Canon’s new HV30, the update to the revered HV20, is the only camera in this price range to offer three major framerate modes: 60i, 30P, and 24P. Canon has suggested that the 30P mode is ideal for online video creators, since most online video is cut to 15 frames per second and that allows the encoder to simply remove every other frame, resulting in better quality video. Or so goes the theory. Camcorderinfo recently tested this assumption with Youtube, and has provided side-by-side examples of their test footage so you can compare it in realtime. Check it out.

The HV30 is available at B&H, currently at $899 with the $100 instant rebate. Purchases made via that link help support FreshDV at no additional cost to you.

I recently listened to this audio podcast with the Coen Brothers (and Barry Sonnenfeld) on the editing process for “No Country for Old Men.” They apparently used Final Cut Pro on G5 systems, and have a unique way of divvying up the editing tasks. They also discuss the creative filmmaking process in general, it’s an excellent listen. Here’s a few quotes:

Ethan: We cut now much the way we cut on film, which was actually a little odd. I would have the Moviola, and Joel would have a flatbed, and I would mark incoming shots to Joel who would basically do an assembly on the flatbed. And we do a weird digital equivalent now on Final Cut…it doesn’t feel like the actual process of cutting is that much different.

Joel: When we first started cutting electronically, Apple set up the system so that we could work together in the cutting room the same way we were working on the other machines. Ethan marks up the takes electronically in one computer and sends them to me, and I assemble them in the timeline. The only non-electronic part of the whole process is that he has a hotel bellman’s bell button on his desk and as soon as he marks up a take he hits it so I know when he’s sending the marked-up takes over. So that’s the secret of the way we edit…I have access to the takes as well, so if I need an alternate I can bring them up on my computer…it’s hugely faster…and you don’t lose the little two-frame trims in the bottom of the bin.

You can get the podcast here (iTunes link).

Apogee has a really interesting product called Duet that offers a hardware device and software integration in Logic Pro, Soundtrack Pro, and Garageband. It also includes a Maestro application that enables you to use Duet with any Core Audio-compatible application. The firewire-powered hardware interface includes I/O level meters, multiple inputs and outputs via the included breakout cable, and a multi-function controller dial. It looks like a good solution for the video or audio editor that doesn’t need a full control board but could use a few more analog I/O options along with “real” external control. It also offers more tools to MacBook editors that don’t have the option to addon a sound card. I personally am looking for such a solution, this may well be the answer for me. You can find more specs and details at the Apogee site, and B&H has the device listed at $495.

(Thanks to Shawn for the tip)

David Perry has posted several framegrab comparisons that show the low-light abilities of the PMW-EX1 and HVR-Z7U next to the venerable HVR-Z1U. Aperture and other settings are not stated, but it is implied that they would match across the cameras (it would be nice if we knew what gamma curves were engaged, if any). Update: For an alternate take on these images, read this post by a respected Sony HDVinfo member (full thread here).

B&H has the Z7U in stock at this time, listed at $6,299.95 and the EX1 listed at $6449. At this time you can also order the S270U, listed at $8,499.95. All purchases made via those links help support FreshDV at no additional cost to you.

(Via Daniel @ VU)

Since it’s introduction several years ago, Redrock Micro has quietly continued to improve and update the MicroFollowFocus. We have previously reviewed the unit and reported on the improved gear lash, dampened wheel, and shaved-down rod support last year. I just got my hands on the latest Redrock Micro Follow Focus revision and noted that this update adds a stiffer support arm to add rigidity to the design. The arm is a thicker steel material, and rises at a 90-degree angle instead of the previous revision’s 45-degree riser. It is noticeably stiffer overall. And I was pleased to note that Redrock hasn’t changed the pricing with this latest update…the Follow Focus bundle with lens gears is still $645. Good form. More detail pictures of the new design below. Continue reading ‘Redrock Continues to Refine the MicroFollowFocus’

Via ProLost comes this short tutorial on how to use Apple Color’s secondary correction tools. You can watch the video below. For more info on this topic, check out the author’s book entitled The Art and Technique of Digital Color Correction, $40 at Amazon.
Continue reading ‘Secondary Color Correction in Color’

In a recent DV column, Stefan Sargent rips into the notion that a “film look” is desirable. It’s an interesting take on the old discussion of 24p vs 30p vs 60i, “film” plugins, and production choices in general. Here he quotes Larry Jordan:

“I’m completely ambivalent about the benefits of shooting 24 fps material. Just because Hollywood has been shooting film at 24 fps for years doesn’t mean this is the best format for your video … I’d suggest you consider spending your money on a 1/4 warm black ProMist camera lens filter and improving your lighting, both of which will do far more to improve your look than shooting 24 fps.”

He also points out the extra FCP editing steps required to get decent 24p footage out of the V1U and HV20, and outlines his workflow when shooting with that camera.

Need a sunshade or top flag for your camera, but not quite willing to jump into a full-featured mattebox solution? Here’s a Do It Yourself solution that works with camcorders equipped with a hard lens shade. With a little time, epoxy glue, a inexpensive universal shoe mount, and this el-cheapo french flag, you should be able to put something together without much hassle. Here are the full-size images and a few brief assembly notes. It’ll run you around $31 for the parts, before shipping. Not bad for a simple shade solution.

Editing Organazized has two great posts up with tips and tricks for getting the best-quality slowmo footage out of Final Cut Studio using Compressor. The first outlines the basic workflow, post #2 delves deeper into Compressor’s behavior at various retiming percentages and provides examples of the sort of results you can expect. In the footage for this example, best results degraded past 1/4 speed. At 25%, Compressor’s Optical Flow appears to preserve much more detail than what you can expect directly out of Final Cut Pro. Very informative articles.

Last week I was part of a teleconference with Avid CMO Greg Estes, in the discussion Greg outlined what Avid is calling their “New Thinking” campaign. With new leadership across the board, they are re-evaluating and re-focusing the energies of the company with the intention to better serve their customers. In addtion to new community and end-user support and training initiatives, they are slashing pricing on Media Composer. To put it in cliché movie terms, Avid is standing outside your edit suite with a boombox, belting out a sappy love song. Here are a few of the initiatives outlined in the call:
Continue reading ‘Avid Launches “New Thinking” Campaign, Cuts NLE Pricing’

Well by now its probably preaching to the choir to stress the importance of a fundamental grasp of lighting principals. One of the principals you should understand is the law of inverse square as it applies to light. The better we understand the science of light and how it behaves the better we can then understand how to control its behavior. Microfilmmaker has published a great little tutorial on the inverse square law and how it applies to lighting. It should be noted that this law applies to point light sources, and that soft sources perform differently. Read the Full article here. You’ll find a relevant excerpt below.
Continue reading ‘Learning to Light: Distance Vs Power’

Kenn Bell has a post up that talks about how he used the iPhone to storyboard a recent music video shoot. His technique is quick and looks to be very effective…take digital images while location scouting, throw together a quick iMovie video slideshow, and use the video on-set with the iPhone.

“Basically, we’d arrive at a location, I’d play the movie and let everyone, including Baby Jay, see what shots and looks I was interested in. It only took a minute and everyone was on the same page. I can’t stress enough how much time I saved! The three days went incredibly smooth and I really believe it was because the movie on my iPhone. It actually got everyone excited to see how cool the music video would look and I gained a great deal of trust from it.”

This would also be a good time to check out Kenn’s interview on the Digital Production Buzz podcast.

TechThoughts and shooter Marshall Levy have teamed up to test a variety of different CF media cards for reliability and speed with the new Sony Z7U HDV camcorder with the CF card recorder option. What they discovered is that there is definitely a difference in media quality between brands and cards. In testing, about half the cards showed sync issues with the tape recordings (starting up to 3.5 seconds later), and some showed dropout artifacts. This is very interesting data.

When Redrock Micro announced development of the MicroX flip unit for the M2 35mm adapter at NAB 2007, the online community was abuzz. Since then the market has been all about flip units; a properly oriented image is rapidly becoming the de-facto standard for 35mm lens adapters. Redrock was pretty quiet about the MicroX while it was in development, but we are happy to report that FreshDV has obtained new information, an exclusive image of the finished product, and a final ship date. With a debut price of $345 for M2 owners (must provide serial number) and $445 for 3rd-party adapter owners, the MicroX begins shipping on March 24th, 2008. Redrock claims the unit provides improved image and edge sharpness and a universal achromat for both SD and HD camcorders. The kit will include the following:

* The microX image flip accessory,
* A new high performance optical achromat designed specifically for the microX
* A riser plate for adjusting your existing microX rod support system to the correct height
* A newly designed reinforced hard mount kit that also provides a “lock down� once your microX is correctly configured
* Access to a step-by-step video tutorial on how to upgrade your system

Redrock has not recommended the MicroX for use with Sony HDV cameras with a filter size of 72mm+ (like the Z1, Z7, FX1, and EX1). A 2nd version of the MicroX is in development specifically for these camcorders, expect a release date to be announced soon. The MicroX is fine for use with the Sony V1, A1, and other - 72mm Sony HDV cameras. For more information on the MicroX, stay tuned at Redrock’s website.