afford the stereog-
rapher, ease of configuration, and the rigs’ ability to shoot in >@WebisodeNow
either the side-by-side or beam-splitter mode. 3 The Quasar can be completely set up in under We are looking for the best in Hor-
30 minutes, and converted from side-by-side to beam-splitter mode in less than 10 minutes. ror Web series www.webisodenow.
4 Quasar 3D rigs are now in the inventory of camera rental houses serving feature film and OB com
(outdoor broadcast) sports and entertainment event producers, both in the U.S. and Europe. >@CLTFCPUG
5 At the 2010 NAB Show, Element Technica introduced the compact Neutron 3D rig, for smaller #finalcutpro check out www.
cameras. With its ability to mount the smallest HD cameras, including these with 2/3" or 1/3" imag- cltfcpug.org for the final "edit off"
ers such as the SI-2K Mini and Iconix, the Neutron is a solution for providing 3D imaging from the details! You don't want to miss the
smallest form-factor. Find more detail at www.technica3d.com. new giveaway!
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videography.com:
Tech at TEDTalks:
Video Workflow
at the Annual
TED Conference
When Jason Wishnow joined
TED in 2006 as director of film
and video, he helped launch
Singular Software
PluralEyes Review
Singular's PluralEyes does only
one thing, but does it so spec-
When LEDs came onto the scene several years ago, they were small units
tacularly that you'll wonder how without much output. Although they consume much less power than their
you ever lived without it. That tungsten or metal-halide cousins, their output was a fraction of traditional
"one thing" is synchronizing your
audio and video clips without
sources. But finally, that’s starting to change. Read about LEDs coming of age
you having to worry about online at www.dv.com/june2010.
such nuisances as timecode or
clapboards.
creativeplanet.com:
dv.com most-read features
Film Directing DV101 — DSLR Add-Ons & Upgrades
Schools The cost of DSLR accessories can quickly amount to more than the price of the camera. The
Our students don't make student trick is to figure out what you really need and find the best, most versatile components to fit
films; they write, direct, shoot, edit, those needs at a price you can afford.
produce and act in professional Hol-
lywood feature films.
Modern Editing: What Matters, What Doesn’t
2-pop.com: Experienced video editors and post house execs discuss which modern editing skills have
proven to be must-haves ... and which have proven to be nothing but flashes in the pan.
Forums: Working
with Canon 5D
Mk II Footage
User recently began working in
Introducing Sony’s VideON Online Network
HD, seeking help working out with See and share great work, learn new video techniques
the bugs involved with integrating Visit sony.com/videon and connect with others in the Sony professional community.
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_Jun10_Strip.indd 1 5/4/10 3:25 PM
AWARD 2010
Desktop Workflow
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Winner of a 2010 NAB Best of Show Black Diamond award from DV Qio’s SxS slots also support ExpressCard/34 adapters, including
Magazine, Sonnet’s Qio™ is a multi-tasking marvel. Qio embraces Gigabit Ethernet, WiFi, USB, FireWire®, and more, while the P2 slots
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CompactFlash® slots plus an SDHC card adapter enable you to expansion card slots available to notebook users, while desktop users
offload files quickly and more efficiently. About the size of three may swap adapter cards without opening their computers’ cases.
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computer with aggregate bandwidth up to 250MB/sec. and expansion card formats available, Qio’s got you covered.
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Other product names are trademarks of their respective owners. Product specifications are subject to change without notice.
14 In Review Canon EOS 7D
gear | june 2010
score
PROS: Amazing picture,
great sensitivity, large sensor,
very low price.
CONS: Poor ergonomics for video
work, focus control is difficult with
standard and professional Canon EF
still lenses.
BOTTOM LINE: A giant leap
forward in inexpensive, high-quality,
film-like HD video
MSRP: $1,699
CONTACT: www.canon.com
Sure Shooter
The Canon EOS 7D has its frustrations, but
ond. Both 1920 x 1080 and
1280 x 720 are recorded at
330 MB/min (44 Mb/s).
The camera’s sensitivity
this DSLR is an exceptional production tool. is stunning, and noise levels
remain very low. Although I
BY JAY HOLBEN bilities — 1920 x 1080 MPEG-4 H.264 wish it could go lower than
I take great pains to be as thorough as AVC format with a Super 35-sized 100 ISO, the image is clean
possible with my reviews to consider all (APS-C) sensor — this is not a digital all the way up to 1600 ISO,
the angles and to put the tools through video camera. This is a still camera, where you start to see some
real practical testing. I had the chance and as a still camera, it’s fantastic. I noise, but even at 3200 ISO
The huge 22.3mm x 14.9mm (APS-C size) sensor in the EOS
to do all of this with the Canon EOS 7D have been very happy with the quality, 7D makes all the difference.
the noise was not objection-
hybrid DSLR/HD camera — and more. features and performance of the 7D able for most situations. At
Due to Canon’s generosity, I’ve had the as a still camera. The sensitivity of the quickly become moot. 6400 it’s pretty noisy, but
camera in my hands for much longer chip is astounding, even with the slow So, with all that in mind, I’ll dive still better than +9db gain on many
than most reviews would 28-135mm or 18-135mm into my thoughts on the 7D. As an other cameras! If you’re shooting with
ever merit and I’ve had the EXCELLENCE f/3.5-5.6 package lenses. HD digital video camera, the ability to the less-expensive EF lenses, which are
opportunity to do several My critical comments have a full Super 35-sized sensor (22.3 typically in the f/3.5-5.6 range, you’re
tests, still shoots as well as come from the camera’s x 14.9 mm) with incredible (6400 ISO) going to need this extra sensitivity for
photograph a short narra- shortcomings when shoot- sensitivity for $1,700 is remarkable. sure.
tive film for director Jamie ing HD video in a produc- The image quality is astounding – even As this is a still camera, not a video
Neese. AWARD tion environment. In short, though it’s H.264 MPEG-4 4:2:0 video. camera, there are things that are miss-
As with all reviews, when you use the camera Color representation and latitude are ing that videographers have typically
there are aspects of the for what it’s not really fantastic. The 7D shoots 1920 x 1080, taken for granted. One of the first
Canon EOS 7D that I am critical about; meant to be used for, you have prob- 1280 x 720 or 640 x 480 video at 29.97, things I encountered with the 7D was
no product is perfect and no single lems. Go figure. 25, 23.976, 59.94 or 50 frames per sec- the lack of built-in ND filters. My first
product can do everything that every- The problems, however, are not
one would possibly want. My biggest insurmountable and, considering the
conundrum here is that my most sig- cost of the camera and the quality of The EOS 7D represents a giant leap
nificant issues with the Canon 7D arise images it is capable of, in addition to all
because I am trying to use the camera of the third-party tools and accessories forward in inexpensive,
for what it was not designed to do. coming on the market for the DLSR
Although the 7D has HD video capa- hybrid cameras, most of my issues
high-quality, film-like HD video.
dv.com
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1stVideo VeriCorder $19.99 The first NLE for the iPhone 3GS records video at 640x480 from the built-in camera, or you
can import a movie. Edit, add text and titles. E-mail or upload to YouTube or your Web site.
Must be seen to be believed. VeriCorder will also offer 1stVideo Net for workgroup collabora-
tion or newsroom/server applications. This is a breakthrough product.
www.vericorder.com
Final Cut What’s new at NAB? Nothing. Just a maintenance upgrade prior to the show. But Apple is
Apple $999 still the 800-pound gorilla in the room even when not in the room. The evidence of Final Cut
Studio 3
Studio was in virtually every booth. Avid will now import ProRes, and the new ARRI Alexa
camera has a ProRes option. New control surfaces for Color and Soundtrack Pro appeared.
www.apple.com
One doesn’t need “new” in order to be noteworthy at NAB.
Media Media Composer 5, introduced at NAB, includes support for ProRes through AMA, in addition to other
Composer Avid $2,495 codecs. MC 5 breaks the mold of Avid’s exclusive requirement of its own branded hardware. Both PC
5 and Mac users can access video out through the Matrox MXO2 Mini. ProRes ensures compatibility with
Apple’s über-codec. Trim on the timeline. A whole host of new features reassures even skeptics that
www.avid.com Avid is determined to maintain its position.
Adobe $1,899; Perhaps the most extensive upgrade to Creative Suite ever. In addition to the feature set, the
Adobe most noteworthy add is 64-bit operation with Mac or PC 64-bit OS. This allows addressing of all
Premiere upgrade
Systems available RAM and results in considerable speed increases. Premiere handles any files up to 4K
CS 5 from $599
and takes H.264, REDCODE RAW and AVC-Intra (all without rewrapping). With compatible Nvidia
graphics card, Premiere accelerates playback via Mercury Playback Engine. Photoshop boasts
www.adobe.com
content-aware fill and After Effects’ rotobrush is nothing short of magic.
Boris New for NAB 2010, BCC 7 is advertised by Boris as the Swiss Army knife of visual effects. Now
Continuum BorisFX From $995 also 64-bit aware for CS5. New plug-ins in BCC 7 include a real-time color corrector, video
Complete 7 noise reduction, complete keying suite, audio-driven keyframe generator, and a spline-based
warping tool, among others. I contend that if you are going to purchase only one plug-in
www.borisfx.com package for Apple, Adobe or Avid, BCC is your choice.
CoreMelt produces an innovative line of creative visual effects that render quickly and
Lock cleanly. A video stabilization and rolling shutter reduction for After Effects and Final Cut Stu-
CoreMelt $149
& Load dio (FCP and Motion), Lock & Load is particularly important for DSLR shooting. It has saved a
few shots for me. Quick rendering. Unlike FCP’s stabilization, which analyzes the entire clip,
Lock & Load does not waste time; it analyzes only from in->out points.
www.coremelt.com
Luca Luca These lighting effects for AE, FCP, FCE and Motion work as a component of FxFactory from Noise
$49
Light Kit Visual FX Industries, whether the free version or pro version. Consists of nine unique lighting effects/transi-
tions with gradients, vignettes, flicker and stylized effects. Packs a lot of punch for something so
reasonable, and renders lightning (so to speak) fast.
www.lucasplugins.co.uk
Rolling The Capable of extremely precise correction of rolling shutter effects for AE, PC or Mac, Rolling
$500 Shutter joins Keylight and FurnaceCore for FCP as plug-in offerings from this high-end FX
Shutter Foundry
house — which also brought us Nuke, among other industry-standard compositing applica-
tions. Rolling Shutter utilizes a motion estimation algorithm to predict distortions caused by
www.thefoundry.co.uk large CMOS imagers to provide extremely accurate correction.
Final Cut or AE (PC/Mac). Used to build text and graphics into 3D animations, this plug-in
Nodes Yanobox $99 works with either the free or pro version of Noise Industries’ FxFactory. Utilizing GPU accel-
eration, Nodes creates lines, boxes, bubbles, tubes to create attention-grabbing text effects.
Create a “node” and map a symbol, graphic or text to it. A unique product that can help
www.yanobox.com achieve a very stylish look.
dv.com
18 In Review Cinedeck/Extreme
gear | june 2010
score
Potent Portable
The next phase in “smaller, faster,
PROS: Highest quality, flexible I/O,
easy to use, compact.
CONS: Minimal documentation,
cheaper” direct-to-disk recorders. somewhat high power draw, heavy
for handheld use, still some unimple-
mented features.
3:2 pulldown removal and 23.98 BOTTOM LINE: Sets new
to 60i conversion on playout are
standards in what is possible for an
built in.
When boot-up is complete, extremely portable recorder.
the user is presented with a bright MSRP: $7,995
LCD screen showing the selected
CONTACT: www.cinedeck.com
input. Unit info and status are
displayed along the top of the
screen, including operating tem-
perature, clip name, frame size, performance situation, although
rate, and codec choice, and media it shouldn’t have, was fan sound.
space available. Soft buttons Cinedeck is a compact (and dense-
along the right side offer choices ly packed) computer, in need of
of aspect ratio and grid overlays cooling during operation; fortu-
— with more functionality and nately, there is a software panel
BY MICHAEL HANISH the back is a built-in Anton/Bauer features to be added by the time to control both fan speed and the
The unveiling of the Cinedeck Gold Mount or V-mount battery you read this, including image alarm that results when the unit
recorder set a new standard for mount. The unit weighs about 4 analysis tools such as waveform, gets too warm. I'm told that on
what is possible with a portable lb. without batteries, consumes histogram, spectrum analyzer, and the shipping unit the cooling sys-
recorder in terms of features, an estimated 50 to 65 watts per zebra, and edge detection focus tem has been revised to cut noise
functionality, design and price. hour while recording (depending tools; the left side shows audio considerably. Since the LCD screen
The Cinedeck/Extreme, the first on data rate and encoding type) meters. Timecode is displayed at provides a wide angle of clear and
of three planned models which and roughly 35W/h while idle, the bottom. accurate viewing, and the unit is
all will have the same physical and will run on 9-25V from either I shot two jazz concerts with so simple to operate, the Cinedeck
shape but different recording a battery or the included wall the CineDeck, attached to top hot is a joy to use, even in the “live”
capabilities, was co-developed adapter. The unit ships with a shoe of my Sony PMW-EX3 via situation of shooting an event. The
with CineForm and uses dock to allow mount- SDI, with the camera on sticks on files were noticeably sharper and
the platform-agnos- EXCELLENCE ing of the drive onto a small dolly. With a few pumping cleaner than files recorded to my
tic and visually loss- a host computer for iron sessions, I could have worked camera’s media cards.
less CineForm Digital transfer and editing. the show handheld, but the pack- Cinedeck is a big-league disk
Intermediate codec. The I/O includes HDMI, age felt too heavy for me to be recorder at relatively minor
Extreme model records HD-SDI/SDI, LAN, comfortable. Operating Cinedeck league prices, the next phase in
up to 2K resolution at AWARD and analog sources is a pleasure. Mounted on top of “smaller, faster, cheaper” direct-
12-bit 4:4:4 or 10-bit and destinations my rig, I could easily use it for criti- to-disk recorders. The function-
4:2:2 quality, in .MOV or .AVI at SD and HD frame sizes and cal focus while shooting and file- ality and feature set would be
format. a wide variety of frame rates, based review during breaks in the enough to make this unit attrac-
The Cinedeck is a 5" x 8" x 3" as well as a headphone jack to action. One thing that caught me tive to production and postpro-
compact computer with a 1024 monitor audio, external comput- by surprise while shooting in a live duction teams. dv
x 600 LCD touch screen on the er and NTSC/PAL monitor ports,
front. Sharing the front panel an eSATA port with port multi-
is a vertical row of buttons to plier and RAID support, two USB The Cinedeck is a joy to use,
change modes. I/O, hard drive ports, and a tethered remote
(SSD) and power connections are port. Onboard, real-time up- and
even in the "live" situation of
on the left and right sides, and on down-conversion, de-interlacing, shooting an event.
dv.com
In Review 19
Litepanels Bi-Color
& The Furious feature films, Lieberman Craigslist ads, there is still a percep-
combined those elements in 2004 to tion that videographers are only worth
create videos for the automotive after- $100 a day, ‘work for credit’, or the
market sector, and a new business promise of new work. Combine that
model was born. with a ‘race to the bottom’ — whereby
“I remember a moment of amateur videographers proclaiming >gear used attached to most of them. “With a
enlightenment when an ad sales guy to be professionals are responding to CAMERAS: Canon XH A1, few clicks, I found Noise Industries,”
approached me to buy print ads in such ads — and you can quickly see Lieberman says. “I downloaded their
Sony PMW-EX1 EDITING:
his magazine,” Lieberman recalls. “I that costs are up while the perception trial version of the FxFactory engine,
Apple Final Cut Pro PLUG-
saw that in the automotive sector, of what we should charge is going and I was hooked.” Noise Industries’
there was an untapped opportunity to down. There's the challenge: How do
INS: Noise Industries FxFactory flagship product, FxFactory, powers
reach large audiences over the Web. you break through this perception? hundreds of plug-ins for Final Cut Pro,
YouTube had become a dumping You get what you pay for, always. started out learning on Sony Vegas but Motion and other host programs. The
ground for crummy videos related to That said, we work as economically as expanded to Adobe Premiere when he innovative developer of visual effects
my exotic car hobby. The bar was set possible. We’re new to the game, so first opened his business. With his PC tools for postproduction profession-
really low. we have to.” unfortunately too outdated to be used als allows potential buyers to install
“What if,” Lieberman asked him- To that end, Lieberman relies on in an efficient workflow, Lieberman and try out hundreds of their plug-ins
self, “someone created videos that modern, low-cost HDV hardware such switched over to the Mac and initially before committing to a purchase.
as the Canon XH A1 and the Sony struggled to learn Final Cut Studio Turning back to viral videomaking,
PMW-EX1 as well as “a dozen support sans formal training. Lieberman is quick to remind us that
cameras” in addition to a full range of After mastering the basic soft- it’s finally being taken seriously by big
support gear including a Steadicam ware, Lieberman soon discovered the business: “Even Lamborghini is mak-
and a boom with jib arm. joy of templates and plug-ins, but he ing videos targeted specifically at the
As a die-hard PC guy, Lieberman didn’t relish the exorbitant price tags Web." dv
dv.com
BLE
DOUINUM
PLATort Plan
Supp ne
lepho es
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a rs of FR EE upgra
2 ye FR
and cluded
p o rt
sup e in al
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Sony are apps
softw
The Supermicro® line of content creation workstations provides the ideal environment for the
Vegas Pro Master Suite. Featuring Intel® Core™ i7 and Intel® Xeon® processors, these 64-bit systems
can power through the most demanding editing tasks. At the heart of these systems is
Microsoft® Windows® 7 and Vegas Pro software, delivering a breathtaking end-to-end 64-bit
production experience.
Training and Support: All Supermicro® turnkey solutions featuring the Vegas Pro Master Suite
include the Seminar Series Training DVDs for Vegas™ Pro, Sound Forge™ Pro, and ACID™ Pro, plus the
FASST Start Vegas DVD from VASST. These optimized Supermicro systems include Sony’s Double
Platinum support plan: Two years of telephone support plus two years of Sony application updates
from the original date of purchase.
For more information on the Vegas Pro Master Suite systems, please visit our website at
www.sonycreativesoftware.com/mastersuite.
Copyright ©2010. Sony Creative Software Inc. All rights reserved. “SONY” and “make.believe” are trademarks of Sony Corporation.
22 DV 101 Jay Holben
basics | june 2010
dv.com
Above: Doing a demo with Tiffen’s new
Steadicam Tango crane arm. Above,
right: Canon’s DSLRs were omnipresent
on the show floor. Photos by Carl Mrozek
LIVE FROM
(almost)
THE
NAB SHOW
The DV team, including editor David E. Williams, technical editor Jay Holben, and contributing
editors Carl Mrozek, Oliver Peters, Ned Soltz and Stefan Sargent, made regular blog reports
from the 2010 NAB Show in Las Vegas from April 11-15, highlighting new tools and technologies
and events of interest to our readership. Here are some highlights from those reports.
APRIL 11, 8:17 A.M. tions beyond the wildly successful HM-700. But we used to search and index your media phoneti-
EMBARGO ALERTS AND honor silence when requested and now can begin to cally. From the initial information I’ve seen, it
OTHER NAB THOUGHTS discuss it both online and ultimately in print when appears to work at the Finder level outside
I was only out of touch for three and a half hours on either I or one of our other writers has the chance to of FCP, so you can use get to find the media
my second leg from Chicago to Vegas when I arrived put this new JVC offering, as well as the new Sony anywhere on your system and then drag the
to hear of Sony’s announcement of the PMW-320 and Panasonic, to the test. — Ned Soltz matching clips into an open FCP project. —
XDCAM camera. I personally shoot an EX1 and an Oliver Peters
EX3 but really like the feel of a shoulder-mount APRIL 11, 2:45 P.M.
camera. The PMW-320 is the same form factor as PHONETIC SEARCH FOR FCP APRIL 11, 11:58 P.M.
the 2/3" PMW-350 announced some months ago "get" is a phonetic search tool that uses patented PANASONIC GOES GA GA OVER 3D
and shipping now. But it retains 1/2" chips. Shipping technology developed by Nexidia. This is the same Last year, the empty-shelled predecessor of the
in August for $14,800 with kit lens; $12,800 without basic technology that has been licensed to Avid for AG-3DA1 3D camcorder sat sadly in a dark case in
Several days before NAB, Panasonic announced its ScriptSync feature. Many FCP editors may desire the Panasonic booth — as kind of the crazy cousin —
the HPX370, improving on the HPX300. The 370 a tool like ScriptSync for Final Cut, but in reality, and thus didn’t attract much attention or generate
improves some of the skew issues that some users linking media to a “marked-up” transcript visible much buzz, even within Panasonic. I had a hard time
experienced at 1080 24p formats and incorporates in your bins isn’t possible because it would step on finding anyone to brief me on even the rudiments
a new 1/3" CMOS chip block with greater low-light Avid’s patents. of this odd-looking double-barreled camera. What a
sensitivity. It retains the DVCPRO HD or AVC-Intra Instead, get allows you to search media difference a year makes. This ugly duckling of a cam-
options. by keyword and delivers that media based on corder occupied center stage at Panasonic’s NAB
We knew for several weeks about the pending the accuracy of the matches. In this way, get press conference as the centerpiece of their multi-
JVC announcement of the HM-790, offering addi- works much like a Google or Spotlight search. faceted and user-friendly 3D production strategy.
tional features for studio, ENG and EFP applica- The difference is that Nexidia technology is To prove their user-friendly point, Panasonic
Canon HF-M300
Canon XH-A1S Canon HF-S20 Dual Canon HF-S21 Canon HF-S100 HD Flash Memory
3 CCD HDV Camcorder Flash Memory Camcorder DualFlash Memory Camcorder Flash Memory Camcorder Camcorder
In Stock! In Stock! New! In Stock! $849.00
ing curve. For a mere splashy 3D emerged from Sony. The new HDCAM
$1,000 down payment SR camera SRW-9000PL not only has a professional
(and another $21K lens mount but also incorporates a 35mm chip. The
later), you can be one concept of large chips in video cameras is becoming
of the first to shoot 3D reality. And for the future, Sony unveiled very quickly
the easy way — starting what was described as an “affordable” 35mm chip
in early fall — and learn camera. It looked like a PD170 body with with a lon-
the dos and don’ts of ger interchangeable lens, matte box and follow focus
how to get great 3D. (those are most likely optional). Let’s go on. How
put beta models of the AG-3DA1 into the hands of Me? If I had $20K sitting in a bank account earning about an upcoming HDCAM SR Lite format, MPEG-4
several filmmakers and asked them to take it out for 0% interest, I might go for it to be one of the first with data rates of 880, 440 or 220 MB/s? How about
a test ride in Vegas and see what it could do. They with a wildlife doc shot entirely in 3D. — Carl Mrozek monitoring acquisition with the first OLED monitor,
got a quick-start course before setting off, but not the 7" PVM-740? In the XDCAM line, the PMW-320
much more. Pierre des Lespinois, HD and 3D pioneer APRIL 12, 9:18 A.M. joins the EX1, EX3 and PMW-350. It has the same
and founder/owner of Evergreen Films, raved about SONY HIGHLIGHTS shoulder-mount form factor as the 350 but with 1/2"
the 3DA1’s compactness and portability: “So far, Sony announced a partnership with ESPN in rather than 2/3" chips.
we’ve been using big HD cameras on big 3D rigs. As the launching of ESPN 3D broadcasting. DirectTV Finally, Sony has a new online network for train-
a result, it takes awhile to set up and execute each will be the first provider to distribute ESPN 3D con- ing and showing videos, VideoOn. Check it out at
shot. Typically, we can only do a handful of 3D setups tent. Sony was showing coverage of the Masters www.sony.com/videon. — Ned Soltz
in a day’s shooting. With the 3DA1, we were able to Tournament from Augusta both on a projection
do multiple setups in a few locations in a day. It com- screen in the press conference (a 4K digital projec- APRIL 12, 9:45 A.M.
pletely changes what’s possible.” tor — very sweet) and on consumer Bravia 3D LCD AVID COMES ON STRONG
First impression: this camera is capable of some panels. In the booth, Sony was showing 3D beam- The first of their announcements is what Avid is
beautiful, even inspiring 3D, but there is a learn- splitters from 3ality. Again, lots more than just the calling an Integrated Media Enterprise. It’s less of a
28
While there was planty of new gear on this year’s NAB Show floor, peer networking xx
was one of the most important aspects of the event. PHOTO BY CARL MROZEK
(almost) live from the NAB show | june 2010
single product and more of a concept or roadmap for the future. It will become
the framework for an ecosystem of products encompassing media manage-
ment tools and professional services by Avid. This will eventually evolve into
products for editing “in the cloud” and builds on Avid’s recent purchases of Blue
Order and Maximum Throughput. At its core, this is about asset management
and will be based on a number of products under the umbrella of the Interplay
family. Interplay has been known as Avid’s asset management and search tool
used for news. That software now becomes known as Interplay Production. This
will be joined by Interplay Media Asset Manager, a more encompassing product
designed to catalog, track and search for media according to a whole range of
rich metadata.
A more tangible product announcement for most editors is the release
of Media Composer 5, Symphony 5 and NewsCutter 5. This software
release may prove to be one of the most important Avid versions in many
years and significantly raises the bar in the competition with Apple’s Final
Cut Pro. It checks off many of the common wish list items from Avid edi-
tors. Highlights include new format support, such as HD-RGB, QuickTime
(ProRes and H.264) and RED support through Avid Media Access (real
time, no transcoding required), as well as native AVCHD. — Oliver Peters
inexpensive ($1,795 list) Tangent Wave control surface. Blackmagic each year
APRIL 12, 11:15 P.M. seems to introduce products at reasonable price points but with strong features.
AROUND THE SHOW FLOOR This year, they are first out of the box with USB 3.0 devices. UltraStudio Pro
Last year, to the surprise of industry observers, Blackmagic Design purchased at $895 is not only a USB 3.0 device, but it incorporates 3G HD-SDI and HDMI
DaVinci. This year, Blackmagic is bringing to market a standalone, software-only I/O in a stylish upright design. Intensity Shuttle at $199 is a full 10-bit HDMI I/O
version of DaVinci Resolve 7.0 for $995. While not the full Linux system with device, USB bus powered and USB 3.0 interface to computer. And it’s only $199.
scalable multiple GPU capabilities and with control surfaces, standalone Resolve Last year, the UltraScope package was a big hit. This year, Pocket UltraScope, a
nonetheless is the full DaVinci color application. And it works with the relatively $595 external device, plugs into any USB 3.0 computer and accepts SDI signals.
DeckLink HD gains 3D capabilities in the $995 DeckLink HD Extreme card with
2K and Dual Link SDI output ... including 3D. Or how about a new version of
HDLink Pro for $595 with 3D output? Also featured were a Smart Control push-
button panel for their hardware video router and a whole new Micro Videohub, a
16x16 3G SDI appliance for $1,995. And the big announcement in small packages
at low price: an external H.264 Pro Recorder converter for $349. Check it all out
at www.decklink.com.
And so many other things on the floor... CineForm is now shipping its Neo3D
application, and it works with the Tangent Wave surface.
SmartSound is adding vocal music to Sonicfire Pro. Two CDs are currently
available.
The Petrol Cambio Carry and Shoot bag looks like a roll-aboard suitcase. But
its handle raises to become a tripod extension, tripod legs come off the back and
the wheels pull out for stability. It looks like a Transformer!
Shadowstone LED is showing an 8K lumen high-CRI Fresnel light called
Reveal Studio. Price is $3,400.
Litepanels basically started the whole pro LED movement, and it has sev-
eral new offerings. I’ve reviewed and have been using the Litepanels Micro Pro
on-camera light. I don’t leave home without it. They’ve now added a “dual”
version suitable for your DSLR. “Dual” means it is a flash when in still mode, or
continuous light — your option. Litepanels as well has introduced LED lighting
with Fresnel lenses in their Sola series ranging from the on-camera Sola ENG
for $649 to a 200 watt (2K equivalent) Sola 12 to be priced right around $6,000.
Then there is always the fun product on the floor that already has cus-
tomers lined up and ready to buy: Go Pro Wearable HD — under $300. Strap
this little waterproof HD camera on your helmet, chest, surfboard or Ferrari
and you’re now a human camera. It is definitely the day’s cool-factor win-
ner. — Ned Soltz
dv.com
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30
around Apple's new device. With an upcoming soft-
ware update, you will be able to sync text on your
(almost) live from the NAB show | june 2010
Viewcast Osprey Cards Matrox Convert DVI Create|HD NVIDIA Quadro FX 3800
The Osprey line offers a wide range Converts high-resolution DVI sources Offers a 4:2:2 solution for uncom- by PNY, 1GB PCIe
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SDI video quality, with superior multi presets or create and save your own temperature. Works with Mac, Windows Blu-ray and AutoPrinter also available.
tap image filtering and processing. custom effects presets. and Linux systems.
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34 How To Stefan Sargent
tutorial | june 2010
My Friend Flipa
Getting creative coverage with
Flipa gets her the pint-sized Flip Video UltraHD
first ride using
Sargent's pocket digital cam.
mounting rig,
traveling across
the Golden Gate I'm in love with my $150 widescreen Flip UltraHD. The good
Bridge. thing is that I’m using her professionally; I’ll get my return on
investment on day one. I call her Flipa.
To create a flexible mounting system for Flipa, I buy her
a collection of clamps from Steve Cardellini, who lives down
the road in Corte Madera, and some lengths of 5/8" aluminum
tubing from the local hardware store. From B&H Photo, I mail
order a Bogen Manfrotto Mini Ball Head type 494 at $55.
Finally, in this mad batch of spending, I buy a Kenko mag-
netic 0.45X wide-angle lens, costing all of $24.99. The little
Kenko comes with a separate
ring, which has a peel off adhe- If there's
sive backing. You stick the ring
one thing
Shooting an
instructional onto the Flip around its lens
and, hey, presto, magnetism
wrong with
video, Sargent
chose to use his holds the attachment in place.
Flip UltraHD and
clamping setup
Magic! the Flip, it's
With the wide-angle on,
mounted to a
bicycle. there’s some vignetting at the the camera
edges. A 7% enlargement in
post will fix. Besides doubling
shake you
your shooting angle, the wide get when
angle takes away a lot of the
camera vibration. If there’s shooting
one thing wrong with the Flip, handheld.
it’s the camera shake you get
when shooting handheld.
I’m curious to see if the magnetic wide-angle lens will
stay put. I clamp the camera onto our Ford utility’s front
With his son,
grille, pop on the Kenko lens and drive from the Presidio
William, on the
bike, Sargent across the Golden Gate Bridge at 45mph, up through the
used his home- Rainbow Tunnel at 60mph, past Sausalito, and pull over at
built mounting the Strawberry Shopping Center. That’s eight bumpy miles
rig to get the and a lot of wind on the bridge.
UltraHD into
I get out expecting to see my Flipa without her WA lens.
a variety of
unusual angles. Surprise! It’s still there, and the camera is happily shooting
away. In fact, there’s 1 hour 48 minutes left in her internal
8GB of memory.
Back at base, using FlipShare software, I transferred the foot-
age to hard disk. The camera’s USB connector “flips” out, but
you’d be crazy to plug it directly into your precious computer.
Instead, use a USB female-to-male extender cable — they cost
practically nothing and will save that awful moment when the
Flip camera levers the computer’s USB slot wide open.
dv.com
More Online: For Sargent’s complete Flip report, see our June issue page at www.dv.com/june2010 35
dv.com
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cameras
Ideal for compact pro mini DV/HD The source of The professional’s choice
Petrol Compact Camcorder Tough nylon oxford mate- Camcorders DuPontd 1000 Denier professional A complete for V mount and NP style
Bag for Mini-DV/HD rial waterproof Cordura, water repel- Batteries, char- line of batteries and chargers
removable dividers coating, lent finish gers and battery battery packs
fits official carry on quick to adaptors & Belts
regulations. deploy
6KINOMATIK MOVIETUBE PR
This modular DSLR upgrade converts HD-capable still cameras into
a professional video tools, adding a unique top-positioned grip, standard
15mm rods, a viewfinder mount, a video breakout box (including 12V-15V
power in, composite video in, viewfinder out, 12V power out, video out) a
shoulder rest, and an extended battery mount plate.
the similarities end, as the modest power consumption and minimal heat cre-
ation, hallmarks of LED lighting, make these sources shine. Focus and dim-
ming are controlled electronically (from a rear touchscreen or DMX board). 7
12OCONNOR O-GRIPS
Easily mounting to most common camera rod systems (15mm,
19mm and Studio LWS 15mm), O-Grips is a robust, flexible and virtu- 12
ally tool-free option for anyone doing extensive handheld shooting. The
rubber-sheathed grips are comfortable, offering a non-slip hold. They are
repositioned and then locked down with a simple twist of the wrist.
dv.com
40 Tools & Technology
gear | june 2010
dv.com
Buyers Market 41
dv.com
42 Production Diary Stefan Sargent
experience | june 2010
dv.com
Picture it Found. 10% off your subscription
with coupon code: DV710
photos. vectors. illustrations. footage. by subscription. footage.shutterstock.com