The migration to tapeless acquisition media may be great for shooters, but it increases the challenges for editors. There are at least five competing professional tapeless formats, but most videographers have settled on Sony’s XDCAM or Panasonic’s P2 . Each is a capture and transport technology that can record stan
Today’s editors have learned that getting the most out of software compression
tools comes with the job description. Every NLE bundle includes software specifically
designed to encode video content for the Web or DVD. Most of these applications
include a wealth of presets, but getting the best possible image is never
Final Cut Extreme turned out to be simply a rumor, but a crowd of 3,000 at
the Venetian ballroom at NAB was wowed nonetheless as Apple introduced Final
Cut Studio 2 . Like Adobe's introduction of Creative
Suite 3 a few weeks earlier,
Final Cut Studio 2 isn't simply an update of some creative content applications
bu
Periodically I review various tools that enhance the editor's creative options, such as effects plug-ins that add more pizzazz to the look and feel of video that an editor can create. This month I'm focusing on tools designed to enhance your workflow to make editing more productive. The first set of choices comes from
Sony's PMW-EX1 camcorder premiered under glass at NAB 2007, and I recently had a chance to work with an engineering sample. It wasn't a finished product, so I can't say anything definitive about its performance, but I was at least able to get a sense of how the camera handles and what sort of pictures it will likely ma
The AG-HPX500 , introduced by Panasonic at NAB this past April, is the new big brother to the popular AG-HVX200 P2 camera. The full shoulder-mount HPX500 is a 2/3-inch 3-CCD (interline, progressive capable) high-definition camera with a 14-bit A/D converter with 19-bit internal processing. Like its little sibling,
