An interview with Adobe vendor Gary Bettan of Videoguys.com. In the second part of our Intro to CS5.5 workshop, I talk with one of the most widely recognized dealers in the NLE business, Gary Bettan of Videoguys, to get his…
An interview with Pete Bauer, our DVi forum moderator who recently upgraded to CS5.5. Our Intro to CS5.5 workshop concludes with Pete Bauer, who has authored several articles for us about Adobe Premiere Pro (his most recent one at the…
Note: This article was originally published by Alister Chapmanand is reprinted here with his kind permission. I had heard about the QIO some time ago, so I approached Sonnet to see if I could borrow a unit to review. I…
Adobe has surprised those of us who have long been accustomed to a major release roughly every 18 months. Just a year after launching the CS5 titan, they announced not only a new version of the Creative Suites, but a new release schedule and a subscription option for their suites. The just-released CS 5.5 is an incremental version that provides improvements in 5.0’s first-generation 64 bit features, several cool new tools, and one of the most asked-for changes to the suite’s software line up: the return of Adobe Audition.
Note: This article was originally published by J.J. Kim and is reprinted here with his kind permission. I am very happy that I got to beta test the new Zacuto EVF, and had opportunity to use it while I was…
First, before I finish the story, allow me to explain what S-Log is, and why its so darn significant. The Sony F3, a phenomenal 1080p HD camera already, records 8-bit 35mbps XDcam to SXS media cards. This is the standard recording media for all mid-range professional Sony cameras working right now. When Sony created the F35 camera a few years ago, they built a full Super 35mm sized CCD sensor capable of producing some of the best images in the digital cinematography world. This was a camera designed from the ground up to be a full cinema-style system that records to the highest quality footage to HDCAM SR tape (it also costs about $250,000). The standard XDCAM recording format would not cut the mustard with such a high end camera, the problem being that video systems in general are not able to capture the wide latitude of exposure that film can. Sony thought of a clever solution. They created S-Log.
Sometimes I just have to pinch myself, to make sure I’m not dreaming. It’s probably the same feeling and phenomenon that my dearly departed grandmother used to describe to me as a child, now that we are in the age…
Newsletter editor Amber Cowles, interviews Mike Schell, President of Convergent Design, about the new Gemini 4:4:4 full uncompressed recorder. Can you give us a brief description of your new HD recorder: Gemini 4:4:4? Gemini 4:4:4 is a revolutionary full uncompressed…
For our third article in a series covering Adobe Premiere Pro CS5, we’ll take a brief look at the advantages of Premiere Pro when working with contemporary HD video formats, specifically the tapeless acquisition systems offered by Canon, Sony and Panasonic. That’s followed by some user testimonials culled from our online discussion groups involving some of our DVi community members who have switched or are in the process of transitioning to Premiere Pro from other video editing programs. Then we’ll look at hardware options for configuring a desktop system or a mobile editing laptop using Adobe Premiere Pro CS5.
The pan, tilt and slide plate lock levers have stops preventing them from being accidentally unscrewed from the head. In addition, the slide plate lock lever has a 90-degree throw from horizontal against the “off” stop to vertically downward, which keeps it from swinging above the head plate, which would prevent it locking with some of the more “hippy” camera rigs. Should that change due to wear, it is adjustable using an Allen key. Interestingly, that lever shows no signs of self-locking during transit, which is a big plus, but its position down behind the RH pan bar rosette and lever is the usual pain for access. The head is very easy to level, perhaps the easiest of the bunch, as a result of having exceedingly smooth finishes to both the head ball and the receiver bowl, in combination with a very jitter free levelling bubble and a “bubble centre” dot aiding correct alignment, IF you can get a hand to the clamp knob, which I’ll go into later.