How does the “little camcorder that could” compare to its larger siblings?
March 22, 2006
I’ve gotten lots of questions how the little Sony HVR-A1U compares to its two bigger siblings. Besides the size, weight, and slight differences in terms of image quality, here’s how the little A1U stacks up to the larger 3 CCD models currently available from Sony.
Apple White Paper on Final Cut Pro and P2 Workflow
March 16, 2006
Apple recently released a white paper discussing P2 workflow with Final Cut Pro, the document covers P2 cards and card-reading devices, recommended capture and ingest options, shooting modes and formats, importing P2 footage into Final Cut Pro, using log and capture with P2 footage, recommended setups, and some workflow tips. Some people report they’ve had a smooth and seamless experience with P2 (my first one was), while others have reported horror stories (as with any new technology). I think it boils down to doing your homework and really understanding the ins and outs of your workflow, as well as the possible pitfalls. P2 is certainly not right for every project. I’m working on a Part 2 of my HVX200 article which will cover P2 workflow in detail and I found this document provided a good starting point. I will share my experience in the article and future posts. Stay tuned.
The little camcorder that could
March 14, 2006
I’ve been shooting a documentary with the Sony HVR-Z1U HDV camcorder and it’s a fine camera if you’re into the 1080i thing (I prefer a progressive approach to my imaging technology as with my politics). Working with this camera has convinced me that 2005 was the year affordable HD has come into its own and 2006 is the year of transition for both personal and professional video. The time has come to purchase a personal HD camcorder and portability is a factor. What to do?
Vlogging Session Handouts
March 10, 2006
Steve Garfield, Ravi Jain and I did a session today titled “The Rise of Citizen Media and Video Blogging” at the Camera Company’s 16th Annual Pro Video Show and here are links to the handouts (PDF files):
2006.03.10-VlogHandout.pdf (guided tour of video blogs and speaker bios)
2006.03.10-VlogResources.pdf (video blogging resource directory)
Editing in days of yore
March 9, 2006
I learned how to edit using a Steenbeck editing table at Film Arts Foundation in San Francisco very similar to this one here located at Documentary Educational Resources in Watertown, Massacusetts. While testing the Panasonic HVX200 camera I was struck by how beautiful the flatbed was, especially with the afternoon light coming through the window, so I shot it both as a still frame and a slow panning shot.
They did it for bands, will they do it for filmmakers too?
March 9, 2006
MySpace changed the way new bands find their audience just like MTV did back in the early eighties. Now the ad-cluttered community site has introduced MySpace Film as a tool for filmmakers. The new section features a “featured filmmaker” and a Filmmaker Magazine “pick of the week.” Members can post information about screenings of their films, participate in a discussion forum, and find crew, equipment, and collaborators through a new classified section. Could MySpace have the same effect on filmmakers as it has on new bands?
HVX200, Rockeboom, and a comparison chart
March 8, 2006
While I was taking the new Panasonic HVX200 out for a spin, Steve Garfield taped an interview (in retro standard definition video) with me, and the results of that appeared on Rocketboom. Lots of good comments were made on the piece, one from joe suggested they would have liked a “Consumer Reports style” comparison, so here it is.
The chart is a work in progress, I’d appreciate any commments, suggestions, and corrections you might have, and I’ll update the chart based on the comments I get.
Art Film Design Audio Podcast Technical Documentation
March 7, 2006
I’ve been asked what tools Colin Owens and I use for recording and editing the interviews for ArtFilmDesign.com, so I’ve put together this little document (link below) that outlines the tools we use for field production and post production. It also includes a bonus slide illustrating a formal live event configuration, which we’ve not done yet for ArtFilmDesign, but the design is based on other live events I’ve been involved with in the past. I’ve not completed the studio recording slide, that’s for a future version of the document. Basically the studio configuration includes the use of various studio microphones running through analog compressors and preamps into a MOTU digital interface, recording directly into Digital Performer in Colin’s studio.
You can dowload the document here: Audio-Podcasting-v2.pdf (PDF, 1.01MB)
Taking the Panasonic HVX200 out for a spin, Part 3
March 6, 2006
A major feature that sets the Panasonic HVX200 apart from the rest of the prosumer HD camcorders is the decision to not use the HDV tape format. HDV squeezes HD video into a 25 Mbit/sec tape format using MPEG-2 intra-frame compression sacrificing image quality. The HDV format also creates hassles when editing HDV in native format on all but the fastest computers due to the nature of MPEG-2. These are just two reasons Panasonic chose instead to use their 100 Mbit/sec DVCPRO HD format (current used in their high-end VariCam HD camcorder).
So, what do you record this 100 Mbit/sec DVCPRO HD format onto?
Boston Media Makers Meeting (March 5, 2006)
March 5, 2006
Arin Crumley and Susan Buice were the guests at the Boston Media Makers meeting today. The talked about their Four Eyed Monsters Video Podcast that started as a tool for promoting their film and now has grown into its own thing. Arin and Susan made many astute observations related to podcasting and how it can help independent filmmakers reach their niche audiences and discussed how they have used MySpace to build an impressive audience for their film and video podcast. The meeting was held at Sweet Finnish in Jamaica Plain, Massachusetts.
