They say you can never have too much storage. Actually, they say a lot of things, but this one is true in my experience, especially with the corollary that the storage can never be fast enough. Sonnet Technologies recently introduced three solutions to this ongoing editor's dilemma, in both rackmount and desktop format
With the current focus on the environment, broadcasters need to begin going "green." (I'm referring to energy efficiency, of course, not color temperature.) Production technology has advanced enough that we have lighting instruments that consume very little power and therefore should be considered "green." Let's take a
It all started with the lowly CMX Edit Decision List (EDL) and for more than 30 years the video industry has collectively been unable to move past it for a common timeline and project interchange format. AAF interchange has largely been ignored, because many member companies still opt to keep a large portion of their e
Telestream has started to ship their much-anticipated Pipeline encoder and capturing system for QuickTime and Final Cut Pro, just in time for the holidays. You're probably wondering why the video world needs another capture device in a space already occupied by other established manufacturers. That concern might be val
Barely a decade ago the only 720/60p cameras in America were basically experiments in a laboratory and were anything but portable. VariCams were still several years into the future and 720p field recording was just a dream on the distant horizon. Today, the VariCam--the first 720p camcorder--is already old news and JVC
Of all the products introduced at NAB 2006 that could receive the over-used accolade "breakthrough," Blackmagic Design's Intensity card was indeed worthy of such praise. For just $249, editors with PCIe computers could capture from the new generation of High Definition Multimedia Interface (HDMI) devices and output vir
