Digital Video Philippines

Vote for Paolo Dy's QWERTY film!

2008-04-14T21:34:00.000+08:00

BASIC SHOOTING TIPS

2007-12-11T11:10:00.000+08:00

TIPS FOR SHOOTING VIDEOS

1. Use manual focus if your camcorder has it.
2. Set white balance at every location.
3. When shooting outdoors, keep the sun behind you.
4. Plan your shoot.
5. Use a tripod or other image stabilization device.
6. For handheld stability, imagine that your camcorder is a very full cup of hot coffee.
7. Use the zoom to compose your shot. Avoid zooming while the tape is rolling.
8. Move the camcorder only when necessary.
9. Shoot to edit.
10. Keep your average shot length between 5 and 10 seconds.
11. Keep the shot steady (no zoom or pan) for at least 10 seconds.
12. While shooting, be as inconspicuous as possible to best capture the true behavior of your subject

The Seven Deadly Camcorder Sins

1. Headhunting--placing every subject in the center of your frame.
2. Motorzooming--overuse of on-screen zooms.
3. Rooting--staying in one spot instead of looking for interesting angles.
4. Firehosing--panning all over the scene.
5. Upstanding--shooting everything from standing eye-level.
6. Snapshooting--taping only two or three seconds per shot.
7. Backlighting--too much light falling on the background instead of on the subject.

Adobe Premiere Pro and Soundbooth updated for Leopard

2007-12-09T12:50:00.000+08:00

Here's a quickie update notice: Adobe recently updated both Premiere Pro and Soundbooth for complete Leopard compatibility.

Premiere Pro 3.1.1, a 54MB update, also includes "important bug fixes" (but what they are, is anyone's guess), and is available from Adobe's website, in addition to the 4.1MB Soundbooth fix.

Final Cut Pro is still king for me though.

Sony Unveils Next Gen Pro HDV Cameras

2007-11-16T03:03:00.000+08:00

From Sony

Get ready to empty those pockets...You'll understand why at the bottom of this article...

New HDV Camcorders Offer Interchangeable Lenses, Native Progressive Recording and “Hybrid” Media Flexibility

PARK RIDGE, N.J., Nov. 14, 2007 – Sony Electronics’ latest HDV™ products include two new camcorders that feature interchangeable lens systems, native progressive recording, increased sensitivity for low-light conditions, hybrid solid-state recording and other features designed for video production professionals and pro-sumers.

The new models are the HVR-Z7U (handheld) and HVR-S270U (shoulder-mount) camcorders. Sony is also introducing the HVR-M35U playback and recording deck. These new products expand Sony’s line-up of HD production technologies, which includes the recently introduced PMW-EX1 XDCAM EX™ solid-state memory camera and the soon-to-be-available HVR-HD1000U shoulder-mount HDV camcorder.

“These new tools enhance the versatility of our professional HDV lineup, and open up a world of possibilities for HD digital video production,” said Bob Ott, vice president of professional video and audio products for Sony Electronics. “Sony’s new HDV camcorders and decks are ideal for documentaries, electronic newsgathering, independent production, music videos, web streaming, and more.”

The new camcorders use Sony’s 1/3-inch 3 ClearVid CMOS Sensor™ system enhanced by Exmor™ technology. With a 45-degree rotated pixel layout, the 3 ClearVid CMOS Sensor system offers sufficient pixel surface area while maintaining high resolution. The Exmor technology features a unique column-parallel analog-to-digital conversion technique and dual noise canceling, resulting in high-quality digital signals with extremely low noise, similar to the imaging technology used in the PMW-EX1 camera. The two new technologies combine to allow the new camcorders to perform significantly better in low-light environments with sensitivity of 1.5 lux. *

This imaging technology is complemented by Sony’s Enhanced Imaging Processor™ (EIP) system to achieve high resolution, high sensitivity, wide dynamic range, and excellent color reproduction.

Users can attach different lenses for extra flexibility, and both models have a universal standard 1/3-inch bayonet mount mechanism for easier lens changes.

Each camcorder comes standard with a 12x high-quality, multi-purpose Carl Zeiss lens for HD video, with a Vario-Sonnar™ T* coating to reduce reflections. A specially designed 8x wide-angle lens is also available as an option.

These new lenses give the camcorders the same functionality as Sony’s popular fixed-lens camcorders like the HVR-Z1U and HVR-V1U, thanks to built-in features such as auto-focus, optical stabilizer, and automatic back-focus adjustment.

Using a special adaptor, users can also attach the α lens series designed for Sony’s consumer digital SLR still cameras.

The camcorders offer 1080, 24p and 30p native progressive recording. The 3 ClearVid CMOS Sensor system and EIP technology create true 1080p images, which can then be recorded as progressive signals by the HVR-Z7U and HVR-S270U camcorders in the HDV format. The progressive HDV streams can be output from an i.LINK® interface and used for progressive editing with compatible NLE software.

The HVR-Z7U and HVR-S270U can switch between 1080p, 1080i in the HDV format, DVCAM™, and DV recording, and both can down-convert material from HD to SD, and output the video signals through its i.LINK interface and other SD output connectors. The HVR-Z7U has an HDMI output. The HVR-S270U is available with HD-SDI or SD-SDI connectivity, and also supports embedded audio and timecode.

The HVR-Z7U and HVR-S270U use Sony’s XtraFine™ LCD and XtraFine electronic viewfinder for high-resolution and high-contrast images with remarkable color reproduction. The HVR-S270U features a new LCD/EVF configuration named “Dual Finder,” where the LCD located on the EVF enables multiple styles of operation.

The new camcorders offer the option of hybrid recording when using a supplied memory-recording unit, which attaches directly to the back of the HVR-Z7U or the side of the HVR-S270U and eliminates the need for cables. The unit automatically synchronizes with the recording action of the camcorder and a special shoe connector inputs and outputs an HDV/DV stream and supplies power to the unit.

This unit captures the HDV1080i, DVCAM, or DV stream output from the camcorder and can record HDV/DVCAM/DV files to a standard CompactFlash® solid-state memory card, while users are simultaneously recording to tape.

It will be compatible with Sony’s Professional 306x CompactFlash card as well as standard CompactFlash cards (2GB minimum capacity, 133x minimum speed). The recording times on an 8 and 16 GB CompactFlash card in HDV, DVCAM and DV format are approximately 36 and 72 minutes**, respectively.

The HVR-Z7U can deliver more than 60 minutes of recording time on miniDV videotapes, and approximate recording times of 63 minutes with Sony’s DigitalMaster™ cassettes (PHDVM-63DM). The HVR-S270U also accepts standard-size cassettes to provide more than 4.5 hours of continuous recording, with approximate recording times of 4 hours, 36 minutes** on Sony PHDV-276DM videotapes.

The HVR-M35U record and playback deck is compatible with HDV native progressive recording modes and supports HD/SD-SDI output with embedded audio and timecode data. It has a 60i/50i switchable function, and supports HDV1080i (60i/50i/24p/30p/25p) and DVCAM/DV (60i/50i).

The deck supports standard- and mini-size cassette, and accepts standard cassettes shot on the HVR-S270U or other shoulder-mount DVCAM camcorders. It can play back four-channel audio data in HDV1080i format recorded by the HVR-S270U, and it can also play back four-channel audio data in the DVCAM format. It also includes a 2.7-inch wide Clear Photo LCD plus™ screen, monaural speaker, edge crop adjust and a Duplicate Plus function for copying video and audio from another VTR.

A range of accessories is available for the new camcorders, including a Camcorder Support, an AC Adaptor Charger with four-battery slot, an LCD hood and more.

The new products are each planned to be available in February, at the following suggested list prices:

HVR-S270U camcorder, $10,500
HVR-Z7U camcorder, $6,850
HVR-M35U deck, $5,540

Apple Rolls Out Final Cut Express 4 with AVCHD Support for $199

2007-11-16T00:40:00.000+08:00

From Gizmodo

Apple just announced its new Final Cut Express 4, a "significant upgrade" at a price of $199, that's $100 shaved off of the Final Cut Express 3.5 "HD" edition. I think it's proof that David Pogue was right about iMovie '08.

The big news is that the software will support AVCHD (on Intel-based Macs), so you don't have to worry about incompatibilities with that cute little Panasonic SD-cam on your Christmas list. You can also now mix standard-def DV and both HDV and AVCHD in the same timeline, and gain access to FxPlug effects. Express 4 supports 1080i and 720p resolutions, and has a simplified setup and is compatible with iMovie 08 at the project level: you just import the whole thing and go.

But speaking of iM '08, my guess is that Apple is re-positioning this as an upsell, not to enthusiasts, but to all the ordinary Mac users who find themselves in need of a video editor with actual effects and more powerful editing features.

READ

New Macbooks and macbook Pros

2007-11-07T21:22:00.000+08:00

From Apple and Apple

Apple recently soft launched the new Santa Rosa upgraded Macbooks and these machines looks promising for amateur video enthusiasts. Featuring the new Intel GMA X3100 graphics processor with 144MB of DDR2 SDRAM shared with main memory, this thing is much more powerful than the previous models. I used to edit and do After Effects with a 1.83GHz Core Duo processor and it was already fast for me, how much more with the new Intel chips?!? This new baby can also handle up to 4GB of RAM using DDR2 667MHz SODIMM chips (which are getting cheaper by the minute!), which is good especially if you do a lot of editing.

Also getting an update is the Macbook Pro which is now capable of having a 2.6GHz Santa Rosa Intel chip via a build-to-order option from Apple. Though I wont buy now unless you really need the speed since it can be very expensive. Cant wait when these laptops reach 3GHz!!! Oh, did I mention that these things now come with Leopard pre-installed? For now, i'm happy with my Macbook Pro 2.33GHz Core2Duo...

Leopard Spotted!

2007-10-27T21:45:00.000+08:00

From Apple.com

Apple just realeased Mac OSX Leopard to the world! Check out the 300 new features of this "evolutionary" OS from the Apple website and you'll be amazed. Just finished upgrading my Mac Mini to test out the compatibility of my Professional apps, and so far so good!

Adobe's "Computational Photography"

2007-10-10T01:28:00.000+08:00

Via CNET
Adobe shows off 3D camera techToday, if you want to trim all the distracting background out of a picture--say, the crowd behind your daughter playing soccer--you have to do a lot of artful selection with high-powered software such as Photoshop. But what if your computer understood the depth of the image, just as you did when you took the picture, and could be told to just erase everything that's a certain distance behind your kid?

READ

YouTube International Film Competition

2007-10-06T12:16:00.000+08:00

Via Videography

YouTube has announced Project Direct, its first international film promotion, sponsored by HP. The contest aims to discover the top filmmakers within the YouTube community. (http://www.youtube.com/projectdirect)

Read

Full HD Capturing for US$345!!!

2007-09-30T00:54:00.000+08:00

Via Videoguys

Blackmagic Design Intensity Pro

If you're looking for incredible HDMI and analog component, NTSC, PAL and S-Video capture and playback then the new Intensity Pro card is perfect at only $349.

Intensity Pro is the first card to combine the high quality of HDMI capture and playback with the wide compatibility of analog component, NTSC, PAL and S-Video and analog audio capture and playback. It enables users to capture directly from the HD cameraâ€™s image sensor, bypassing the video compression chip for true uncompressed video quality. Now users can go beyond the quality limits of HDV for editing, design and authoring with Intensity Pro.

Read

Macbook Pro Shortage in the Philippines

2007-09-22T15:00:00.000+08:00

Whats up with Apple? I have ordered my Macbook Pro almost a month ago already and its still not here. Some people have been waiting for several months already! Whats with the shortage for allocations here in our country? I've read about the rumored LED backlight display production shortage, but I would rather, Apple give an official announcement. I really need my Macbook Pro now, Steve!!!

Wacom Scraps Graphire for Bamboo

2007-09-14T13:05:00.000+08:00

Via Wacom

Wacom has replaced its old consumer model, Graphire, with a new two-model line called Bamboo and Bamboo Fun. First off, neither one of the new models can recognize that your pen is tilting, change functions depending on what application you're running, or use other non-Bamboo specific drawing pens. But they both have added four programmable buttons as well as a large zooming/scrolling circle. The Bamboo is the more professional model of the two. It features a nice clean design, but lacks a larger tablet option, a mouse or even an eraser on the pen. But it's relatively cheap at $69.99. The Bamboo Fun, while looking significantly goofier, does include the pen, a larger tablet option and the mouse. But these extras bump up the price to $99.99 for the smaller tablet and $199.99 for the medium-sized one.

Panasonic Intros 32GB P2 Memory Card

2007-09-14T12:53:00.000+08:00

Via Videography

Panasonic has introduced a 32GB P2 solid-state memory card for its popular line of P2 HD and P2 solid-state camcorders and decks. With the availability of the 32GB P2 card in November, Panasonic will have quadrupled the storage capacity of its solid-state memory card in just this year, providing HD recording time greater than most tape-based and disc-based systems.

The 32GB P2 card, model AJ-P2C032RG, will have a suggested list price of $1,650 and is scheduled for initial deliveries in November. The new 32 P2 card will be offered in addition to the 16GB P2 card that has been shipping since May.

Camcorders equipped with the new 32GB P2 card will offer greater recording capacity than tape-based and disc-based systems, and offer the proven benefits of no-moving-parts reliability and fast IT file-based workflow. With five 32GB P2 cards installed, the AJ-HPX3000 and HPX2000 P2 HD camcorders can record for up to 2.5 hours (over 3 hours in 24p) in AVC-Intra 100 or DVCPRO HD and 5 hours (over 6.5 hours in 24p) in AVC-Intra 50 or DVCPRO 50.

Panasonic’s P2 card is based on ultra-reliable, solid-state memory, consisting of four SD cards, like those now used in digital still cameras, packaged in a rugged, die-cast frame that weighs only 0.099 lbs (45 grams). This convenient card has four times the capacity and four times the transfer speed of a single SD card. The P2 card is reusable and connects instantly with laptops and major non-linear editing systems to eliminate the time-consuming task of digitizing.

The P2 card is resistant to impact (up to 1,500G), vibration (up to 15G), shock, dust and environmental extremes including temperature changes. It operates in temperatures from -4° to 176°F (-20 to 60°C), and can be stored in temperatures from -40° to 176°F (-40 to 80°C). Unlike tapes and discs, the P2 card has no rotating or contact parts. The solid-state P2 memory card can transfer data at speeds up to 640Mbps to provide the professional user with fast, easy operation. Compared to tape or disc, P2 acquisition requires no media consumption, resulting in tremendous savings in media costs as well as environmental benefits.

The new 32GB card is fully compatible with the current 16GB P2 card, so users who’ve upgraded their P2 product(s) and computer system for 16GB operation are ready for 32GB operation. For P2 users who haven’t completed this upgrade, it is a requirement to take advantage of 32GB operation.

Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a unit company of Panasonic Corporation of North America. The company is the North American headquarters of Matsushita Electric Industrial Co., Ltd. of Japan, and the hub of its U.S. marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, access the company’s web site at www.panasonic.com/broadcast.Panasonic has introduced a 32GB P2 solid-state memory card for its popular line of P2 HD and P2 solid-state camcorders and decks. With the availability of the 32GB P2 card in November, Panasonic will have quadrupled the storage capacity of its solid-state memory card in just this year, providing HD recording time greater than most tape-based and disc-based systems.

The 32GB P2 card, model AJ-P2C032RG, will have a suggested list price of $1,650 and is scheduled for initial deliveries in November. The new 32 P2 card will be offered in addition to the 16GB P2 card that has been shipping since May.

Camcorders equipped with the new 32GB P2 card will offer greater recording capacity than tape-based and disc-based systems, and offer the proven benefits of no-moving-parts reliability and fast IT file-based workflow. With five 32GB P2 cards installed, the AJ-HPX3000 and HPX2000 P2 HD camcorders can record for up to 2.5 hours (over 3 hours in 24p) in AVC-Intra 100 or DVCPRO HD and 5 hours (over 6.5 hours in 24p) in AVC-Intra 50 or DVCPRO 50.

Panasonic’s P2 card is based on ultra-reliable, solid-state memory, consisting of four SD cards, like those now used in digital still cameras, packaged in a rugged, die-cast frame that weighs only 0.099 lbs (45 grams). This convenient card has four times the capacity and four times the transfer speed of a single SD card. The P2 card is reusable and connects instantly with laptops and major non-linear editing systems to eliminate the time-consuming task of digitizing.

The P2 card is resistant to impact (up to 1,500G), vibration (up to 15G), shock, dust and environmental extremes including temperature changes. It operates in temperatures from -4° to 176°F (-20 to 60°C), and can be stored in temperatures from -40° to 176°F (-40 to 80°C). Unlike tapes and discs, the P2 card has no rotating or contact parts. The solid-state P2 memory card can transfer data at speeds up to 640Mbps to provide the professional user with fast, easy operation. Compared to tape or disc, P2 acquisition requires no media consumption, resulting in tremendous savings in media costs as well as environmental benefits.

The new 32GB card is fully compatible with the current 16GB P2 card, so users who’ve upgraded their P2 product(s) and computer system for 16GB operation are ready for 32GB operation. For P2 users who haven’t completed this upgrade, it is a requirement to take advantage of 32GB operation.

Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a unit company of Panasonic Corporation of North America. The company is the North American headquarters of Matsushita Electric Industrial Co., Ltd. of Japan, and the hub of its U.S. marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, access the company’s web site at www.panasonic.com/broadcast.Panasonic has introduced a 32GB P2 solid-state memory card for its popular line of P2 HD and P2 solid-state camcorders and decks. With the availability of the 32GB P2 card in November, Panasonic will have quadrupled the storage capacity of its solid-state memory card in just this year, providing HD recording time greater than most tape-based and disc-based systems.

The 32GB P2 card, model AJ-P2C032RG, will have a suggested list price of $1,650 and is scheduled for initial deliveries in November. The new 32 P2 card will be offered in addition to the 16GB P2 card that has been shipping since May.

Camcorders equipped with the new 32GB P2 card will offer greater recording capacity than tape-based and disc-based systems, and offer the proven benefits of no-moving-parts reliability and fast IT file-based workflow. With five 32GB P2 cards installed, the AJ-HPX3000 and HPX2000 P2 HD camcorders can record for up to 2.5 hours (over 3 hours in 24p) in AVC-Intra 100 or DVCPRO HD and 5 hours (over 6.5 hours in 24p) in AVC-Intra 50 or DVCPRO 50.

Panasonic’s P2 card is based on ultra-reliable, solid-state memory, consisting of four SD cards, like those now used in digital still cameras, packaged in a rugged, die-cast frame that weighs only 0.099 lbs (45 grams). This convenient card has four times the capacity and four times the transfer speed of a single SD card. The P2 card is reusable and connects instantly with laptops and major non-linear editing systems to eliminate the time-consuming task of digitizing.

The P2 card is resistant to impact (up to 1,500G), vibration (up to 15G), shock, dust and environmental extremes including temperature changes. It operates in temperatures from -4° to 176°F (-20 to 60°C), and can be stored in temperatures from -40° to 176°F (-40 to 80°C). Unlike tapes and discs, the P2 card has no rotating or contact parts. The solid-state P2 memory card can transfer data at speeds up to 640Mbps to provide the professional user with fast, easy operation. Compared to tape or disc, P2 acquisition requires no media consumption, resulting in tremendous savings in media costs as well as environmental benefits.

The new 32GB card is fully compatible with the current 16GB P2 card, so users who’ve upgraded their P2 product(s) and computer system for 16GB operation are ready for 32GB operation. For P2 users who haven’t completed this upgrade, it is a requirement to take advantage of 32GB operation.

Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a unit company of Panasonic Corporation of North America. The company is the North American headquarters of Matsushita Electric Industrial Co., Ltd. of Japan, and the hub of its U.S. marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, access the company’s web site at www.panasonic.com/broadcast.Panasonic has introduced a 32GB P2 solid-state memory card for its popular line of P2 HD and P2 solid-state camcorders and decks. With the availability of the 32GB P2 card in November, Panasonic will have quadrupled the storage capacity of its solid-state memory card in just this year, providing HD recording time greater than most tape-based and disc-based systems.

The 32GB P2 card, model AJ-P2C032RG, will have a suggested list price of $1,650 and is scheduled for initial deliveries in November. The new 32 P2 card will be offered in addition to the 16GB P2 card that has been shipping since May.

Camcorders equipped with the new 32GB P2 card will offer greater recording capacity than tape-based and disc-based systems, and offer the proven benefits of no-moving-parts reliability and fast IT file-based workflow. With five 32GB P2 cards installed, the AJ-HPX3000 and HPX2000 P2 HD camcorders can record for up to 2.5 hours (over 3 hours in 24p) in AVC-Intra 100 or DVCPRO HD and 5 hours (over 6.5 hours in 24p) in AVC-Intra 50 or DVCPRO 50.

Panasonic’s P2 card is based on ultra-reliable, solid-state memory, consisting of four SD cards, like those now used in digital still cameras, packaged in a rugged, die-cast frame that weighs only 0.099 lbs (45 grams). This convenient card has four times the capacity and four times the transfer speed of a single SD card. The P2 card is reusable and connects instantly with laptops and major non-linear editing systems to eliminate the time-consuming task of digitizing.

The P2 card is resistant to impact (up to 1,500G), vibration (up to 15G), shock, dust and environmental extremes including temperature changes. It operates in temperatures from -4° to 176°F (-20 to 60°C), and can be stored in temperatures from -40° to 176°F (-40 to 80°C). Unlike tapes and discs, the P2 card has no rotating or contact parts. The solid-state P2 memory card can transfer data at speeds up to 640Mbps to provide the professional user with fast, easy operation. Compared to tape or disc, P2 acquisition requires no media consumption, resulting in tremendous savings in media costs as well as environmental benefits.

The new 32GB card is fully compatible with the current 16GB P2 card, so users who’ve upgraded their P2 product(s) and computer system for 16GB operation are ready for 32GB operation. For P2 users who haven’t completed this upgrade, it is a requirement to take advantage of 32GB operation.

Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a unit company of Panasonic Corporation of North America. The company is the North American headquarters of Matsushita Electric Industrial Co., Ltd. of Japan, and the hub of its U.S. marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, access the company’s web site at www.panasonic.com/broadcast.

Logic Studio now out!

2007-09-12T22:15:00.000+08:00

From Apple

Logic Pro 8

Logic Pro 8 is the center of Logic Studio, featuring a redesigned interface that makes it easier than ever to write, record, edit, and mix your music.

MainStage

Introducing your new live rig with a revolutionary interface designed to let you bring software instruments and effects to the stage.

Soundtrack Pro 2

Create cinematic sound with powerful editing tools, surround mixing, and a streamlined design that lets you fly through audio post-production for picture.

Adobe Premiere Express: Edit Videos Online!

2007-09-11T23:53:00.000+08:00

Thats right! Edit videos online via YouTube Remixer made by Adobe using Flex, it is also called Adobe Premiere Express. Check it out here: YouTube Remixer

I hope Apple comes up with its own Final Cut Super Express! Whats next? After Effects Express? DVD Studio Pro Express? Man everythings seems to be getting easier for the average consumers these days!

Sony Releases Vegas Pro 8

2007-09-07T03:00:00.000+08:00

Via Videography

Sony Creative Software, a leading provider of professional video and audio editing applications, today announced Vegas Pro 8 software, the newest version of its award-winning nonlinear editing software. Vegas Pro 8 provides professional editors with precise control over complex DV, HDV and XDCAM projects through powerful tools for editing material shot in multi-camera environments. Vegas Pro 8 will be available September 10, 2007.

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RED ONE HD ships!

2007-09-02T16:05:00.000+08:00

Via FXGuide

Thats right folks! RED ONE has landed! Unboxing pics galore! I cant wait for this to reach our shores! Click on the link to get the full juicy details!

Ubuntu Studio: Free NLE for Linux

2007-08-31T20:33:00.000+08:00

Thats right! Editing need not be expensive! From the developers of Ubuntu comes Ubuntu Studio, a free Production studio package for the Ubuntu platform. Check it out: Ubuntu Studio

RED ONE HD gets a street date!

2007-08-26T04:11:00.000+08:00

Ooohhh! I cant wait for this one to arrive here in our shores! Here's REDUsers link on the delivery dates. I'm gonna call manilaman once he gets a hold of this thing! Still the price is kinda steep for guerilla shooters like me. The Panasonic HVX200 is still tops for me.

The new Sony HVR HD-1000U

2007-08-23T22:44:00.000+08:00

Via Gizmodo

Sony HVR HD-1000U Entry-Level Pro HDV Camera Heralds New Era in HD Weddings, Education, Porn Moviemaking

Sony says that their new entry-level HVR HD-1000U video camera brings professional high definition moviemaking for "wedding videographers, freelancers and educational video creators." So why is this camera good for filming high-def porn? For one, the shoulder-mount design will tighten those pans, as will the Super SteadyShot optical image stabilizer. Not to mention the Smooth Slow Rec, for 240 fields per second slow-motion shots.

The Super NightShot mode will come handy as well: it can record in total darkness —at zero lux— using its built in infrared lamp.

The HVR-1000U comes with Carl Zeiss Vario-Sonnar T lens with 10x optical zoom lens, which according to Sony will help to reduce reflection. The sensor is a Sony 1/2.9-inch ClearVid, which has its pixels rotated in a 45-degree, which Sony says will provide higher sensitivity.

Another cool feature to create those DVD jacket images without an extra digital camera is its built-in 6.1 megapixel still image photography, which also allows you to capture 4.6MP photos at the same time you are recording HD money shots. And talking about money, that's one of the best parts: it will be available in December for less than $1,900.

PARK RIDGE, N.J., Aug. 22, 2007 - Sony is introducing an entry-level professional HDV™ camcorder with a shoulder-mount design, bringing the benefits of HD production to a wider range of users.
The new HVR-HD1000U model is targeted toward wedding videographers, freelancers and educational video creators, offering them more versatility and more opportunities for generating business with a moderately priced camera.

"Our professional HDV camcorders are designed to offer customers high-definition shooting capability, along with maximum revenue-generating opportunities at a modest investment," said Bob Ott, vice president of marketing for professional video products at Sony Electronics. "With its shoulder-mount design, this new camera brings affordable HD capabilities to a broader range of pro shooters."

The HVR-HD1000U model supports both the HDV and the standard-definition DV formats. In DV mode, the unit can work exclusively as a DV camcorder, allowing users to maintain their current DV workflow without any disruptions. When needed, the camcorder can be instantly switched to high-definition mode.

The HDV format allows users to shoot approximately 60 minutes of HD video on a 6mm cassette tape. Sony's highest-quality 6mm videotape, DigitalMaster™, is the recommended professional media for HDV applications. These 63-minute cassettes (model PHDVM63DM) use Sony's AME (Advanced Metal Evaporated) II technology and features dual-active magnetic layers.

The new camcorder also has several down-conversion modes that output converted standard-definition signals to users' current SD production systems, including displays and DV non-linear editing systems, while retaining an HD master tape for future use.

The camcorder adapts to a wide range of shooting situations and features a high-end Carl Zeiss Vario-Sonner T* 10x optical zoom lens to help reduce reflection. The Super SteadyShot™ (optical) feature of the unit is an image stabilizer using an active optical lens method that helps avoid any deterioration in image quality. The lens itself shifts vertically and horizontally to compensate for the polarized light axis in real-time.

The HVR-HD1000U camcorder uses Sony's 1/2.9-inch ClearVid™ CMOS sensor system with its unique pixel layout rotated 45 degrees to provide higher resolution and sensitivity.

The camcorder's photo creation functions can produce photo data for DVD jacket designs, website content, news, photo albums and other applications.

Users can capture up to 6.1 mega-pixel still images in Photo mode. In addition, it can capture up to 4.6 mega-pixel still images even while HD video is being recorded. For added flexibility, the new camera can capture still images from any moment of HDV recording in print-ready quality of up to 1.2 mega-pixels.

The camcorder also has a new configuration with an LCD monitor and an electronic view finder (EVF). The LCD monitor is in front of the camera operator when the camcorder is shoulder-mounted, and it is attached to the EVF level. This unique layout enables traditional EVF monitoring, as well as LCD monitoring for the operator even while the camcorder is held on the shoulder.

"The 180-degree tilt mechanism allows for LCD monitoring when the camcorder is held in a high- or low-angle position," Ott said. "The 360-degree swivel mechanism will allow LCD monitoring from the front, right or even left of the camcorder so that a reporter or a director can monitor what is being captured by the camcorder."

The "Smooth Slow Rec" function allows users to perform slow-motion playback by capturing images at four times faster than the normal field rate (240 fields/s). In this mode, quad-speed images are captured for three seconds, stored in the camcorder's built-in buffer memory, and then recorded to tape (in either the HDV, DVCAM™, or DV formats) as slow-motion pictures lasting 12 seconds. When using this function, Ott said the resolution of the camera image is decreased.

The Super NightShot™ function of the new model uses a built-in infrared light emitter to record objects in zero lux light levels and to allow night-time monitoring and surveillance.

A multi-function assignable lens ring is located on the lens unit, and any one of the following functions can be assigned to the ring for easy adjustment: focus (default), zoom, brightness, shutter, auto exposure shift and white balance shift.

Other features include up to 10 hours operation using an optional NP-F970 battery, a range of digital I/O (HDMI, i.LINK®, USB, Memory Stick Duo™ slot), supplied external stereo microphone (ECM-PS1), and a multi-language menu.

The HVR-HD1000U camcorder is planned to be available in December, at a suggested list price of less than $1,900.

Why Photoshop when you can Paint?

2007-08-15T00:17:00.000+08:00

All about the coolness of doing digital art on the worlds greatest Digital Art software.

Graphika Manila '07

2007-08-13T23:11:00.002+08:00

I had the chance to attend this years Graphika Manila's 2007 conference. Speakers who attended this year were:
Philippines
Steve Tirona, Guadakomeda, Electrolychee

Foreign:
Asylum-Singapore
Hue Visualab
WeWorkForThem/DesignGraphik-US/Thailand

Here's a thred in PhilMUG.ph about the event: PhilMUG Graphika Manila '07

Pictures!

4th Gen Apple iMacs now out (and so is iLife '08!)!

2007-08-08T22:30:00.000+08:00

I'm a professional freelance editor. I use Final Cut Pro to edit videos. But its not everyday I use these professional tools to do some projects that doesnt need all the control FCP does. Enter iLife '08. The consumer grade software package from Apple that includes iPhoto, iMovie, iDVD, Garageband (once did a music bed for a commecial using this!) and iWeb. For some easy projects, I use these software to burn and author a DVD, capture a clip that sometimes cant be captured by FCP (for some reason, this happens), and a whole lot of other stuff.

Another thing that im excited about are the new iMacs. These are the 4th Generation types and the design (not to mention the new hardware upgrades) just blew me away! It now has Firewire 800! Woohoo! I havent tried it yet but I hope it can handle Final Cut Studio 2 well! I could run all the FCS 2 apps except Color, so im crossing my fingers that this thing can do it. Im gonna save up from now on for this! Check it all out at Apple's website!

V3HD FireWire capture box (More inputs than you can ever dream of)

2007-08-04T01:19:00.000+08:00

Found this while browsing Engadget's pages. The V3HD Video Capture box has got to be the top of my "dream equipment to have" list. I cant stop thinking about it right now, so I'll just let you read the specs here.

Lies in the Editing room

2007-08-03T11:51:00.000+08:00

Lies I tell you. LIES!

via Little Frog in High Def

Frank Capria over at Capria.TV asked people to submit their favorite editing quotes. And there are a few good ones.

TOP TEN LIES EDITORS TELL THEIR PRODUCERS:
10. It’s just a preview glitch…
9. It’s out of the safe area, you’ll never see that on the air…
8. It won’t really look like that…
7. I’ll fill out the paperwork tomorrow…
6. Why no, I don’t mind working on Saturday…
5. Oh, don’t go by THAT monitor…
4. It works better as a cut…
3. That glitch is on the source tape…
2. I’ll have all your changes done by the end of the day…
1. No, I agree. It’s much better that way.

TOP TEN LIES PRODUCERS TELL THEIR EDITORS:
10. It’s pretty simple. It should only take an hour…
9. Budget? Don’t worry about it…
8. Feel free to be creative with this…
7. I only need a couple dubs…
6. The network will love it. They won’t make any changes…
5. I’m positive we’ve got that shot on another tape…
4. I’ve never had this problem anywhere else I have edited…
3. Could I see it just one more time?
2. I thought you’d be able to just paint it out…
1. How hard could it be?

TOP TEN LIES EDITORS TELL OTHER EDITORS:
(when they pick up the second half of a session)
10. It’ll only take about an hour to render…
9. I’ve pre-built all of the chyron…
8. It should only go a couple of more hours…
7. I’ll be at home. Call me if you have any questions…
6. The producer has been really organized so far…
5. All of the decks are working perfectly…
4. The list has been working great…
3. I’ve had no problems with this Avid…
2. Don’t worry, the credit roll is short…
1. I’ve already done the hardest parts…

TOP FIVE LIES EDITORS TELL THEIR ASSISTANT EDITORS:
5. Kick me off if you need the station.
4. You don't have to log everything.
3. We'll finish early today.
2. I organized the files really well already.
1. An hour of footage a day, tops.

#1 LIE EDITORS TELL THEIR SIGNIFICANT OTHERS:
1. “I’ll be home soon.”

Guerilla Filmmaking: Straight from the mouth of a Guerilla Filmmaker

2007-07-28T00:33:00.000+08:00

Via Blogzarro

Making a film is not easy as it seems especially in the US (New York to be exact) where you need a ton of paperwork to just to shoot in a single location. And New York City is one tough customer to get all the paperwork done. Heres a story on how "Urchin" was made by guerilla filmmaker John Harlacher. Read the full story here.

How to draw a Murcielago

2007-07-26T01:43:00.000+08:00

Via YouTube

Whats this got to do with video production you might ask? Watch the entire thing. You might want to ditch Adobe Illustrator or CorelDraw for MS Paint!

Media, film group focus on RP digital content development

2007-07-24T21:02:00.000+08:00

Via Inquirer.net

Media, film group focus on RP digital content development
By Alexander Villafania
INQUIRER.net
Last updated 02:04pm (Mla time) 07/24/2007

MANILA, Philippines -- Rep. Imee Marcos is rolling her sleeves nowadays as she hopes to turn the Philippines into a creative media capital of Southeast Asia with the launch of a new initiative called the Creative Media and Film Society of the Philippines, also known as CreaM.

The group, to be introduced July 25, emphasizes the country's content development industry, particularly in the fields of television, radio, Internet and print. She identifies these products as original Pinoy content (OPC).

Marcos worked with several film producers, animation and interactive digital media experts, as well as intellectual property consultants on creating CreaM.

CreaM has lined up several goals for the original Filipino creative industry. These include educating producers on financing the development of new exportable products, developing both local and foreign funding schemes for the production of OPC, identifying concepts and material that are suitable for production and producing OPC.

The group also intends to develop a market-updated workforce through training and development programs, establishing workplace standards and conditions, and providing a comprehensive database of all Filipino creative media workers to facilitate employment.

Other programs include market development schemes between international and local production outfits through existing and new agreements; mentorship of producers; updates on industry directions especially with the advent of IPTV, mobile TV and "mobi-sodes," intellectual property protection of OPC; lobbying for conducive legal and policy changes; and institutionalizing the use and support for OPC in government offices and schools.

CreaM has already initiated a bilateral agreement with Singapore through their Media Development Authority. The group intends to replicate this in other Asian countries with similar development platforms.

CMOS vs. CCD

2007-07-23T22:00:00.000+08:00

Via HDTV.videotechnology

On a more technical note, here's the difference between CMOS and CCD.

READ

The Difference between 3CCD and CCD cameras

2007-07-23T21:56:00.000+08:00

Via Jake Ludington's MediaBlab

A friend asked whats the difference between a 3CCD and a CCD camera. This is the answer to the question.

READ

On Film Schools

2007-07-21T01:52:00.000+08:00

Via NY Times

Learning how to make movies is easy nowadays. Just grab a camera, edit it in your computer, and voila! Instant blockbuster...or flop. In any case, here's NY Times take on the subject.

READ ARTICLE

Pinoy Indie "Baliw" screens at World Film Festival

2007-07-19T17:21:00.000+08:00

Via The Viewfinder

Great news for Philippine Indie Cinema! Redd5luke films' Baliw just got accepted at this year's World Film Festival in Montreal, Canada, to be held on August 23 to September 3. According to festival programmers, so far, it is the only film entry that's been selected from the Philippine submissions to the 2007 World Film Festival.

How to be an editor?

2007-07-17T00:07:00.000+08:00

A guy recently posted something in the iVideographers section of PhilMUG.ph asking everyone the question: "How to be an editor?". Good question. It made me look back at how I started in this business, or, how my love for all things visual, made me start in this business. My personal answer would be this:

It started when I became an internet junkie. I loved to surf. My first encounter with the internet was way back in '94. It was still dial-up back then, and not everyone had a computer (for me at least). My aunt had a spankin' new 486DX IBM clone. And luckily, she was subscribed to Infocom's dial up service (She had about 50 hours a month of access...sheesh!), and I was able to understand how to surf back then. But it never really sparked my interest. When I was in college, our school had a "superfast" internet connection and I was hooked. This made me look at all the latest technology in the US and other parts of the world. And that included video camera equipment. Suddenly, I had the opportunity to make a documentary about street racing back in '97. During this time, I heard my batchmates from UPIS, namely R.A. Rivera and Ramon Bautista were editing student projects. I didnt have a PC so I had my project edited by R.A.. When the edited video came out, I was so happy to see all the effects and how a story was formed with so little footage and a very jumbled idea! It was also nice to know that I got the highest grade for that particular project!

This really convinced me that I can do this on my own. So I tried to find a way to get a computer. Luckily, I convinced one of my college classmate to setup an editing business. So with 15k loaned from his mom, and a 2.5k loan from my mom, we got an Athlon machine with a 20GB system drive and a 40GB video drive. Thanks to Videoguys.com i was able to know what i needed for the setup with the little cash I had back then. I also bought a JVC VHS player that still works perfectly up to this day. And the rest as everyone says, is history...

Wanna tell your story? Send us an email at imagedynamics@gmail.com

Adobe's pimpin' interactive ad in NYC

2007-07-14T19:54:00.000+08:00

Via Engadget

Adobe Pimps Creative Suite 3 With Interactive Wall in Union Square

Adobe is shilling for its Creative Suite 3 with a 7x15 ft. interactive wall outside of the Virgin Megastore in Union Square that debuts this morning. The display grants the closest passerby control of a slider button on the bottom that manipulates what's projected based on their walking speed and direction, producing different effects in the animation. It also reacts incidentally to the crowd around it, which should make the glorious pedestrian congestion in that area even more awesome.

While definitely slick, the implementation of the idea actually seems somewhat limited, and doesn't make full use of its potential—imagine a 20x20 foot version of Microsoft Surface that people could just walk up and draw on. If it recorded every stroke made over the display's duration, it could turn into a really interesting mass art project, for instance. Sure, you'd probably wind up with more than a few obscene renderings, but it's New York, people can handle it.

That said, Adobe is at least slightly savvy to its users, immediately torpedoing the idea to stick the demo in the tourist hellhole (or just general hellhole) that is Times Square, despite its heavier foot traffic.

If you want to check it out but don't feel like rushing out right now to beat the sweating masses to 14th St., don't worry, it'll be there for a month. [NYT]

How to play HD content on your PC (or Mac)

2007-07-13T15:25:00.000+08:00

Check this out: How to play HD content on your PC (or Mac)
Home theater will never be the same.

Test your LCD monitor

2007-07-13T15:16:00.000+08:00

LCD monitors are getting cheaper and cheaper by the minute. In two years, almost everyone will be using one. Which is a good thing since its better than CRT monitors when it comes to power consumption. But not color rendition. CRT is still king when it comes to accurate color reproduction. Unless you have ultra high end pro LCD displays of course. Heres a site that can help you test out that brand spankin' new LCD you just bought a Gilmore: LCD Test

The Downside of Digital

2007-07-13T02:36:00.000+08:00

Via Inquirer.net

Found this great article while looking for some news. Reality check people.

German media critic plays devil’s advocate

By Tilman Baumgärtel
Contributor
Inquirer

Posted date: September 24, 2006

THE INTRODUCTION OF Affordable digital video cameras and the prospect of making films inexpensively and independent of big studio have stirred up a lot of excitement in the Philippine film community. Whereas traditional filmmaking requires huge investments in film stock alone, digital movie making—which accounts for 40 percent of last years local production—is possible for a fraction of the usual production budget. Therefore many Filipino filmmakers have, by themselves or with the support of the recent Cinemalaya festival or the upcoming CinemaOne competition, started making movies without relying on the resources of mainstream production companies. Some of their output, “Ang Pagdadalaga ni Maximo Oliveros,” in particular, have reaped critical acclaim here and abroad.

Now, digital movies are seen as a way out of the local film industry’s usual fare of often formulaic productions. Many filmmakers, critics and fans anticipate a third “Golden Age” of Philippine cinema, with directors taking on new and untried subject matters that big studios would rather not touch. They hope that fresh narrative strategies and innovative ways of storytelling will breathe new life into the industry, which is currently in dire straits because of the dominance of American blockbusters and the curse of DVD piracy.

I am about to play the spoilsport here, or the devil’s advocate. I will argue that digital movie making is not magic pixie dust, and might actually be bad for Philippine cinema. In contrast to the current euphoria over digital movies, I will point out some of their shortcomings.

I understand perfectly well how important it is for Filipino filmmakers to find a cheaper way to make movies. And I was impressed by the variety and quality of the last batch of Cinemalaya entries. Nevertheless, I’d like to offer a dissenting opinion that I hope would be taken as constructive criticism.

Here, David-Letterman-style, are 10 Reasons Why Digital Filmmaking Is Bad For Philippine Cinema:

10) Digital just don’t look as good as 35-millimeter.

Despite arguments to the contrary, that’s just how it is, period.

9) Digital makes it too easy.

The fact that traditional film is an expensive medium has made many directors adhere to strict budgets. A lot of good and ever-popular films have been made with little money. Consider “The Bicycle Thief” or “Rashomon,” “Psycho” or “Chungking Express.” Manuel Conde´s “Gengis Khan” is also a great example—a local film with a low budget, but high impact on the viewer to this very day, simply because Conde consistently knew where to position his camera. At present, many film industries in the region, including South Korea, thrive precisely on this economy of means.

Many local digital movies show a dangerous lack of restraint that makes them dull and dragging. Many of the familiar weaknesses of Philippine films are made worse in digital movies: the director often relies too much on dialogue to tell the story, instead of focusing on the visual aspects of film. These films also make way for cheesy melodrama—actresses who look like models sob uncontrollably; sweaty men in undershirts shout hysterically; there are endless, tearful discussions and shouting matches; phoney tragedy and kitchen-sink drama rule.

8) Digital encourages sloppiness.

Movies such as the otherwise exciting “Rotonda” delight in constant violations of the line of action and other basic rules of filmmaking. This happened so often, that it was pointed out by veteran director Marilou Diaz-Abaya during the last Cinemalaya conference. While I do not mind violations of the rules taught in film school, I’d like to see good reasons when filmmakers ignore them. Yet, in many of the newer digital movies, the camera moves all over the place instead of being positioned in such a way that the viewer easily understands spatial relations in a given scene.

7) Digital breeds its own mannerisms.

Since digital cameras are usually small and easy to carry, many digital cinematographers have chosen to shoot in a quirky, rickety fashion. The handheld camera is the all the rage, allowing for shaky shots and super-quick pans and tilts, which are then linked together by jump cuts. While there is nothing essentially wrong with that, it has become a mannerism that gives many of these movies a uniform look. Filmmakers who use such techniques should be reminded that a lot of the Nouvelle Vague and Direct Cinema films from the ’60s, which were shot with 16-mm cameras, employed similar methods. Today, they all look contrived.

On the other end of the spectrum of digital mannerisms are endless, self-indulgent long takes or wallowing tracking shots. While I like a good long take or elegant tracking shot, the picture quality of most digital movies simply does not allow for that (yet). Digital video images are intrinsically flat. They do not provide the depth of field of the old panchromatic film stock that made the long takes in the works of Orson Welles or Jean Renoir so breathtaking. This may change soon however.

6) Digital could lower the audience’s audio-visual standards.

Most Filipinos are exposed to terrible audio-visual environment. I am not talking about the artistic value of movies, televisions shows etc, but about their visual quality. Many cinemas have second-rate projectors and insufficient sound systems, because the audience is undemanding. Reception for terrestrial television stations and cable channels is frequently bad. The picture quality of many VCDs, still the most popular medium for movies, is often worse than that of old VHS tapes. And the pirated DVDs, the primary source of movie entertainment for many Filipinos, are often faulty. Some of them are even filmed directly off a cinema screen, so the picture is blurry and the sound incomprehensible. Thus, the Filipino viewers have grown dangerously tolerant of low quality. Digital movies, whose images at times dissolve into large chunks of pixels during screening, could encourage this tolerance.

5) Digital will stigmatize local films.

If majority of local films were to be produced digitally, as some hope, it might add to the public perception that local films are generally cheap: “Di bale na, Filipino film lang naman ´yan.” I hear this ever so often. It certainly doesn’t help in the competition with the 100-Million-Dollar movies from Hollywood that are currently congesting most of the mall cinemas.

4) Digital could make Philippine movies less competitive internationally.

“Maximo Oliveros” was a success in international festivals despite being shot on digital video. The film’s visual style fit its gritty tale. Other films do not necessarily benefit from the “digital look.” I am sure international film festivals would pick up the Cinemalaya entry, “Batad.” By virtue of its story line, I can even imagine it in European art house cinemas—if it had not been filmed with digital video, which seriously spoiled some of the beautiful shots of the rice terraces and the Cordilleras.

3) Digital will make everybody an intern.

Popular actors, such as Eddie Garcia and Boots Anson-Roa, have worked for little or no pay in recent low-budget independent films. So have many other movie people—from set designers to boom operators. They continue to do so, and this is laudable. Many could be hoping to be elevated to work on regular film productions by accepting an honorarium, like an intern, for the mean time. However, once the major studios and TV stations see how inexpensively they can hire ambitious personnel, they may try to take advantage. Instead of coming up with innovative film ideas for themselves, they might just get independent filmmakers and their crews to work on their own low-budget productions, for lower fees.

2) Digital in the Philippines may come to mean art house cinema—without art house cinemas.

A lot of filmmakers in the Philippines right now are eager to produce films that are out of the ordinary. There could be an audience for those, but we may never know because, unlike in Europe, there is no art house cinema circuit in this country that will play them on a regular basis. The only venues for these movies are schools and universities that hold occasional screenings, or such festivals as Cinemalaya and CinemaOne. These festivals—which, indeed, do a magnificent job sponsoring new productions—should be careful not to breed a new species of filmmakers who produce exclusively for festivals, as some European auteur filmmakers do. New methods of distribution on DVD or via the Internet might provide alternatives to the traditional theatrical release. The series of CinemaOne films from last year, recently issued on VCD, is an interesting experiment in digital film distribution.

1) And finally: Digital cannot adequately depict the Philippine night

I don’t know any other national cinema where night scenes are given such importance as in Philippine cinema. Apart from the American film noir, Philippine movies must be among the darkest in the world. Consider the frequent reference to the pa-siyam (novena) lit by candles, or the attack of the aswang under a full moon, a gripping chase scene in the dark back alleys of Manila, or the lovemaking in a pigsty in “Himala.” In Philippine cinema the night is often among the principal characters. It can be haunting, as in Mike De Leon´s “Itim,” or full of pitch-black despair as in Lino Brocka´s “Maynila, Sa Kuko ng Liwanag.” It might ooze with sensuality as in Ishmael Bernal´s “Manila by Night” or serve as the appropriately gloomy backdrop as in Chat Gallardo´s “Geron Busabos.”

In no other area does digital cinema look as poor as in such night scenes, and there seems to be little improvement in this area, thus depriving Philippine cinema of one of its most important characteristics.

Dr. Tilman Baumgärtel is a media critic from Germany, who currently teaches at the UP Film Institute.

Commercial launch for DVB-H service

2007-07-13T02:30:00.000+08:00

Via IBE
Philippine Multi-media System, Inc (PMSI) has announced that the test broadcasts of mobile TV services using DVB-H have been successful and will be commercially launched this year. The commercial service will initially launch in Manila and then be extended to other cities. PMSI has five transmitters around metropolitan Manila and intends to eventually increase coverage nationwide. The service will be named Dream TV which is already a brand name used by PMSI.

A First look at Final Cut Pro 6

2007-07-13T00:40:00.000+08:00

Via Kenstone.net
Here's a first look on the new Final Cut Pro 6 by Steve Martin (no, not the Steve Martin). So many new welcome features! Dont forget to try out the new Apple ProRes 422 codec! Check the in-depth review: http://www.kenstone.net/fcp_homepage/fcp_6_first_look_martin.html#top

We Need You!

2007-07-13T00:20:00.000+08:00

Yup, thats right! This blog needs your help. How? By contributing of course! This blog is all about helping all video and film production people out there in the Philippine Islands get all the latest news, reviews and ideas! Send us an email about anything relevant to the world of audio visual production. If you have tips, tutorials, case studies, hardware and software reviews, etc., send them in! We'd be glad to post it here and give proper credit! Right now, plans are being made to review video gear from Canon (care of Canon Philippines), Sony and Panasonic. So be sure to check that out. Send your contributions to: imagedynamics@gmail.com.

A call to all editors, motion graphics artists, graphics artists, etc.

2007-07-11T11:11:00.000+08:00

I hope that got your attention. If you're an editor cutting video, linear or non-linear, a motion graphics artist, a graphics artist or just about anything that is related, read on. There has been a discussion on the PhilMUG iVideographers forums about forming an organization just for us. And we need your help to do this. Joining is half the battle already. But how can you join if there isn't any organization yet? Well, me and some of the other members are trying to do just that. But this wouldn't be any good if no one is going to support us. We need your support. Suggestions are welcome. You can email them to me at imagedynamics@gmail.com. One of the main reasons for doing this is we want to protect each other from the employers/clients that are paying us less and less for more work. We want to standardize the rates. That is one of the main goals. Another would be helping each other. Thru this organization, we can form a network that can communicate with each other and build a community that can share thoughts, ideas, jobs etc.

Rght now, this is just the first step. We are waiting for you!

Sony announces XDCAM EX prosumer camcorder

2007-07-11T03:10:00.000+08:00

Via EngadgetHD
NAB brings the prosumer a new choice in camcorders this morning with this, Sony's XDCAM EX. This tapeless MPEG-2 recorder will snag images captured by a trio of half-inch imagers to a pair of Sony's (and Sandisk's) new SxS 16GB ExpressCard flash modules for up to 120 minutes of high-definition video. It's switchable between 1080/60i and 720/60P, and capable of recording at 1080/50i/30P/25P/24P and 720/50P. No official word on dates or pricing yet but they'll probably slip in around the time the SxS cards hit which is sometime "later in 2007." Picture of the SxS flash card after the break.

DV.com

2007-07-11T03:04:00.000+08:00

Another site for valuable info on Digital Video. DV.com is one of the worlds leading online resource magazine for Digital Video professionals. Onboard top industry professionals like Rev. John Jackman, Adam Wilt, Trish and Chris Meyer (who brought us the bible for After Effects Creating Motion Graphics) and a whole lot more. Inside you will find all the insider info on the latest tools and software for digital video production.

HARDWARE REVIEW: Behringer MS-20 Analog/Digital Near Field Studio Monitor

2007-07-11T00:53:00.000+08:00

Category:	Computers & Electronics
Product Type:	Other
Manufacturer:	Behringer

* 2-way active studio monitors ideally suited for computer studios, audio and multimedia workstations and keyboard monitoring
* Built-in 2 x 10-Watt powerful amplifiers with immense headroom
* Powerful woofers and high-resolution tweeters provide an ultra-linear frequency response
* Ultra-high resolution 24-bit/192 kHz D/A converters for an incredible dynamic range
* Optical and coaxial inputs to directly connect digital audio sources by S/PDIF interface
* Two stereo analog inputs featuring ⅛' TRS and stereo RCA connectors can be used simultaneously or mixed with a digital stereo source
* Individual volume controls for both Line inputs plus Bass and Treble EQ controls
* ¼' TRS headphone connector with auto-mute loudspeaker function easily accessible on the front panel
* Magnetically shielded for placement near computer monitors
* High-quality components and exceptionally rugged construction ensure long life
* Conceived and designed by BEHRINGER Germany

MY MS20 STORY
I was lucky to be one of the first to get my hands on this near field monitor by Behinger. I got it the day it first came at Electronics Depot in Ali Mall, Cubao. I was actually going to buy the MS16, but I looked at the stores catalog and saw this one. This thing sells for Php6,500 only! Good thing my GF brought her credit card! The unit was so fresh, i had to wait an hour and a half for the people at Electronics Depot to send the unit in from another branch at Robinsons Galleria! Kudos to guys from ED for not making me wait a day to pick up the unit. On to the review!

OUT OF THE BOX
The unit came in a big box. The package includes an Male RCA connector for connecting the left speaker to the right speaker where the amplifier was housed, and another cable to plug the unit in a 220V outlet for power. The picture on the box and the website doesent give an exact representation of the unit inside it. The woofer has a white colored cone whereas the box has a silver color. But its no big deal for me. Pulling the unit out of the box, I noticed the speaker boxes was quite heavy for their size. The right speaker is much heavier though, since it housed the 10W +10W digital amplifier. This thing is rated at 80W power consuption so its quite a power hog. The right speaker has four knobs for controlling Bass, Treble, Line 1/Digital Volume and Line 2/Analog volume. A standard headphone jack is also on the front panel of the right speaker for earphone listening. Same goes for the power button which is just beside the jack. The enlosure is solidly built. Each enclosure has two bass ports. The tweeter and woofer have an off center layout. However, the left speaker layout is not symmetrical to the right speaker layout, which made me wonder if the point of reference of the sound would be affected.

The rear of the right speaker has both an optical SPDIF and a Coaxial RCA input. There is a switch between the two for toggling between sources. Just below that is a mini stereo headphone plug for jacking in other line sources. Beside that are two RCA female jacks for another set of line inputs. No swithches here for toggling between the two, which makes me assume you can connect two line sources simultaneuosly, with the abscence of controlling each inputs volume independently. Another female RCA jack is lined up beside that for connecting the left speaker. Last would be the power cord plug.

TESTING THE UNIT
When I hooked up everything (which took me about 20 minutes to do since I had to remove my crappy Creative Inspire 2100 2.1 Speakers, but hooking up the MS20 ony took about 5 minutes), I powered on the unit. I hooked the coaxial input to my Creative Sounblaster Audigy 2 Platinum eXs' breakout box to get the digital audio connection the MS20 offers. I set the Bass and Treble controls midway for a flat eq (hopefully), turned up the volume on the MS20 all the way up so I only need to control the volume on my Logitech GS15 Keyboard. Everything seems smooth at this point.

PLAYING MUSIC FOR THE FIRST TIME
I fired up my iTunes and Winamp to play some tunes. My God! This thing made some thing in my music! Things that I did not know was there finally came to life! Stereo separation is very good even if they are just 3 feet apart! This thing can handle volume pretty wellm also. I turned the volume on my PC all the way up and the thing could still handle it, but only to some point. I would'nt want to ruin my just bought units' tweeters (which, by th way is not covered by warranty). But it handled pretty well. With very minimal, but very noticeable distortion. This thing rocks!

FINAL THOUGHTS
I give the MS20 4 out of 5 stars. I know it doesnt sound as good "bad" sounding near field monitors like the Yamaha NS10 or K-Roks, but it is definitely a good buy (for that amount you get digital inputs!). I highly recommend it!

HARDWARE REVIEW: Philips 2.5in SATA Hard Disk Enclosure

2007-07-11T00:50:00.000+08:00

Category:	Computers & Electronics
Product Type:	Computers
Manufacturer:	Philips (?)

I recently upgraded my Macbooks 60GB hard drive to a 120GB Seagate Momentus 8MB 5400RPM. After buying this, I realized I would be needing an external SATA enclosure to transfer everything to my new storage. Villman didnt have any other enclosure to offer but this Philips SATA 2.5in SATA Enclosure. I checked the package to see if I like the product, and after seeing the elegant leather pouch that came with the unit, I finally decided to get the enclosure.

And boy I'm so happy I got it. At first I had doubts about the product since Philips is not really known for making these. As a matter of fact, I dont even think Philips makes these. Knock-offs. But upon inspecting the box, it could probably be legit.

Anyway, installing the hard drive was pretty easy. A screwdriver is even supplied (how thoughtful!). 2 USB cables come with the package, one short and one long. I think they used a Prolific PL3507 chipset for this (according to my Macs Disk utility).

Using the drive is also a breeze. I didnt even need the USB power supply cable! At last, something that really works!

I wouldnt hesitate to recommend this thing to other Mac portable users. 2 thumbs up!

DVinfo.net Forums

2007-07-11T00:42:00.000+08:00

Another forum site for you video freaks out there. We have some Pinoy friends from the the US waiting for us here. DVinfo.net

iVideographers

2007-07-10T19:02:00.000+08:00

PhilMUG.ph has a growing community of video professionals and enthusiasts. Heres a link on the forums section for iVideogaphers.

Final Cut Studio 2 Event in Manila

2007-07-10T18:19:00.000+08:00

Apple recently held a demo on the new (and improved) Final Cut Studio 2 at the Shangri-La Makati Rizal ballroom. Over a hundred FCP users joined this event. Representatives from PhilMUG and GMA 7 were also present. The demo concentrated on Apples new high res, low compression "miracle codec" called ProRes 422. This codec can contain HD images at stunning SD DV bitrates! You have to see it to believe it! Motion 2 was also demoed as well as the new Color software for color correction. The demo was quite informative and best of all, free food! More info about FCS2 can be found here: Final Cut Studio 2

Adobe releases After Effects and Premiere Pro CS3

2007-07-10T18:12:00.000+08:00

Adobe releases After Effects and Premiere Pro CS3! This is good news for Intel Mac users, you can now use Adobe on your Intel Macs! An upcoming review will be posted here soon, so be sure to update on this site!

Click on this for more details about the new and exciting features:
Adobe

00:00:00:00

2007-07-10T17:58:00.000+08:00

Welcome to Digital Video Philippines! I'm starting this online resource for several reasons, one of them is to help. Yes this site aims to help every video professional or enthusiast with anything. Stay tuned for views, hardware and software reviews, insights, event calendars and anything you can think of related to video production.