It`s Time To - Videomaker.com

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SHOOT AND SELL YOUR OWN STOCK FOOTAGE page 57
®
YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO JULY 2013
• Built-in dual-band 5 GHz
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B:10.75”
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Featuring HD/SD-SDI output that integrates with your existing HD workflow, the XA25 is the
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Our precise Canon 20x High Definition Optical Zoom Lens with Intelligent Optical Image
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WITH NEW GEAR AND SOLID SKILLS
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• Community Access TV
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• Spotlight on NAB
Find out more at pro.usa.canon.com
In-depth Review:
Panasonic LUMIX GH3
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Wi-Fi is a registered trademark of the Wi-Fi Alliance. All other product and brand names are trademarks or service marks of their respective owners.
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Contents
JULY 2013
www.videomaker.com
Features
18 Pro Camcorders Buyer’s Guide
We pay a price for every feature and capability sought from a
pro camcorder but price isn’t always the deal breaker.
by Earl Chessher
30 Audio Editing Software Buyer’s Guide
Audio editing software is crucial for just about any video creator
today. Video editing software may include some basic audio
editing capability, audio editing software provides edits, mixing,
cleanup and effects in one simple interface.
by Hal Robertson
42
30
On the Cover
Panasonic LUMIX DMC-GH3
36 NAB Wrap Up 2013
For 90 years the National Association of Broadcasters has been putting
on a convention for their industry. For the last five years, they’ve repositioned the annual gathering as a content producer’s paradise.
by Dwight C. Douglas
42 New Designs and the Best Products at the
NAB Show 2013
A trip to Las Vegas for the 2013 NAB Show means exciting news from
some of the biggest manufacturers. For our Spotlight Awards, we
found products for video production that deserved recognition.
by Jackson Wong
48
Columns
®
YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO JULY 2013
It’s Time To
UP YOUR
• Pro Camcorder Buyer’s Guide
• Community Access TV
• 5.1 Surround Sound
• Spotlight on NAB
48 Basic Training
Reviews
Life at a Community Access Station
by Brad Sweet
54 Editing
How to Edit Pre-Edited Footage
by Ed Rogers
Surround Sound Part 1:
Gathering the Audio
by Hal Robertson
Videomaker Training DVDs Now available for instant download
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Next Month
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5/23/2013 11:52:00 AM
Shooting Video with Drone Helicopter Cams – is it legal?
YouTube vs. Vimeo - You Decide
It can be done! Techniques to Shooting Quality Video with
a Mobile Phone
On Sale July 30, 2013
Cashing in on Stock Video
by David Welton
61 Audio
In-depth Review:
Panasonic LUMIX GH3
Departments
59 Ad Index
57 Profit Making
WITH NEW GEAR AND SOLID SKILLS
57
2 Viewfinder
Can there be video without video?
by Matthew York
SHOOT AND SELL YOUR OWN STOCK FOOTAGE page 57
314 July cover 13.indd 1
Volume 28 • Number 1
64 Producers’ Rights
Judge Says No - Ken Burns Wins
Legal Battle
by Jennifer O'Rourke
4
4 Panasonic LUMIX DMC-GH3
DSLR
by Mark Holder
8 Corel VideoStudio Ultimate X6
Intermediate Editing Software
by Mike Houghton
10 Genustech G-PROMOKIT1
Professional Video Shoulder Mount Kit With
Mo Bars System and Offset Bracket
by Mark Holder
12 WeVideo
Internet Editing Service
by Colin Marks
14 Olympus LS-20M
Audio/Video Recorder
by Jeanne Rawlings
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g Start Your Own Wedding Video Business!
Trainiunrce
o
s
See page 51 for details
Re
V ID EO MAK ER > > > J U LY 201 3
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1
VIEWFINDER
Videomaker empowers people to make video in a way
that inspires, encourages and equips for success. We
do this by building a community of readers, web visitors,
viewers, attendees and marketers.
by Matthew Y ork
Video Without Video?
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Lines blur when we talk about photography and videography these days.
Video cameras can shoot stills, still
cameras can shoot video. And we can
create moving images without them
being video. Confused? Long before
this blurring of lines, moving images
were made without shooting sequences on film, tape or digitally.
Enter stop-motion, used not only in
photo montages but to create video
sequences that illustrate a remarkable
sense of natural motion. There are
3D creations, even instructional and
educational videos compiled of drawings, graphics or simply just written,
animated, words. When is video not
video? The short answer is never.
There are programs, stand-alone
and Internet-based, that take a group
of select photographs, incorporate movement and creative action
sequences that, when all is said and
done, generate a moving presentation.
The idea is by no means new. Look
at the bounty of original cartoons created by such companies like Disney
over the years. Each shot as one standalone image at a time. Each a single
illustration, an artist’s drawing – a cell,
that is then recorded individually and
a series of cells are timed to simulate
movement when all are put together.
This production, http://vimeo.
com/2416897, is a music video created
entirely from 45,000 photos taken
with a Nikon D200. No, really, it’s not
video. And we should see two more,
the Human Skateboard and human
Tetris, http://bit.ly/c7R3fZ both using
individual shots to create a video.
Videomaker offers a tutorial on
achieving a video production without
video in 4 Simple Steps for Professional Stop Motion Light Painting, http://
bit.ly/12B23uc yet another facet of
creating video that is not video. Many
programs offer options for either
creating your stop motion or other
creative movement sequence not only
from photographic images, but just
2
publisher/editor
associate publisher
chief operating officer
HR/office manager
content director
managing editor
associate editor
associate editor
art director/photographer
contributing editors
about anything from hand drawings,
to South Park-type images or a group
of specific fonts.
On the other hand, video is not
necessarily always video, especially
when the desired effect is to take live
action sequences over a period of time
and break them down to generate a
time-lapse photography effect.
Video without video can be challenging, fun and a unique way to
expand our storytelling abilities using
still images, a bit of planning and organizing ... and great patience as well.
The volume and quality of such
work out there is mind-boggling.
Skills and creativity levels set the bar
high, but any videographer looking
for a way to tell a story and having
to do it without the help of a camera
that shoots live video footage can
still get the message across. A good
selection of do-it-yourself animated
video tools are available for free or
fee, stand-alone or on the Internet.
All you need are a bunch of photos,
graphic images, some clay, toys or
holiday decorations and the patience
to see what can come out of your
creative hat.
Matthew York is Videomaker's Publisher/Editor.
For comments, email: [email protected],
use article #16020 in the subject line. You can
comment and rate this article by going online:
www.videomaker.com/article/16020
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V IDEOMAKER >>> JULY 2013
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REVIEWS
REVIEWS
Panasonic LUMIX
DMC-GH3
DSLR
DMC-GH3 right side controls
All Around
Awesomeness
b y M a rk H ol der
I
n a never-ending quest to blend pro
performance with prosumer pricing,
Panasonic introduces the LUMIX DMCGH3. A digital single lens mirrorless
camera by design (not quite an actual
DSLR), the GH3 produces exceptional
images, both still and video, with excellent color reproduction, broad dynamic
range and much more. With interchangeable lenses, the ability to switch
among a wide variety of lens choices
Panasonic
www.panasonic.com
STRENGTHS
• Good build
• Interchangeable lenses
• Beautiful video and still images
• Very effective O.I.S.
• Focus assist and histogram
A Closer Look
increases the creative possibilities available to the discerning video producer.
Unwrapped
The camera body comes packaged
together with a battery pack, battery
charger with AC cable, USB connection cable, shoulder strap, and CDROM containing the owner’s manual,
PHOTOfunSTUDIO 8.5 PE for Windows and SILKYPIX Developer Studio
for Windows and Mac.
Optical image stabilization switch
WEAKNESSES
• Headphone port placement – cable
may interfere with display
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DMC-GH3 (body only): $1,300
LUMIX G X VARIO 12-35mm f/2.5
lens: $1,300; LUMIX G VARIO HD
14-140mm f/4.0-5.8 lens: $850
4
We tested the GH3 with Panasonic’s
LUMIX G X VARIO 12-35mm and
LUMIX G VARIO HD 14-140mm lenses.
Due to its mirrorless design the GH3
is smaller than the typical DSLR. Built
according to the Micro Four Thirds
standard, its lenses are also much
smaller, making the entire unit very
compact and well suited for travel,
while maintaining a high level of quality performance throughout.
The 12-35mm lens features a constant f/2.8 throughout the entire zoom
range in a moisture and dust sealed
metal body. The highly durable metal
mount also features a rubber ring for
sealing out the elements. Optimized
for video, the Power Optical Image
Stabilizer (O.I.S.) and focusing system
provides near-silent stabilization and
focusing action.
The 10x optical zoom 14-140mm
lens is also optimized for video use
with smooth, silent auto focusing and
Mega O.I.S. Both lens’ O.I.S. is activated with a switch located on the side of
the lens barrel.
Added value!
See our test footage at
The various buttons are well laid
out. Our right thumb rests over the adjustment dial and is just a short reach
to the record button on the back of the
camera, while the right index finger
lies naturally on the shutter button
with easy access to white balance,
ISO, exposure, one of several user-programmable buttons. The menu is easy
to use, with selections made either
through a large wheel or directly on
the LCD touch screen.
We found that when the LCD is
open, with headphones plugged in,
our cable interferes with the LCD’s
ability to swivel freely. The external
mic port is located a little higher up
and is safely out of the way. Also, the
highly sensitive eye sensor is a bit
annoying at first. It’s purpose is to automatically switch viewing away from
the LCD when you put your eye up to
the viewfinder. It is so sensitive however that moving your hand across it
or placing it near your body will turn
off the display. Fortunately, it can be
adjusted or even shut off altogether.
A level gauge, reminiscent of the
“horizon” on an aircraft control
panel, aids in leveling the camera
during use. The manual focus assist is
... THE GH3 DOES DO A
RESPECTABLE JOB IN THE
AUDIO DEPARTMENT ...
a very nice feature on the GH3. Turn
the focus ring and the image is magnified to your choice of 4x, 5x or 10x
for easy focusing. There are no zebras
for exposure assistance but it does
feature a handy dandy histogram.
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VI D EO MA K ER >>> J ULY 20 13
5
REVIEWS
TECH SPECS
Type: Digital Single Lens Mirrorless camera; interchangeable lens
Lens Mount: Micro Four Thirds mount
Sensor: Live MOS 17.3 x 13.0mm (in 4:3 aspect ratio)
Pixels on Sensor: 16MP effective pixels (17.2MP total)
Resolution: Various up to Full HD 1920x1080, 60p
Motion Recording Format: AVCHD Progressive, MPEG-AVC
(H.264)
Still Image Recording Format: JPEG, RAW, MPO (with 3D
lens in MFT standard)
Focus: Contrast AF system; Face detection, AF Tracking, Full
area touch
Focus Assist: Magnified view of focus area: 4x, 5x, 10x
Shutter Speed: Still Images: 1/4000-60 and Bulb (approx. 60
mins.); Motion Image: 1/16,000 – 1/30 (NTSC)
Exposure Modes: Program AE, Aperture Priority AE, Shutter
Priority AE, Manual
Image Stabilization: Lens-based Power O.I.S.; Mega O.I.S.
Viewfinder: OLED Live VF; Field of View approx. 100%
Into the Wild
We took the GH3 out for a spin over
several days and found numerous reasons to be impressed. First of all, while
using the built-in mic of any camera is
not our first choice, the GH3 does do
a respectable job in the audio department and should be suitable for most
non-professional uses.
While traversing a small mountain
stream we were delighted to note
the GH3’s affinity for fine detail and
texture. Small pebbles in and around
the stream, tiny bits of sand, fine striations and dimples in the various rocks
Figure 1: Detail and texture
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6
White Balance: Auto, Daylight, Cloudy, Shade, Incandescent,
Flash, White Set (1,2,3,4), Color temperature setting (250010000K in 100K increments)
Display: 3", 3:2 aspect, viewing angle (approx. 100%), OLED
with static touch control, 614 dots
Level Gauge: Yes
Output: USB, Mini HDMI, A/V, 1/8" (3.5mm) for headphone
Input: 2.5mm port for remote, 1/8" (3.5mm) for external
stereo microphone
Speaker: Monaural
Media: SD/SDHC/SDXC card
Flash: Built-in
External Battery Charger Provided: Yes
Battery Type: Li-ion (7.2V, 1860mAh)
Dimensions (WxHxD): 5.2" x 3.7" x 3.2" in. (32.9mm x
93.4mm x 82.0mm)
Weight: Approx. 19.4oz. (SD card, battery, body); 16.6oz.
(body only)
Figure 2: Dynamic range
are readily distinguishable right down
to their finest details. In another location we came across a pine tree bored
out and stuffed with acorns by hardworking woodpeckers. Figure 1 The
GH3 captured the patterns in the bark,
and even tiny scratches on the surface
of the acorns, with fantastic clarity.
White water spilling over a small
dam provided an opportunity to
observe the camera’s dynamic range
capabilities. While nowhere near the
range of film, we can still see details
throughout the brightest areas as well
as the darkest. The lattice covered
walkway of a century-old home, with
its alternating areas of light and dark
provided yet another test, revealing
considerable detail in all but the very
darkest of areas Figure 2.
We were anxious to see how the
GH3 performed under conditions that
typically produce aliasing (“the jaggies”) and moiré (false patterns). Moiré
occurs when a sharply focused, high
resolution, fine pattern in the subject
matches the pattern of the imaging
chip. The GH3’s sensor has been outfitted with a newly designed low-pass
filter in an effort to reduce the effects
Continued on page 60
Figure 3: Color reproduction
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REVIEWS
REVIEWS
Corel VideoStudio Ultimate X6
Corel
VideoStudio
Ultimate X6
Intermediate
Editing Software
A Gentle
Learning Curve
b y M ik e Houghton
E
diting software can try your patience. You ask the software to import your footage and it responds by
having you pick from a list of 100 formats with six or seven different flavors
each. Inexperienced people usually
have one of two reactions: they gradually overcome frustration and learn
a lot more than they ever wanted, or
more commonly, quit and share their
horror story with friends and family. If
you’re looking for an easy video editing existence less focused on the nuts
and bolts, VideoStudio Ultimate X6 is
a great option to consider.
Getting Started
Installation is low fuss. Tell it where to
install and you’re pretty much along
Corel Corporation
www.corel.com
STRENGTHS
• Easy to understand interface
• Streamlined importing and sharing
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WEAKNESSES
• Simplified features may frustrate
advanced editors
$100; free trial VideoStudio Pro X6
8
for the ride. Starting it up for the first
time, you see that the interface is simple
and clean with a preview, library pane
and timeline on the bottom, which is
changeable to a storyboard layout.
Three buttons along the top guide
you through capture, edit and share.
The capture options cover the basic
import sources from DV cameras
and importing files, to a stop motion
feature and a screen capture option.
This last feature allows you to capture
real-time video of what you display on
your monitor. Say you’d like to show
how to create amazing website graph-
ics, this feature can help you do that.
Importing from other sources is
relatively hassle-free. A good amount
is auto-detected and there are options
settings available for capture setups
that require more customization. Importing footage from your DV camera
is as simple as queuing up your tape
and capturing it onto your computer.
graphics and titles to utilize motion
paths for more organic animations.
Perhaps one of the best features is
the absence of a render bar. Footage
sources vary between DV, JPEGs and
video files and can all coexist on the
same timeline. There is an ever-soslight delay in starting playback that
increases as the project gets more
complicated, but it’s relatively small.
There’s a neat little professional
feature when dealing with audio gain
envelopes. This allows you to adjust audio levels on-the-fly and the settings are
automatically keyframed and applied.
The setup of the timeline in VideoStudio Ultimate X6 avoids missing
or flash frames by keeping content
snapped together. Swapping order is
not a problem, but this limits pushing
video further down the timeline. Advanced editors might find this frustrat-
ing but it’s a good feature for beginners, one that minimizes accidental
goofs between clips.
Showing the World
Exporting is simple: you can create
a video file, sound file, record the
project back onto a camcorder, create
a basic DVD export or upload to the
Internet all from inside the program.
It even includes presets for creating
a file specifically for displaying on
YouTube, Facebook, Vimeo and more.
There are options for tweaking if
your project requires a custom export
setting, but generally a lot of work is
done to make sure you don’t get buried in technology.
SUMMARY
VideoStudio Ultimate X6 is an excellent product for begining editors and
users who like to keep it simple.
Mike Houghton is a freelance videographer and an
independent filmmaker.
Starting the Journey
Corel's VideoStudio Ultimate X6 is
a great program for beginners and
To the Editing Bay
The editing phase is perhaps where
you’ll find the most options. Added to
the usual titles, filters and other features
is a motion tracking feature. It allows
Including
Including An
An Extensive
Extensive Selection
Selection Of
Of
Pro
Pro Video
Video Products
Products And
And Accessories:
Accessories:
Batteries,
Batteries, Cameras
Cameras And
And Cases,
Cases,
Lights,
Lights, Lenses,
Lenses, Media,
Media, Tripods,
Tripods,
Teleprompters,
Teleprompters, Software,
Software,
Switchers
Switchers And
And More...
More...
TECH SPECS
OS: Microsoft Windows 8/7/Vista/XP with
latest service packs installed (32-bit or
64-bit editions)
Minimum CPU: Intel Core Duo 1.83 GHz
Processor or AMD Dual Core 2.0 GHz
Processor (Intel Core i5 or i7 Processor,
or AMD Phenom II X4 or X6 Processor
recommended)
Minimum RAM: 2GB (4GB of RAM and
1GB of VRAM recommended)
Minimum Hard Drive Space for
Installation: 1.5GB
Video Formats: (see encoding formats
plus the following), DivX, MOD (JVC MOD
File Format), M2TS, M2T, TOD, 3GPP, 3GPP2
Audio Formats: (see encoding formats
plus the following) MP3
enthusiasts, and will continue to be
relevant at intermediate levels. It keeps
things simple, letting you focus more
on what you’re making than how
you’re going to make it. The learning
curve is a gradual slope that will get
new editors going fairly quickly. Unlike
advanced editing packages, it doesn’t
expect you to already know what
you’re doing. In this case, less frustration translates into more fun editing.
Automatic Scene Detection: Yes
Nesting Tracks: No
Audio/Video Level Envelopes: Yes
Audio Scrub: Yes
Keyframe Animation: Yes
Video Transitions: 150
Number of Video Filters: 78
Real-time Software Previews: Yes
Video Encoding Formats: AVI, MPEG2, AVCHD, MPEG-4, H.264, BDMV, HDV,
QuickTime, RealVideo, Windows Media
Format, 3GPP, 3GPP2, WebM
Audio Encoding Formats: Dolby Digital
Stereo, Dolby Digital 5.1, MPA, M4A, WAV,
QuickTime, Windows Media Audio, Ogg
Vorbis
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REVIEWS
REVIEWS
Genustech G-PROMOKIT1
camera not included
Genustech
G-PROMOKIT1
Shoulder
Support
Goin’ Steady
b y M a rk H ol der
B
ack in the early days of video,
achieving good stability while
shooting handheld wasn’t terribly
difficult. Cameras were considerably
larger and heavier and many were
designed to rest on the operator’s
shoulder for support. This worked
well – as long as you didn’t have a
lengthy shoot on your hands. Greater
Genus Limited
www.genustech.tv
STRENGTHS
• Very good build quality
• Fully adjustable
• Comfortable
• Increases shot stability
• Easy to assemble and use
WEAKNESSES
• None noted
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$1,550 G-PROMOKIT1 – Professional
Video Shoulder Mount Kit with Mo
Bars and Offset Bracket
10
bulk meant more fatigue and increased difficulty when packing for
remote locations.
Now, the reverse is true. Cameras
are so much smaller and lighter, it
almost seems you could shoot handheld all day with little difficulty. The
trade-off, however, is that many of today’s cameras don’t fit the hand well,
are difficult to hold and their lack of
weight actually makes them more difficult to keep steady.
As a result, other manufacturers
have rallied to design stabilizing
systems that alUni-Plate
low you to take
advantage of the
many benefits of
today’s cameras
while still capturing great handheld footage. One
such manufacturer is Genustech.
We took its professional video
shoulder mount
kit with Mo-Bars
and offset bracket
out for a test run and found it to be a
fine performer.
Some Assembly Required
The components arrived in a compartmentalized cardboard box, ready to
be assembled. The rods and brackets
are painted flat black while the lockdown knobs are brushed and silvery
in appearance. Most metal parts are
machined from aircraft-grade aluminum while the two counterweights
TECH SPECS
350mm rods with dual female
threads: 2
300mm rods: 2
100mm extension rods: 2
200mm extension rods: 2
Offset bracket:1
1-Full counterweight: 3.5lb
1-Half counterweight: 1.8lb
Heavy duty shoulder pad with universal clip-on bracket: 1
End stops: 2
Uni-Plate without rods: 1
Mo Bar System Kit: Mo Bar bracket (1),
Mo Bar handles (2), 215mm support bars
with end stops (2)
(3.5lb. and 1.8lb.) are stainless steel.
We found the assembly process to be
fairly user-friendly by simply laying
out the parts as they appeared in the
diagram, then sliding, twisting and
inserting as instructed.
Fine Tuning
The Mo-Bars system is a modular support handgrip that closely resembles a
bicycle’s handlebars. The cross piece
ANOTHER PAIR OF KNOBS ALLOWS FOR VERTICAL ADJUSTMENT OF THE PLATFORM
has several sets of holes bored through
it, which allows it to accommodate
both 15mm and 19mm rods. This versatility allows it to be used with pretty
much any rod system using these sizes.
Clamps at each end of the crosspiece
adjust and support the Mo Bars handles.
Each clamp attachment point features
a Rosette joint with opposing toothed
sections for solid lockdown. Loosen-
Counterweights
ing the lock knobs
allows you to position
the handles in exactly
the right position for
maximum comfort and
stability.
Riding the rails
behind the Mo Bars is
the Uni-Plate, a multiadjustable plate with
several threaded holes
(1/4-inch and 3/8-inch)
along the bottom for
tripod attachment.
Loosening the lock
knobs at each corner
lets you slide the plate along the rails
until the right position is found. Another pair of knobs allows for vertical
adjustment of the platform, to place
the camera at just the right height
above the rig. A horizontal slot near the
top of the platform allows the camera
attachment plate to be removed in order to easily attach or change cameras.
Loosen the knurled lock knob, remove
one of the little rubber screw-in stops
and slide the plate out of the unit. With
the camera attached securely to the
plate, slide it back into the slot and
tighten the lock knob. Don’t forget to
replace the little end stop – it’s there to
prevent the camera and plate assembly
from taking a dive off the rig in case it
isn’t tightened down properly.
The offset bracket attaches to the
rails behind the Uni-Plate and is used
to shift the position of the camera so
its center of gravity and display are
more centrally aligned to your body.
It also provides the attachment point
for a second set of rods that support
the heavy-duty shoulder pad and
counterweights. The shoulder pad’s
positioning is adjustable and the
counterweights may be slid to any
position along the rods to achieve the
proper weight distribution and balance. A pair of threaded stops screw
into the ends of each rod to prevent
the weights from coming loose and
sliding off the back.
Out for a Spin
With a camera attached and all the
appropriate adjustments made, we
threw the rig onto our shoulder,
grabbed the handles and took it out
for a test drive. With elbows tucked
into our body for maximum stability
we found ourselves tilting, panning
and yes, even walking, with ease.
Walking while shooting handheld is
especially challenging. Without any
special technique, our movement was
greatly stabilized as opposed to going
“rig-less” and with a little practice at
achieving the right knee-heel-toe action, even most of that telltale up-anddown motion was largely minimized.
Suitable for a large variety of camcorder and DSLR sizes and weights, the
Genustech Professional Video Shoulder Mount Kit with Mo Bars System
and Offset Bracket is a real winner.
SUMMARY
If you’re looking to calm down that
shaky handheld footage, then check
out the pro video shoulder mount kits
from Genustech.
Contributing Editor Mark Holder is a video producer
and trainer.
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REVIEWS
REVIEWS
WeVideo Internet Editing Software
WeVideo
Internet
Editing
Software
TECH SPECS
Platform: Cloud-based
System Requirements: Internetcapable device
Editing a la (Three) Modes
Heaven-Sent Video
Editing Program?
b y C o lin M arks
W
ith multitudes of services
migrating skyward, it was just
a matter of time before someone
took a shot at relegating group-based
video editing to the cloud as well.
That time has come, the someone is
WeVideo, Inc. and they have put the
“We” in WeVideo by enabling collaborative editing from anywhere, by
anyone with an Internet connection
WeVideo, Inc.
www.wevideo.com
STRENGTHS
• Simple to use video editing program
• Doesn’t require expensive computer or
software
• Allows collaborative editing
WEAKNESSES
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• Uploads can take a considerable
amount of time
• No offline access
Free - $50/month; yearly plans
are available at $50-$540/year
12
– without downloading or installing
software of any kind.
The Concept
The idea is a simple one. Upload all
your project assets to your online
account, invite friends to upload
their contributions to the project,
then edit away. Since all processing is
performed on the other end, “in the
cloud,” you won’t need a high-end
computer with gobs of memory and
a budget-busting
graphics card. You Storyboard editing
also won’t need
to shell out for
a video editing
program to install
on your killer
mega-machine.
What you will
need for this form
of video editing is
an Internet-capable device and a
fast connection to
the cloud. Asset
uploads will take
a very long time if
your connection’s
upload speed is slow. However, WeVideo plays very well with a number of
online media repositories and imports
from these services move along pretty
quickly. Another drawback to online
video editing is no offline access, so
where there is no connection, there
is no editing. On the other hand, if
yours is a collaborative editing project
perhaps one of your group members
can continue to edit even if your connection is down.
To suit varying levels of experience,
editing options come in three flavors
– Storyboard, Timeline (simple) and
Timeline (advanced) – all wrapped in
a user-friendly interface. Along the
top of the editor is a drop-down list
(for selecting your editing option of
choice) and buttons to upload, access
themes or publish your finished video.
Upload allows you to either upload
files from your computer or import
them from Google Drive, Instagram,
Flickr, Facebook, Dropbox, Picasa or
Box. Each theme is a preset collection
of transitions, effects, music and visual styles to quickly give your project
that special look. Publish lets you select your desired video resolution and
export destination (YouTube, Vimeo,
Dropbox, Google Drive) – including
download to your computer.
The Storyboard editor is as simple
as it gets. At the left edge of the editor
are buttons to access your uploaded,
imported or shared videos and photos,
including a plethora of backgrounds.
Use your own audio or select from
a variety of supplied sounds in the
Action, Party, Drama and Atmosphere
categories. Drag and drop images onto
the storyboard in the “Drop videos
or images here” zone. Trim clips by
dragging their edges and select clips to
access delete or edit options. Edits include adding captions, tagging people,
rotating and flipping. Add music – or
pick a theme – add a title and you’re
ready to publish.
The Timeline (simple) editor adds
access to an assortment of transitions
and graphics such as callouts, titles,
credits and lower thirds. The timeline
features two video tracks, a couple of
audio tracks and a Timeline editing
record-your-ownvoice-over track.
Audio controls
include mute,
levels, fade in and
fade out. This
option also allows rubber-band
keyframing of
clip volume and
opacity.
The advanced
Timeline editor lets you add
or delete both
video and audio
tracks. You can
name, solo, and lock tracks. A slider
beneath the track’s name controls
track volume. Additional clip transformation options include fit to frame,
fit to screen, scaling and positioning.
Brightness, contrast, saturation and
hue adjustments are available as well
as a number of visual effects filters.
WeVideo is available for free with
15 minutes of export time per month,
5GB of storage and a maximum of
five invites per project. Your finished
video’s resolution is limited to 480p
and is watermarked. There are two
paid plans each for Personal, Education and Business use. These plans
drop the watermark, allow more invites per project (so you can expand
your collaborative editing base), provide more storage, more export time
each month and greater resolutions.
All plans allow for full HD 1080p
export, for $2.
Conclusions
Overall, we found WeVideo to be
a capable video editing program,
with responsive edits and a simple
to navigate, fairly intuitive interface.
Although waiting on uploads to
complete can take a while, you can
at least begin working while all that
takes place in the background. To get
you started there is a video tutorial
that walks you through the Storyboard
editor, explaining where things are
and even suggesting action steps you
can take along the way to begin your
own project.
While it’s no Adobe Premiere Pro
or Final Cut Pro, it does have a fair
amount of customization capability
in the advanced editor and doesn’t
require the aforementioned killer
computer and large outlays of cash for
a video editing program. The results
are very good, and easily shared or
downloaded.
WeVideo’s greatest appeal perhaps
is its ability to allow collaborative editing amongst groups of people who
may be scattered far and wide, thus
eliminating the need for multiple
expensive machines and software,
while enhancing the creative video
editing experience.
SUMMARY
For easy-to-use, cloud-based, individual or group video editing, be sure
to check out WeVideo Lite – it’s free!
Colin Marks is a video producer and trainer.
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REVIEWS
“WHEN I SHOOT ON FRIDAY
AND DELIVER TO BROADCAST
ON SATURDAY, THERE’S NO
ROOM FOR ERROR.
OR TIME FOR IT.”
Olympus LS-20M
Audio/Video
Recorder
– Alex Buono, Director of Cinematography, Saturday Night Live Film Unit
Loud and True
From the set to the edit bays, the right data storage solution allows
creative pros to focus on what matters most: the project. That’s
why experts like Alex Buono rely on the unmatched performance
and capacity of G-RAID ® with Thunderbolt™ to transfer their data
at blazing speeds while they keep their eyes on making the best
product possible.
b y J e a n n e Raw l i ngs
Designed like a stand-alone voice
recorder, the LS-20M favors its audio
capabilities. When handheld shooting,
it balances like a microphone, with
Olympus
www.olympusamerica.com
STRENGTHS
• Full HD video
• Uncompressed stereo
• Pocket size
WEAKNESSES
contents
• Poor video in low-light or with digital
zoom
• Handheld shooting cumbersome
• No continuous recording
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$250
14
be to forget that nowadays people are
conditioned to perform when they see
a camera pointing at them. We were
delighted when we quickly transferred
the files to the computer via the supplied USB cable and saw how unselfconscious our interviewees were. Even
when told that a camera was rolling,
the majority of people responded as if
it were only a sound recorder.
Olympus has given us true high definition video in flavors of either 1080p
or 720p. The options for standard
definition and lower quality sound increase storage space and battery power.
With an image stabilizer, white balance
controls, and exposure compensation indexing, there are many ways to
control picture. For extra features, you
can get creative with four special video
effect filters and, when video is absent,
colorful LED displays are fun to watch.
Visit G-Technology.com to learn more about how G-Technology
storage can help you work like a pro.
Ease of Use
The learning curve is very short, and
the LS-20M is easy to operate. One
hand can thumb through the menu
to make adjustments on the 2-inch
screen while a separate display shows
battery life and audio levels, time-
WORKS LIKE A PRO.
31 CITIES JUNE 3RD-AUGUST 4TH
visualstorytellingtour.com
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Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Design by G-Technology in California. G-RAID
and G-Technology are trademarks of HGST, a Western Digital company. ©2013 G-Technology. All rights reserved.
B:10.75”
Audio With Big Picture;
a voice-sync feature that stops and
starts. Built of durable plastic, it leans
slightly toward the dual condenser
microphones at the top. And it beautifully lays down uncompressed PCM
at 96kHz 24-bit or 44.1kHz 16-bit,
with an option to capture MP3 and
WAV files at 320kb/s or 256kb/s. With
switchable low cut, 100Hz and 300Hz
filters, the two mics bring crisp stereo
with a well-rounded bass component.
An equalizer is provided, and we
had satisfying results using both an
external mic and line input. It’s nice to
be able to manually ride levels in realtime using a dedicated LED screen
separate from the video monitor. The
on-board mics at 45-degree angles
away from the camera lens maintain
proper stereo panning between picture and audio source.
Sweetly hidden away is the autofocus lens, which transmits to a
1/4-inch, 5MP CMOS image sensor.
The advantage of this placement is
that subjects are often unaware of
the camera. The whole unit is rectangular and mimics a phone, which
is another camouflage. To downplay
the attributes of a hidden lens would
With 12x the transfer speed of FireWire®, the G-RAID with Thunderbolt
cuts through transfers, edits and renders in record time. And with
dual Thunderbolt ports for daisy-chaining up to six peripherals
at high speeds, your workspace has room to grow along with
your vision.
T:10.5”
e want to have it all, and it’s
even better if we can fit it all in
our jacket pocket. But if we’re going
to live with hours of footage, most of
which is priceless and unrecoverable,
it’s important to get it right. The Olympus LS-20M offers superior audio plus
HD video and, despite several drawbacks, it delivers.
S:9.625”
W
REVIEWS
Olympus LS-20M
TECH SPECS
Stereo Formats: PCM (WAV); 96kHz
24-bit or 44.1kHz 16-bit MP3; 320kb/s
or 256kb/s
Video Formats: MOV 1920 x 1080 30fps;
1280 x 720 30fps; 640 x 480 30fps
Image Sensor: 1/4" 5MP CMOS sensor
Lens: Autofocus 4.1mm (16:9 at 49mm,
4:3 at 59mm)
Optical Zoom: 4x
Shooting range: Infinity to 12-inches
Video Monitor: 2" color LED display
Data Monitor: 1.5" LCD display
Image Stabilization: Electronic
Manual White Balance: Yes
Light Meter: Multi-zone and Spot
Exposure: -2 to +2 stops in .3 increments
ISO Mode: Normal and high
code, record time remaining, and file
number. The essential buttons and important controls, like power on, hold,
and video and audio modes, are solid
switches that respond well.
The Problems
Two major disadvantages are that the
unit must be used in well-lit situations
and mounted on a tripod for best vidCloseup of camera and stereo mics
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16
Video Output: HDMI mini
Frequency response: PCM Format (20Hz44kHz); MP3 Format (50Hz to 20kHz)
Manual Audio Level Control: Yes
Equalizer: Rock, Pop, Jazz
Auto Power Off: 5/10/30/60 min.
Microphone In: 1/8"
Line In: Yes
Headphone Jack: Yes
Built-in Speaker: Yes
Audio/Video Output: USB 2.0
Battery Type: Lithium ion
Dimensions (LxWxD): 5.3" x 2.5" x 0.7"
Weight: 5.4oz. (including battery and SD card)
External Battery Charger Provided: No
USB cable Provided: Yes
Battery Provided: Yes
SD Card Provided: Yes
eo results. Without support, the monitoring screen forces operators to strain
their arms when lining up decent
shots over a long period of time. Off
tripod, the featherweight unit weighs
5.4 ounces with battery and SD card,
making video difficult to hold steadily
despite the electronic stabilizer. For
high shots, Olympus gives the option
to record from overhead, but using a
tripod will be difficult as the mount is
opposite the monitor.
Olympus LS-20M does not allow
capture of clips with duration greater
than 4GB. This means that when
recording at 1080p, it stops at 40
minutes regardless of memory size.
Vigilance about pausing and restarting
is critical. Even so, precious seconds
are lost between any unscripted takes.
Our biggest audio concern was the
absence of a windscreen or a way to
rig a windscreen around the microphones without obscuring the camera.
For those expecting quick camcorder
recording, note that the LS-20M
behaves like many audio recorders
in that pressing record once activates
recording mode, press it again to actually get the timecode going. Lastly,
we got poor images under low-light
conditions and aberrations when using the 4x digital zoom.
Micro devices tend to dumb people
down. Having such a small footprint
tempts users to start shooting before
they should. We suggest keeping a few
factors in mind when using the LS-20M.
Prioritize video or audio. Plan ahead.
Consider the convenience of its size for
the given use. Weighing these elements
before using this little dynamic device
will ensure top performance.
The moment the camera disappears
and the story comes alive.
This is the moment we work for.
Summing It Up
Clearly, Olympus has designed a recorder that captures acceptable video when used as a secondary source,
or great video with much planning.
It’s up to you to decide if video plus
audio should be prioritized, or if
one could take a back seat. Go for
the challenge of doing both only if
you are well-prepared with tripod,
lights, and direction. Then it can’t
be denied that in so many ways, this
little device brings incredible realism to the screen. If the LS-20M is
recording for audio, video files will
help you sync video you simultaneously shot with your other cameras.
Uniting top-notch stereo sound with
sharp 1080p HD, the LS-20M is a
lifesaver when size, invisibility, and
quality results are important, but
prepare for a few difficulties.
// FLEXIBILITY
MADE BY ZEISS
SUMMARY
The Olympus LS-20M, with its rare
combination of uncompressed stereo and high-definition video, all
concealed in an inconspicuous unit,
meets today’s demands for quality
original media.
Jeanne Rawlings is an Emmy-award winning producer
and audio recordist who has produced films around
the world.
ZEISS Compact Prime CP.2 lenses
Get the angles you really want. Versatile ZEISS Compact Prime CP.2 lenses can be mounted on all
types of cameras, so you can achieve true cinema feel in virtually any situation. Each of the 14 focal
lengths offers a large rotation angle for perfect pulls, a 14-blade iris for exceptional bokeh, and the
precision build quality you expect from Carl Zeiss.
www.zeiss.com/cine/flexibility
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BUYER’S GUIDE
PRO CAMCORDERS
We pay a price for every feature and capability sought from
a pro camcorder but price isn’t always the deal breaker.
Some of us will put more into a product that doesn’t
necessarily do more but gives us features we want for
specific production needs.
JVC www.pro.jvc.com
Videomaker’s
Pro Camcorders
Buyer’s Guide
lets you compare
features and price to
achieve the balance
you need between
pocketbook and
production.
Canon U.S.a inc. www.usa.canon.
BY EARL CHESSHER
M
any of the features associated
with a professional production unit start at about $1,500. While
many lower-priced models may do
the job, there’s usually a significant
trade off between feature/functionality and price. Likewise, many cameras
are available beyond the prosumer
and professional outer range of
$10,000 for a product ready-to-shoot
right out of the box. For the purposes
of our Pro Camcorders Buyer’s Guide
we’ll stay inside these margins. You’ll
find plenty to pick from. Generally
speaking, you’ll want manual white
balance, iris and audio control, as well
as headphone output for monitoring
audio and an external mic input.
Panasonic corporation www.panasonic.com
Sony Electronics Inc. http://pro.sony.com
What can I get for $1,500?
With today’s technology, the short
answer is a lot of camera for the buck.
All the popular brands offer something worth a second look at this price
point, along with a few brands focusing on special video production needs
as well.
There may be features you’d like
to have but can’t get at this starting
point but when the difference makes
or breaks your budget, a few sacrifices may be well worth the results
Nikon Corporation www.nikon.com
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18
19
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Data Format
Max. Video Resolution
and (Max. Frame Rate)
Sensor Type and Size
Screen Size and Aspect Ratio
Included Lens
Image Stabilization: optical, digital
Internal ND Filter(s)
Video Output
Microphone Input: 1/8”, 1/4”, XLR
Wireless Remote
Form Factor:
Sh = Shoulder; Std = Held in Front
Weight
PRO CAMCORDERS
ProRes
ProRes 422,
422, CinemaDNG
CinemaDNG
3840x2160
3840x2160 (30p),
(30p), 1920x1080
1920x1080
(59.94i)
(59.94i)
Super
Super 35
35 21mm
21mm xx
12mm
12mm
5"
5" LCD
LCD 16:9
16:9
Not
Not Included
Included
np
np
np
np 6G-SDI,
6G-SDI, Thunderbolt
Thunderbolt
1/4"
1/4"
np
np Std
Std 3.8lb.
3.8lb. (1.7kg.)
(1.7kg.)
Apple
Apple ProRes,
ProRes, Avid
Avid DNxHD,
DNxHD, CinemaDNG
CinemaDNG
2432
2432 xx 1366
1366 (30p)
(30p)
15.8mm
15.8mm xx 8.9mm
8.9mm
5"
5" LCD
LCD 16:9
16:9
Not
Not Included
Included
np
np
MXF,
MXF, MPEG-2
MPEG-2
1920x1080
1920x1080 (60p)
(60p) NTSC
NTSC only
only
CMOS
CMOS 1/3"
1/3"
4"
4" LCD
LCD 16:9
16:9 4.1-73.8mm
4.1-73.8mm f/1.6-2.8
f/1.6-2.8
36mm
36mm xx 24mm
24mm (35mm
(35mm
Full-frame)
Full-frame)
3.2"
3.2" LCD
LCD 16:9
16:9 np
np
Recording Media
Price
Model
BUYER’S GUIDE
Blackmagic
Blackmagic
Blackmagic
Blackmagic Design
Design
Production
Production
www.blackmagicdesign.com
www.blackmagicdesign.com Camera
Camera 4K
4K
$3,995
$3,995 SSD
SSD
Blackmagic
Blackmagic
Cinema
Cinema Camera
Camera $2,995
$2,995 SSD
SSD
Canon
Canon
www.usa.canon.com
www.usa.canon.com
XF305
XF305
$8,000
$8,000 CF,
CF, SD
SD
EOS-1D
EOS-1D XX
$6,800
$6,800 CF
CF
MOV
MOV
1920x1080
1920x1080 (30p)
(30p)
XF300
XF300
$6,800
$6,800 CF,
CF, SD
SD
MXF,
MXF, MPEG-2
MPEG-2
1920x1080
1920x1080 (60i)
(60i)
EOS
EOS C100
C100
$6,500
$6,500 SD/SDHC/SDXC
SD/SDHC/SDXC
AVCHD
AVCHD
1920x1080
1920x1080 (60i)
(60i)
EOS
EOS 5D
5D Mark
Mark III
III
XF100
XF100
XA25
XA25
XA20
XA20
$3,500
$3,500
$2,500
$2,500
$3,000
$3,000
$2,500
$2,500
MOV
MOV
MXF,
MXF, MPEG-2
MPEG-2
MPEG4-AVC
MPEG4-AVC // H.264
H.264
MPEG4-AVC
MPEG4-AVC // H.264
H.264
1920x1080
1920x1080 (30p)
(30p)
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60p)
(60p)
1920x1080
1920x1080 (60p)
(60p)
EOS
EOS 6D
6D
1920x1080
1920x1080 (30p)
(30p)
XA10
XA10
$2,000
$2,000 SD/SDHC/SDXC
SD/SDHC/SDXC
MOV
MOV
Internal
Internal flash
flash drive
drive (64GB)
(64GB) oror
$1,700
$1,700 SD/SDHC/SDXC
SD/SDHC/SDXC (2)
(2)
MPEG4-AVC
MPEG4-AVC // H.264
H.264
EOS
EOS 7D
7D
$1,500
$1,500 CF
CF
MOV
MOV
1920x1080
1920x1080 (30p)
(30p)
EOS
EOS 60Da
60Da
$1,500
$1,500 SD/SDHC/SDXC
SD/SDHC/SDXC
MOV
MOV
1920x1080
1920x1080 (30p)
(30p)
CF,
CF, SD/SDHC/SDXC
SD/SDHC/SDXC
CF,
CF, SD
SD
SD/SDHC/SDXC
SD/SDHC/SDXC (2)
(2)
SD/SDHC/SDXC
SD/SDHC/SDXC (2)
(2)
1920x1080
1920x1080 (60i)
(60i)
FEATURE HEADINGS
PRICE: Manufacturer Suggested Retail
Price, rounded to the nearest $5, if
greater than $5,000, then rounded to
$10 - Also, figures throughout may be
rounded
RECORDING MEDIA: Physical media
type(s) that video can be recorded to
DATA FORMAT: Format or container
which can be recorded
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MAX. VIDEO RESOLUTION AND
(MAX. FRAME RATE): The camera’s
greatest resolution possible, then the
camera's greatest frame or field rate
(for interlaced). Both NTSC and PAL
are available for most cameras.
20
SENSOR TYPE AND SIZE: CMOS =
Complementary Metal Oxide Semiconductor; CCD = Charged Coupled
Device; If two dimensions show, measurement is length and height, and if
one dimension shows, measurement
is diagonal.
INCLUDED LENS: Focal length and
aperture, if "np" then lenses are
interchangeable
IMAGE STABILIZATION: OPTICAL;
DIGITAL – Whether image stabilization occurs in the optics or digitally
INTERNAL ND FILTER(S): Whether
neutral density filters are built-in or not
SCREEN SIZE AND ASPECT RATIO:
Diagonal measurement of the included
display, with the screen type
VIDEO OUTPUT: Connections for video
MICROPHONE INPUT: 1/8"; 1/4"; XLR –
Connections for audio
WIRELESS REMOTE: Whether or not the
camera includes a wireless remote
FORM FACTOR: Sh = Shoulder; Std = Held
in front – How the camera is to be held
WEIGHT: Pounds then kilograms, measured without accessories or attachments unless noted
CMOS
CMOS 1/3"
1/3"
Super
Super 35;
35; 24.6mm
24.6mm xx
13.8mm
13.8mm
36mm
36mm xx 24mm
24mm (35mm
(35mm
Full-frame)
Full-frame)
CMOS
CMOS 1/3"
1/3"
CMOS
CMOS 1/2.8"
1/2.8"
CMOS
CMOS 1/2.8"
1/2.8"
35.8mm
35.8mm xx 23.9mm
23.9mm
(Full-Frame)
(Full-Frame)
np
np HD-SDI
HD-SDI
HD/SD-SDI,
HD/SD-SDI, HDMI,
HDMI, Component,
Component,
optical
optical np
np Composite
Composite
1/4"
1/4" (2)
(2) np
np Std
Std 3.8lb.
3.8lb. (1.7kg.)
(1.7kg.)
np
np
1/8"
1/8"
XLR
XLR (2)
(2) yes
yes Std
Std 5.9lb.
5.9lb. (2.7kg.)
(2.7kg.)
optical
optical np
np HDMI,
HDMI, Component,
Component, Composite
Composite
yes
yes Std
Std 3.0lb.
3.0lb. (1.3kg.)
(1.3kg.)
6.5lb.
6.5lb. (3.0kg.)
(3.0kg.)
with
with eyecup
eyecup
XLR
XLR (2)
(2) yes
yes Std
Std and
and lens
lens hood
hood
3.5"
3.5" LCD
LCD 16:9
16:9 Not
Not Included
Included
np
np
yy HDMI
HDMI
1/8"
1/8"
yes
yes Std
Std 3.3lb.
3.3lb. (1.5kg.)
(1.5kg.)
3.2"
3.2" LCD
LCD 16:9
16:9 np
np
3.5"
3.5" LCD
LCD 16:9
16:9 4.25-42.5mm
4.25-42.5mm f/1.8-2.8
f/1.8-2.8
3.5"
3.5" OLED
OLED 16:9
16:9 3.67-73.4mm
3.67-73.4mm f/1.8-2.8
f/1.8-2.8
3.5"
3.5" OLED
OLED 16:9
16:9 3.67-73.4mm
3.67-73.4mm f/1.8-2.8
f/1.8-2.8
np
np
optical
optical
optical
optical
optical
optical
np
np
np
np
np
np
np
np
1/8"
1/8"
XLR
XLR (2)
(2)
XLR
XLR (2)
(2)
XLR
XLR (2)
(2)
yes
yes
yes
yes
yes
yes
yes
yes
3"
3" LCD
LCD 16:9
16:9
np
np
np
np NTSC/PAL
NTSC/PAL selectable,
selectable, Mini
Mini HDMI
HDMI
1/8"
1/8"
yes
yes Std
Std 1.5lb.
1.5lb. (.7kg)
(.7kg)
4"
4" LCD
LCD 16:9
16:9
4.1-73.8mm
4.1-73.8mm f/1.6-2.8
f/1.6-2.8
np
np
CMOS
CMOS 1/3"
1/3"
3.5"
3.5" LCD
LCD 16:9
16:9 4.25-42.5mm
4.25-42.5mm f/1.8-2.8
f/1.8-2.8
22.3
22.3 xx 14.9mm
14.9mm (APS-C
(APS-C
size)
size)
3"
3" LCD
LCD 16:9
16:9 np
np
22.3
22.3 xx 14.9mm
14.9mm (APS-C
(APS-C
size)
size)
3"
3" LCD
LCD 16:9
16:9 np
np
of comparison — feature by feature,
price by price.
Sony offers the HDR-PJ790V, a full
HD projector-camcorder that provides 96GB of memory for recording 1920x1080 at 24p/60p. Memory
is expandable using Memory Stick
PRO and SD cards. It has 24.1MP still
image capture ability as well. It has a
top-mounted 5.1 surround sound mic
for audio as well as balanced optical
image stabilization to help reduce
camera shake. Included are manual
control and audio input/output for mic
and headphones.
While Canon starts its professional
cameras at about $2,000, with the
XA10, the VIXIA line also has units
worth a second look at $1,700 or
$1,100. The VIXIA HF G20 offers 32GB
internal flash memory and a pair of
np
np NTSC/PAL
selectable, Mini
Mini HDMI
HDMI
NTSC/PAL
selectable, Mini
Mini HDMI
HDMI
HDMI,
HDMI, Component,
Composite
HDMI,
HDMI, Composite
Composite
HDMI,
HDMI, Composite
Composite
Std
Std
Std
Std
Std
Std
Std
Std
1.9lb.
1.9lb. (.9kg)
(.9kg)
2.2lb.
2.2lb. 1kg.
1kg.
1.7lb.
1.7lb. (.8kg.)
(.8kg.)
1.7lb.
1.7lb. (.8kg.)
(.8kg.)
optical
optical np
np HDMI,
HDMI, Component,
Composite
XLR
XLR (2)
(2) yes
yes Std
Std 1.7lb.
1.7lb. (.8kg.)
(.8kg.)
np
np
np
np NTSC/PAL
selectable, Mini
Mini HDMI
HDMI
1/8"
1/8"
yes
yes Std
Std 1.8lb.
1.8lb. (.8kg.)
(.8kg.)
np
np
np
np NTSC/PAL
selectable, Mini
Mini HDMI
HDMI
1/8"
1/8"
yes
yes Std
Std 1.5lb.
1.5lb. (.7kg.)
(.7kg.)
SD card slots. The CMOS-based unit
also shoots 1920x1080 and offers
manual exposure control and white
balance. You can monitor audio with
the provided headphone jack.
The JVC GY-HM70U is due to come
in at $1,600. This is a full HD shoulder
supported 1080/60p unit, equipped
with a 29.5mm wide-angle lens. It has
high speed video recording for slowmotion and a focus assist function.
An 1/8-inch mic input and an 1/8-inch
headphone output are included. It
uses SDHC or SDXC memory cards
and records in the AVCHD progressive
format at 28Mb/s.
Panasonic’s HDC-HS900K HD camcorder records 1080/60p and has a
220GB HDD. It sports manual features
and an electronic viewfinder. As do
most units in this price group, exterVI D EO MA K ER >>> J ULY 20 13
GRID CONTINUED ON PAGE 22
nal memory card recording capability
is also included. The three sensors
make for clean capturing. Mic and
headphone connections with stereo
mini jacks as part of the package. To
exercise manual controls, it also has a
focus ring.
What can I get for $2,500 to
$5,500?
Features and options can nearly double for the discerning shopper seeking
the most professional potential and
bang for the buck. This price range
is, arguably, the sweet spot when
it comes to finding a professional
production unit that will address most
needs, from event to business, com-
contents
full screen
print
ARTICLE CONTINUED ON PAGE 24
21
Video Output
CCD
CCD 1/3"
1/3" (3)
(3)
CCD
CCD 1/3"
1/3" (3)
(3)
CCD
CCD 1/3"
1/3" (3)
(3)
4.3"
4.3" LCD
LCD 16:9
16:9 4.4-61.6mm
4.4-61.6mm f/1.6
f/1.6
4.3"
4.3" LCD
LCD 16:9
16:9 4.4-61.6mm
4.4-61.6mm f/1.6
f/1.6
4.3"
4.3" LCD
LCD 16:9
16:9 4.4-61.6mm
4.4-61.6mm f/1.6
f/1.6
np
np
np
np
np
np
yes
yes HD/SD-SDI,
HD/SD-SDI, Component,
Composite
yes
yes HD/SD-SDI,
Composite
yes
yes HD/SD-SDI,
Composite
XLR
XLR (2)
(2) np
np Sh
Sh
XLR
XLR (2)
(2) np
np Sh
Sh
XLR
XLR (2)
(2) np
np Sh
Sh
1920x1080
1920x1080 (59.94i)
(59.94i)
CMOS
CMOS 1/3"
1/3" (3)
(3)
3.5"
3.5" LCD
LCD 16:9
16:9 4.1-94.3mm
4.1-94.3mm f/1.6-3.0
f/1.6-3.0
optical
optical yes
yes HDMI,
HDMI, HD/SD-SDI,
HD/SD-SDI, AV,
AV, USB
USB
XLR
XLR (2)
(2) np
np Std
Std 5.3lb.
5.3lb. (2.4kg.)
(2.4kg.)
3840x2160
3840x2160 (60p),
(60p), 1920x1080
1920x1080 (60p)
(60p)
CMOS
CMOS 1/2.3"
1/2.3"
3.5"
3.5" LCD
LCD 16:9
16:9 6.7-67mm
6.7-67mm f/2.8-4.5
f/2.8-4.5
optical
optical np
np Mini
Mini HDMI
HDMI (4)
(4)
XLR
XLR (2)
(2) np
np Std
Std 3.6lb.
3.6lb. (1.7kg.)
(1.7kg.)
1920x1080
1920x1080 (59.94i)
(59.94i)
1920x1080
1920x1080 (59.94i)
(59.94i)
CMOS
CMOS 1/3"
1/3" (3)
(3)
CCD
CCD 1/4"
1/4" (3)
(3)
3.5"
3.5" LCD
LCD 16:9
16:9 4.1-94.3mm
4.1-94.3mm f/1.6-3.0
f/1.6-3.0
2.7"
2.7" LCD
LCD 16:9
16:9 3.7-37mm
3.7-37mm f/1.8-2.8
f/1.8-2.8
optical
optical yes
yes HDMI,
HDMI, HD-SDI,
HD-SDI, AV
AV
optical
optical yes
yes HDMI,
HDMI, Component,
Composite
XLR
XLR (2)
(2) np
np Std
Std 5.3lb.
5.3lb. (2.4kg.)
(2.4kg.)
XLR
XLR (2)
(2) yes
yes Std
Std 3.1lb.
3.1lb. (1.4kg.)
(1.4kg.)
2x
2x 1920x1080
1920x1080 (60i)
(60i) MVC
MVC only
only
1920x1080
1920x1080 (60p),
(60p), 720x480
720x480 (300)
(300)
CMOS
CMOS 1/4.1"
1/4.1" (2)
(2)
CMOS
CMOS 1/2.3"
1/2.3"
3.5"
3.5" LCD
LCD 16:9
16:9 3.76–18.8mm
3.76–18.8mm f/1.2-f2.8
f/1.2-f2.8
3"
3" LCD
LCD 16:9
16:9 3.76-37.6mm
3.76-37.6mm f/1.2-2.8
f/1.2-2.8
optical
optical np
np HDMI
HDMI
optical
optical np
np HDMI,
HDMI, Composite
Composite
XLR
XLR (2)
(2) np
np Std
Std 2.2lb.
2.2lb. (1.0kg.)
(1.0kg.)
1/8"
1/8" np
np Sh
Sh 6.7lb.
6.7lb. (3.0kg.)
(3.0kg.)
MOV
MOV MPEG-4
MPEG-4
MOV
MOV MPEG-4
MPEG-4
MOV
MOV MPEG-4
MPEG-4
1920x1080
1920x1080 (30p),
(30p), 1280x720
1280x720 (60p)
(60p)
1920x1080
1920x1080 (30p),
(30p), 1280x720
1280x720 (60p)
(60p)
1920x1080
1920x1080 (30p),
(30p), 1280x720
1280x720 (60p)
(60p)
36.0
36.0 xx 23.9mm
23.9mm CMOS
CMOS 3.2"
3.2" LCD
LCD 3:2
3:2 np
np
36.0
36.0 xx 23.9mm
23.9mm CMOS
CMOS 3.2"
3.2" LCD
LCD 3:2
3:2 np
np
36.0
36.0 xx 23.9mm
23.9mm CMOS
CMOS 3.2"
3.2" LCD
LCD 3:2
3:2 np
np
np
np
np
np
np
np
1/8"
1/8"
1/8"
1/8"
1/8"
1/8"
Panasonic
Panasonic
www.panasonic.com
www.panasonic.com
AVC-Intra
AVC-Intra 100,
100, AVC-Intra
AVC-Intra 50,
50, DVCPRO
DVCPRO HD/50/DV
HD/50/DV
AVC-Intra
AVC-Intra 100,
100, AVC-Intra
AVC-Intra 50,
50, DVCPRO
DVCPRO HD/50/DV
HD/50/DV
MPEG-4
MPEG-4 AVC/H.264
AVC/H.264
AVCHD
AVCHD ver.2.0
ver.2.0 (MPEG-4
(MPEG-4 AVC/H.264/AVCHD
AVC/H.264/AVCHD
Progressive)
Progressive)
MPEG-4
MPEG-4 AVC/H.264
AVC/H.264
DVCPRO
DVCPRO HD/50/DV
HD/50/DV
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60i)
(60i)
MOS
MOS 1/3"
1/3"
3MOS
3MOS 1/3"
1/3"
3MOS
3MOS 1/3"
1/3"
3.2"
3.2" LCD
LCD 16:9
16:9 np
np
3.5"
3.5" LCD
LCD 16:9
16:9 np
np
3.5"
3.5" LCD
LCD 16:9
16:9 3.9mm-86mm
3.9mm-86mm f/1.6-3.2
f/1.6-3.2
np
yes
np
yes HD/SD-SDI,
HD/SD-SDI, Composite
Composite
np
yes
np
yes HDMI,
HDMI, HD/SD-SDI,
HD/SD-SDI, Composite
Composite
optical
optical yes
yes HDMI,
HDMI, HD/SD-SDI,
HD/SD-SDI, Component
Component
XLR
XLR (2)
(2) yes
yes Sh
Sh 7.9lb.
7.9lb. (3.6kg.)
(3.6kg.)
XLR
XLR (2)
(2) yes
yes Sh
Sh 5.5lb.
5.5lb. (2.5kg.)
(2.5kg.)
XLR
XLR (2)
(2) yes
yes Std
Std 5.3lb.
5.3lb. (2.4kg.)
(2.4kg.)
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60i)
(60i)
4/3"
4/3" MOS
MOS
3MOS
3MOS 1/3"
1/3"
3CCD
3CCD 1/3"
1/3"
np
yes
np
yes HDMI,
HDMI, HD/SD-SDI,
HD/SD-SDI, Component
Component
optical
optical yes
yes HDMI
HDMI
optical
optical yes
yes HD/SD-SDI,
HD/SD-SDI, Composite,
Composite, Component
Component
XLR
XLR (2)
(2) yes
yes Std
Std 2.9lb.
2.9lb. (1.3kg.)
(1.3kg.)
XLR
XLR (2)
(2) yes
yes Std
Std 5.3lb.
5.3lb. (2.4kg.)
(2.4kg.)
XLR
XLR (2)
(2) yes
yes Std
Std 4.2lb.
4.2lb. (1.9kg.)
(1.9kg.)
1920x1080
1920x1080 (60i)
(60i)
1/4.1"
1/4.1" MOS
MOS xx 33 (2)
(2)
3.5"
3.5" LCD
LCD 16:9
16:9 np
np
3.5"
3.5" LCD
LCD 16:9
16:9 3.9mm-86mm
3.9mm-86mm f/1.6-3.2
f/1.6-3.2
3.5"
3.9mm-51mm
3.5" LCD
LCD
3.9mm-51mm f/1.6-3.0
f/1.6-3.0
[2D]
[2D] 2.8-34.1
2.8-34.1 mm
mm f/1.5
f/1.5 (WIDE)
(WIDE)
3.5"
3.5" LCD
LCD 16:9
16:9 f/2.8
f/2.8 (TELE),
(TELE), [3D]
[3D] 2.84-28.4
2.84-28.4 mm
mm
Wide
f/1.5
Wide 3D
3D
f/1.5 (WIDE)
(WIDE) // f/2.7
f/2.7 (TELE)
(TELE)
optical
optical np
np HDMI
HDMI
XLR
XLR (2)
(2) yes
yes Std
Std 3.5lb.
3.5lb. (1.6kg.)
(1.6kg.)
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60i)
(60i)
3CCD
3CCD 1/3"
1/3"
1/4.1"
1/4.1" 3MOS
3MOS
3.5"
3.9mm-51mm
3.5" LCD
LCD
3.9mm-51mm f/1.6-3.0
f/1.6-3.0
2.7"
2.7" LCD
LCD 16:9
16:9 4.0mm-48mm
4.0mm-48mm f/1.8-2.8
f/1.8-2.8
optical
optical yes
yes HDMI,
HDMI, Component,
Composite
optical
optical yes
yes HDMI,
HDMI, Component,
Composite
XLR
XLR (2)
(2) yes
yes Std
Std 3.7
3.7 lb.
lb. (1.7
(1.7 kg.)
kg.)
XLR
XLR (2)
(2) yes
yes Sh
Sh 7.1lb.
7.1lb. (3.2kg.)
(3.2kg.)
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (60i)
(60i)
1/4.7"
1/4.7" 3MOS
3MOS
1/4.1"
1/4.1" 3MOS
3MOS
14
14 MEGAPIXEL
MEGAPIXEL
MYSTERIUM-X
MYSTERIUM-X
3.5"
3.5" LCD
LCD
2.7"
2.7" LCD
LCD 16:9
16:9
5"
5" LCD
LCD
(optional)
(optional)
2.8mm-34.1mm
2.8mm-34.1mm f/1.5-2.8
f/1.5-2.8
4.0mm-48mm
4.0mm-48mm f/1.8-2.8
f/1.8-2.8
optical
optical np
np HDMI,
HDMI, Component
Component
optical
optical yes
yes HDMI,
HDMI, Component
Component
XLR
XLR (2)
(2) yes
yes Std
Std 3.3lb.
3.3lb. (1.5kg.)
(1.5kg.)
1/8"
1/8" yes
yes Std
Std 2.2lb.
2.2lb. (1.0kg.)
(1.0kg.)
np
np
np
np
np
np HD-SDI,
HD-SDI, HDMI
HDMI
1/8"
1/8" (2)
(2) yes
yes Std
Std 5lb.
5lb. (2.3kg.)
(2.3kg.)
np
np
3G
3G HD-SDI,
HD-SDI, HDMI,
HDMI, Composite,
Composite,
np
np Component
Component
XLR
XLR (2)
(2) yes
yes Std
Std 3lb.
3lb. (1.36kg.)
(1.36kg.)
GY-HM790U
GY-HM790U
GY-HM750U
GY-HM750U
GY-HM710U
GY-HM710U
$9,995
$9,995 SDHC
SDHC (2)
(2)
$7,700
$7,700 SDHC
SDHC (2)
(2)
$6,250
$6,250 SDHC
SDHC (2)
(2)
GY-HM650U
GY-HM650U
$5,995
$5,995 SDXC/SDHC
SDXC/SDHC (2)
(2)
GY-HMQ10U
GY-HMQ10U
$5,550
$5,550 SDHC/SDXC
SDHC/SDXC (4)
(4)
GY-HM600U
GY-HM600U
GY-HM150U
GY-HM150U
GY-HMZ1U
GY-HMZ1U
GY-HM70U
GY-HM70U
$4,695
$4,695 SDHC/SDXC
SDHC/SDXC (2)
(2)
$2,495
$2,495 SDHC/SDXC
SDHC/SDXC (2)
(2)
Internal
Internal Flash
Flash Memory
Memory (64GB),
(64GB),
$1,995
MPEG-4
$1,995 SDXC/SDHC/SD
SDXC/SDHC/SD Card
Card
MPEG-4 MVC/H.264,
MVC/H.264, AVCHD
AVCHD
$1,600
AVCHD/AVCHD
$1,600 SDHC/SDXC
SDHC/SDXC (2)
(2)
AVCHD/AVCHD Progressive,
Progressive, MPEG-4
MPEG-4 AVC/H.264
AVC/H.264
D4
D4
D800
D800
D600
D600
$6,000
$6,000 XQD,
XQD, CF
CF
$3,000
$3,000 SD/SDHC/SDXC/CF
SD/SDHC/SDXC/CF
$2,100
$2,100 SD/SDHC/SDXC
SD/SDHC/SDXC
AG-HPX370
AG-HPX370
AG-HPX250PJ
AG-HPX250PJ
AG-AC160A
AG-AC160A
$9,995
$9,995 P2
P2
$6,355
$6,355 P2
P2
$5,400
$5,400 SD/SDHC/SDXC
SD/SDHC/SDXC
AG-AF100A
AG-AF100A
AG-AC130A
AG-AC130A
AG-HPX170PJ
AG-HPX170PJ
$4,595
$4,595 SD/SDHC/SDXC
SD/SDHC/SDXC
$4,445
$4,445 SD/SDHC/SDXC
SD/SDHC/SDXC
$3,795
$3,795 P2
P2
HDC-Z10000
HDC-Z10000
$3,700
$3,700 SD/SDHC/SDXC
SD/SDHC/SDXC
AG-HMC150PJ
AG-HMC150PJ $3,495
$3,495 SD/SDHC
SD/SDHC
AG-HMC80PJ
AG-HMC80PJ $2,550
$2,550 SD/SDHC
SD/SDHC
RED
RED
www.red.com
www.red.com
Sony
Sony Electronics
Electronics Inc.
Inc.
http://pro.sony.com
http://pro.sony.com
AG-AC90A
AG-AC90A
AG-HMC40PJ
AG-HMC40PJ
Scarlet-X
Scarlet-X (brain
(brain
only)
only)
NEX-FS700
NEX-FS700
contents
PMW-EX1R
PMW-EX1R
full screen
print
NEX-FS100U
NEX-FS100U
22
Data Format
Recording Media
Price
Nikon
Nikon
www.nikon.com
www.nikon.com
Model
JVC
JVC
www.pro.jvc.com
www.pro.jvc.com
$2,250
$2,250 SD/SDHC/SDXC
SD/SDHC/SDXC
$2,095
$2,095 SD/SDHC
SD/SDHC
Wireless Remote
Form Factor:
Weight
1920x1080
1920x1080 (59.94i)
(59.94i)
1920x1080
1920x1080 (59.94i)
(59.94i)
1920x1080
1920x1080 (59.94i)
(59.94i)
BUYER’S GUIDE
MOV,
MOV, MP4,
MP4, AVI
AVI
MOV,
MOV, MP4,
MP4, AVI
AVI
MOV,
MOV, MP4,
MP4, AVI
AVI
MXF,
MXF, MOV(HD/SD:H.264),
MOV(HD/SD:H.264), MP4(XDCAM
MP4(XDCAM EX),
EX),
MTS(AVCHD)
MTS(AVCHD)
4K:
4K: MPEG-4
MPEG-4 AVC/H.264
AVC/H.264 (MP4),
(MP4), HD:
HD: AVCHD/
AVCHD/
AVCHD
AVCHD
MOV(HD/SD:H.264),
MOV(HD/SD:H.264), MP4(XDCAM
MP4(XDCAM EX),
EX),
MTS(AVCHD)
MTS(AVCHD)
MOV
MOV MPEG-2,
MPEG-2, MP4
MP4 AVI
AVI (SD)
(SD)
AVCHD
AVCHD ver.2.0
ver.2.0 (MPEG-4
AVC/H.264/AVCHD
Progressive)
Progressive)
AVCHD
AVCHD ver.2.0
ver.2.0 (MPEG-4
AVC/H.264/AVCHD
Progressive)
Progressive)
MPEG-4
MPEG-4 AVC/H.264
AVC/H.264
AVCHD
AVCHD ver.2.0
ver.2.0 (MPEG-4
AVC/H.264/AVCHD
Progressive)
Progressive)
MPEG-4
MPEG-4 AVC/H.264
AVC/H.264
$7,950
5k
$7,950 SSD
SSD
5k FF/4k
FF/4k HD/3k
HD/3k HD/
HD/ 1080p/1k
1080p/1k REDCODE
REDCODE RAW
RAW
SD/SDHC/SDXC,
SD/SDHC/SDXC, Memory
Memory Stick
Stick
PRO
PRO Duo
Duo Mark2/HG
Mark2/HG Duo/
Duo/
HG
HG Duo
Duo HX,
HX, optional
optional 128GB
128GB
$8,460
MPEG-4
$8,460 Memory
Memory Module
Module
MPEG-4 AVCHD,
AVCHD, MPEG-2
MPEG-2 PS
PS
4k
4k (30p),
(30p), 1920x1080
1920x1080 (60p)
(60p)
$7,790
MPEG-2
$7,790 ExpressCard/34
ExpressCard/34 slot
slot (2)
(2)
MPEG-2 Long
Long GOP
GOP HD
HD
SD/SDHC/SDXC,
SD/SDHC/SDXC, Memory
Memory Stick
Stick
PRO
PRO Duo
Duo Mark2/HG
Mark2/HG Duo/
Duo/
HG
HG Duo
Duo HX,
HX, optional
optional 128GB
128GB
$4,615
MPEG-4
$4,615 Memory
Memory Module
Module
MPEG-4 AVCHD
AVCHD
1920x1080
1920x1080 (60i)
(60i)
1920x1080
1920x1080 (240p)
(240p) also
also 960p
960p @
@
lesser
lesser resolutions
resolutions
Included Lens
PRO CAMCORDERS
Exmor
Exmor Super35
Super35 CMOS
CMOS 3.5"
3.5" LCD
LCD 16:9
16:9 np
np
1/2-inch
1/2-inch type
type Exmor
Exmor
Full
3.5"
Full HD
HD CMOS
CMOS (3)
(3)
3.5" LCD
LCD 16:9
16:9 5.8mm-81.2mm
5.8mm-81.2mm f/1.9-16
f/1.9-16
np
np Mini
Mini HDMI
HDMI
np
np Mini
Mini HDMI
HDMI
np
np Mini
Mini HDMI
HDMI
optical
optical yes
yes HD/SD-SDI,
HD/SD-SDI, HDMI
HDMI
8.2lb.
8.2lb. (3.7kg.)
(3.7kg.)
7.5lb.
7.5lb. (3.3kg.)
(3.3kg.)
7.5lb.
7.5lb. (3.4kg.)
(3.4kg.)
yes
yes Std
Std 3.0lb.
3.0lb. (1.3kg.)
(1.3kg.)
yes
yes Std
Std 2.2lb.
2.2lb. (1kg.)
(1kg.)
yes
yes Std
Std 1.9lb.
1.9lb. (.9kg.)
(.9kg.)
contents
XLR
XLR (2)
(2) np
np Std
Std 5.3lb.
5.3lb. (2.4kg.)
(2.4kg.)
full screen
1920x1080
1920x1080 (60p)
(60p)
Exmor
Exmor Super35
Super35 CMOS
CMOS 3.5"
3.5" LCD
LCD 16:9
16:9 np
np
optical
optical np
np HDMI,
HDMI, Component
Component
XLR
XLR (2)
(2) yes
yes Std
Std
print
6.1lb.
6.1lb. (2.8kg.)
(2.8kg.)
23
NEXEA50UH
PMW-100
HDR-AX2000
HXR-NX3D1U
NEX-VG900
HXR-NX70
SLT-A99V
HXR-NX30U
SLT-A77VQ
NEX-VG30
HDR-PJ790V
contents
full screen
print
1920x1080 60p
Exmor APS HD CMOS
1/3" Exmor CMOS
sensor (actual size:
1/2.9")
XLR (2) yes Std
4.9lb. (2.2kg.)
3.5" LCD 16:9 18-200mm f/2.5-5.6
3G HD-SDI, HDMI, Composite,
optical np Component
XLR (2) yes Std
3.8lb. (1.7kg.)
3.5" LCD 16:9 5.4-54mm f/1.8-2.9
optical np HD SDI, HDMI, FireWire, Composite
XLR (2) np Std
3.0lb.
(1.38kg.)
optical yes HDMI, Composite
XLR (2) yes Std
4.6lb. (2.1kg.)
optical np Mini HDMI, Composite, Component
XLR (2) yes Std
2.5lb. (1.2kg
with gear)
digital np Mini HDMI, Composite, Component
1/8"
2.4lb. (1.1kg.)
optical np HDMI, Composite, Component
XLR (2) yes Std
1.9lb. (.9kg.)
np
1/8"
yes Std
1.6lb (.7kg.)
1920x1080 (60i)
MPEG-4 AVC/H.264 AVCHD, MPEG-2 PS
1920x1080 (60i)
3D : MVC 1920x1080 (60i), MPEG4-AVC H.264
AVCHD, MPEG2-PS
1920x1080 (60p)
1/3" Exmor CMOS (3) 3.2" LCD 16:9 29.5-590mm f/1.6-3.4
3D: 2.9mm-29mm f/1.8
1/4" Back-illuminated
Exmor R CMOS(2)
3.5" LCD 16:9 2D: 2.9mm-34.8mm f/1.8
MPEG-4 AVC/H.264 AVCHD
1920x1080 (60p)
35.8 x 23.9mm FullFrame Exmor HD CMOS 3" LCD 16:9
MPEG-4 AVCHD
1920x1080 (60p)
MPEG4-AVC/H.264
1920x1080 (60p)
MPEG4-AVC / H.264 AVCHD
1920x1080 (60p) NTSC Only
MPEG4-AVC/H.264
1920x1080 (60p)
MPEG-4 AVC/H.264 AVCHD
1920x1080 (60p)
MPEG4-AVC/H.264
1920x1080 (60p)
up to XLR audio. It has a detachable
handle and optical image stabilization.
A 1/3-inch CMOS sensor is featured
in this model for shooting AVCHD format. Connections include headphone
and mic, as well as high speed USB,
composite, component and HDMI. A
dual SD card recording environment
is provided along with 64GB internal
flash memory.
Slow and fast speed settings come
with the Canon XF105 and it offers
XLR audio inputs with +48V phantom power as well as a 1/8-inch mic
input. The built-in mic and an external mic can be used at the same time.
There’s a built-in waveform monitor,
color bars and reference tone as well.
There’s also genlock and timecode
capability.
The Canon XF300 uses three native
1920x1080 CMOS sensors and offers
4:2:2 color sampling as well as 50Mb/s
MPEG-2 recording. It has dual CompactFlash card slots, two XLR inputs,
HDMI, component and composite
outputs. Options include shooting
at 60p, 60i, 30p and 24p, offering a
Form Factor:
Weight
optical yes HD/SD-SDI, Component, Composite
MXF, MPEG HD422 (MPEG-2 422P@HL)
np
1/2.9" type ExmorR
CMOS with ClearVid
3.5" LCD 16:9 3.8-38mm f/1.8
35.8 x 23.9mm Exmor
CMOS
3" LCD
np
1/2.9" Native ExmorR
23.5 x 15.6mm Exmor
APS HD CMOS
Wireless Remote
3.2" LCD 16:9 4.1-82mm f/1.6-16
1/3" ClearVid CMOS
EXMOR (3)
Video Output
1920x1080 (60i) NTSC Only
Included Lens
Data Format
$3,950 SxS ExpressCard/34
Memory Stick PRO Duo MARK2
$3,500 Media, SD/SDHC/SDXC
96GB built-in flash memory,
Memory Stick PRO Duo/HG Duo/
$3,400 HG Duo HX, SD/SDHC/SDXC
Memory Stick PRO Duo/HG
Duo/PRO-HG HX Duo, SD/
$3,300 SDHC/SDXC
96GB built-in flash memory,
Memory Stick Pro Duo, SD/
$3,200 SDHC/SDXC
Memory Stick PRO Duo/Pro-HG
$2,800 Duo and SD/SDHC/SDXC
96GB internal flash memory,
Memory Stick PRO Duo/HG Duo/
$2,300 HG Duo HX, SD/SDHC/SDXC
Memory Stick PRO Duo and
$1,800 SD/SDHC/SDXC
Memory Stick PRO Duo/HG
Duo/PRO-HG HX Duo, SD/
$1,800 SDHC/SDXC
Memory Stick PRO Duo and
$1,600 SD/SDHC/SDXC
CONTINUED FROM PAGE 21
mercial and entertainment. As with
any tools of the trade, it’s most important what we learn to do with them
rather than succumbing to perceived
limitations.
Professionally, JVC, Panasonic,
Canon, Sony and others have offerings in this range that focus not only
on specialty production needs, but
great camcorders for solid all-around
production needs.
Picking up with Canon’s XA10, in
addition to the basic options found at
the lower investment level, we move
24
Recording Media
Memory Stick PRO Duo/
$4,610 PRO-HG Duo/PRO-HG Duo HX MPEG-4 AVC/H.264 (AVCHD)
SD/SDHC/SDXC, Memory Stick
PRO Duo Mark2/HG Duo/
HG Duo HX, optional 128GB
$4,200 Memory Module
MPEG-4 AVCHD, MPEG-2 PS
HXR-NX5U
Sony Electronics Inc.
(cont.)
Price
Model
BUYER’S GUIDE
PRO CAMCORDERS
np Mini HDMI
yes Std
3" LCD 16:9
3.8mm-38mm f/1.8-3.4
optical np HDMI, Component, Composite
XLR (2) yes Std
1.4lb. (.6kg.)
3" LCD
24-75mm f/2.8-22
optical np Mini HDMI
1/8"
yes Std
1.4lb. (653g)
np
digital np Mini HDMI, Composite, Component
1/8"
yes Std
3.1lb. (1.4kg)
26-260mm; f/1.8-3.4
optical np Micro HDMI, Composite
1/8"
yes Std
1.3lb. (.6kg.)
23.5 x 15.6mm Exmor
APS HD CMOS
3" LCD 16:9
1/2.9" back-illuminated
Exmor R CMOS
3" LCD
broad range of acquisition choices.
Rounding out the capabilities are
slow and fast-motion modes, interval
recording, optical image stabilization
and instant autofocus. The viewfinder
is 1,555,000 dots and LCD 4-inch
display with focus assist.
Panasonic’s P2 system unit, the AGHPX250 handheld camcorder records
AVC-Intra 100 with 10-bit 4:2:2 and
comes with a 22x zoom lens. It also offers a choice of recording DVCPRO and
HD, as well as DV. In addition to slow
and fast-motion effects, you can shoot a
variety of frame rates in DVCPRO mode.
This unit has more options, controls
and adjustments than the average event
videographer might want or need but
can certainly stand tall as the go-to unit
in a diversified independent professional’s weaponry. Commercial production
values won’t knock the HPX250 out of
the competition.
Riding this price range with a
number of models worth considering is Sony. From the HDR-AX2000
to popular XDCAMs, PMW-EX1R and
PMW-EX3, a lot of decision making is
in order when comparing the sometimes minor differences in features.
Check what is offered in these units
to ensure that you get exactly the
features you want and that you don’t
miss something crucial to your production requirements.
So, you want ultra high resolution
acquisition options? JVC introduced
its 4k camera, the GY-HMQ10U with
a suggested list price of $5,550.
It sports a 1/2.3-inch CMOS backilluminated sensor at 8.3-megapixels. Shutter speeds range from 1/2
25
contents
full screen
print
PRO CAMCORDERS
WHAT IS PRO?
Drawing the line between consumer
and professional is easy. If we’re talking about a camera designed with
the home-user in mind, i.e., someone
whose primary use will be making
video for fun, it’s consumer. If it’s
designed for someone who relies on
their camcorder as a primary tool of
revenue generation, it’s pro. Where
things get foggy is the hobbyist level
camera, or what we like to refer to as
prosumer. Where does prosumer end
and professional begin?
In reality, prosumer isn’t really a thing.
What we’re really talking about is lowcost professional. It used to be that
you could look for the XLR ports. If a
camera had them, it was pro, if not, it
was consumer. In the era of the DSLR,
of course, that rule is thrown out the
window. At Videomaker, we’ve typically
drawn a line in the sand at price, but
that line has always been somewhat
arbitrary. Heck, GoPro HERO3: Black
Editions are being used right and left
for broadcast TV at $400 a pop! That
said, here’s a good litmus test for
determining whether or not a camera
can be considered professional:
1. Does the camera require prior skill
and knowledge to navigate the menus
and work the controls?
2. Is the image quality good enough
that you’re willing to sacrifice otherwise essential features?
3. Does it support professional tools?
(like XLR mics, HD-SDI monitors,
LANCs, etc.)
4. Would the average person have to
take out a bank loan in order to purchase it?
contents
full screen
For this buyer's guide we’ve started
with cameras priced at $1,500, but
that doesn’t mean there aren’t nonprofessional cameras costing more
than that price, and cameras with professional applications at lesser prices.
Just keep the above in mind the next
time you’re talking shop with fellow
videographers about all your professional equipment.
print
by Mike Wilhelm, Content Director
26
BUYER’S GUIDE
to 1/4000. The 4k options include
MPEG-4 AVC/H.264 and HD is
AVCHD/AVCHD progressive.
The 4k settings allow for
3840x2160 at 60p, 50p and 24p with
VBR and an approximate maximum of
144Mb/s. Video outputs include four
Mini HDMI for 4k, one for HD. There
are two XLR mic inputs with phantom power and an 1/8-inch jack for
headphones.
A couple thousand dollars more
gets you the compact shoulder mount
ProHD, though 4k resolution goes
away, JVC’s GY-HM750U, for many
video producers, is arguably all the
camera they’ll ever need. It utilizes a
1/2-inch progressive scan 3CCD sensor for those who just don’t want to go
CMOS yet. A bayonet lens mount system allows for choices in optics. Shutter speed ranges from 1/6 to 1/10,000.
This model uses SDHC memory cards
in its two slots. Video recording is in
MPEG-2 Long GOP and it offers the
ability to use a QuickTime file format.
What does spending more get
me?
For many of us a camcorder for
$10,000 is a dream and something
close to that is all we can hope for,
whether or not we need it for our
production operations. There is more,
plenty more, in the stratosphere that
takes a budget close to $15,000. What
does technology in this bracket offer
us? Mostly, it’s going to be near-cinema-level lens quality, interchangeable lens options, great sensor size, a
boatload of settings, recording modes
and more.
JVC’s ProHD solid state media
camcorder, the GY-HM790U, comes
with a Canon 14x 4.4mm-61mm lens
bringing the best of two worlds of
excellence to a production company.
It is designed to be a modern broadcast and production facility camera
and offers HD picture quality in 720p
and 1080p formats. It is suitable for
electronic news gathering, field production and as a primary studio unit.
The camcorder nudges $10,000 in
price and is feature-laden to the point
of outrageous.
There’s the interchangeable lens option with the industry standard bayonet mount, 4:2:2 processing, built-in
genlock and 3CCD sensors along with
many custom image modes including
gamma, matrix, knee, detail and more.
All packed in a compact shoulder
mount system.
The LCD monitor is a 4.3-inch flipout screen and to alternate with a high
resolution viewfinder. There’s a prerecord function and variable frame rate
for over or under-cranking. JVC offers
studio options such as a large, 8.4-inch
studio monitor and a broad range of
lenses and other accessories, if studio
production is your primary focus.
Sony offers studio configured
packages that start at the $15,000
price range and go up from there. In
addition to camera and lens, however,
the extra cost has more to do with
the accessories you want in order to
establish a studio environment. The
base camera is an HVR-S270U with
1/3-inch HD 3CMOS with a shoulder
mount design. A zoom controller and
studio tripod adaptor round out the
package. All the connections and I/O
are solid here, including four XLR
inputs and HD/SD-SDI output.
What budget should I target?
Without a doubt, today’s offerings will
allow any video producer, regardless
of budgetary range to spend whatever
is available. There may be a law of
diminishing return where features
wanted or needed don’t necessarily equate to total costs for getting
the best. “Best suited” might be the
more logical approach, so check the
features against those wonderful camcorders you’re eyeing but conserve
your bulging budget for those extras
you might like to beef up what the
camera unit can do for you. Balance
what you want against what you need,
and pocket the difference.
Contributing editor Earl Chessher is a full-time video
producer, freelance writer and published author.
HD Helmet Camcorder
VIXIA HV40
HDV Camcorder
• Solid State HD Sports Camcorder
• Waterproof to 3’ & impact-resistant
• Wide-angle (170°) fixed-focus lens
• Rotating Lens with laser-aided leveling
• Record 1080p to 720P HD video
resolutions @30/25fps
• One switch turn-on & record
• One-click video uploading
• Record onto microSD media (up to 32GB)
5
Mega
Pixels
#CO2HDHC
• 1/ 2.7”, 2.96MP HD CMOS sensor
with RGB primary color filter
• Frame rates: 60i, native 24p (records
at 24p), 24p cinema, and 30p (at 60i)
• DIGIC DV II image processor
• Canon HD 10x optical video lens
• Instant Aufo Focus w/ext. sensor
• SuperRange optical stabilization
• 2.7” widescreen LCD screen • External mic input
• Smooth variable zoom with 3 fixed zoom speeds
3
Mega
Pixels
#CAHV40
®
HDR-FX7
HERO3
3 CMOS HDV Camcorder
UltraHD Sports/Helmet Camcorder
• Supports 4K, 2.7K, 1440p & 1080p video
• Capture 3840x2160 pixels at 15 fps
• 2.7k mode recording 30 or 24 fps
• Capture 12, 7 or 5-megapixel stills
• 12- megapixel low-light image sensor
• Wide angle 6-element aspherical lens
• Camera housing waterproof to 197' (60 m)
• Built-in Wi-Fi & GoPro app ready • MicroSD card slot (up to 64GB)
• Basic mounts included • Includes Wi-Fi remote (up to 600' capabilities)
12
Black Edition Camera #GOH3BE
Mega
Pixels
HDR-AS15
• Carl Zeiss 20x Vario-Sonnar T Lens
• 3 1/4" CMOS, 16:9, ClearVID technology sensors
• High-Definition 1080i recording
• Super SteadyShot optical stabilization
• Expanded focus assist
• 3.5" LCD screen & Color viewfinder
• Zoom and focus rings
• Focus and zoom precision controls
• Built-in ¼ & 1/16 ND Filters
• HDMI, Microphone, Headphone, & LANC connectivity
Over 300,000 products,
at your leisure.
www.BandH.com
#SOHDRFX7
GC-PX100
HD Action Camcorder
HD Everio Camcorder
• Record HD 1920 x 1080/30p video
• Back-illuminated 1/2.3" CMOS Exmor
R CMOS sensor • Built-in WiFi capability
• Waterproof Housing with Tripod Mount
• Waterproof case to 197' (60 m)
• Memory Stick Micro & MicroSD/SDHC slot
• Carl Zeiss Vario-Tessar ultra-wide 170°
capable viewing angle lens
• Optical image stabilization • HD 720p slow motion modes, 60 or 120 fps
• External microphone input
• HD 1920 x 1080p recording
• Supports shooting
speeds up to 600 fps • Built-in Wi-Fi
• SC/SDHC/SDXC memory card slot
• 1/2.3 back-illuminated
12.8 Mp CMOS sensor
• 29.4mm F1.2 wide angle lens
• 10x optical zoom & 16x dynamic zoom • 3" touch panel LCD
• Optical image stabilizer with A.I.S.
• Capture still images in bursts of nine frames a second
#SOHDRAS15B
#JVGCPX100
HC-X920
12
Mega
Pixels
3D Flash Memory HD Camcorder
• 3x 1/2" back-illuminated CMOS sensors
• 12x optical, 25x advanced Leica
Dicomar lens (f/1.5 maximum aperture)
• Record to SD/SDHC/SDXC media
• Remote WiFi mobile device
tether plus Ustream sharing
• Manual controls
• 3.5" (16:9) LCD screen & color viewfinder • Optical image stabilizer
• 3D recording capable with optional Panasonic VW-CLT2 3D lens
• Microphone & headphone input
• Dual 1/3.91 back-illuminated
Exmor-R CMOS sensors
• Record to SD/SDHC/SDXC
MS PRO-HG Duo & XC-HG media
• 1920 x 1080 Full HD 24p/60p video
• Sony G series wide 10x 17x extended zoom lens
• 3.5" (16:9) LCD screen & Color viewfinder
• 5.1-ch recording • Optical image stabilizer with Active mode
• Watch 3D on 3.5" (16:9) LCD without special glasses
• Built-in GPS • Microphone & headphone input
20
#PAHCX920K
800-947-9925
212-444-5025
HDR-TD30V
3 CMOS Flash Memory HD Camcorder
Mega
Pixels
VIXIA HF M500
VIXIA HF G30
HD Flash memory Camcorder
• Canon 1/3” HD 2.37Mp CMOS pro image sensor
• 1920 x 1080 recording on to SD/SDHC/SDXC media
• HD 10x optical zoom lens
• 3.0” widescreen LCD
• Optical image stabilization
• Cinematic Features
• 24p cinema & 30p progressive modes
• Microphone & headphone inputs
• RGB Primary Color filter
• Full HD 1920 x 1080p Recording at 60 fps
• Canon 2.91MP 1/2.84” HD CMOS Pro Sensor
• Canon 20x HD Video Lens (3.67 - 73.4mm)
• Record in MP4 (35Mbps) or AVCHD
(28Mbps) • Dual SD/SDHC/SDXC
Memory Card Slots • Built-in
Wi-Fi & Free Movie Uploader App
• OLED 3.5” touch Panel display &
joystick • Color 0.24” Viewfinder
• Optical Image Stabilization
#CAHFM500
#CAHFG30
HDR-PJ790
HDC-Z10000
HD Flash Memory Projector Camcorder
Twin-Lens 2D/3D Camcorder
• 1/2.88 back-illuminated Exmor-R
CMOS sensor • Record to internal
96GB flash memory, or SD/SDHC/
SDXC MS PRO-HG Duo & XC-HG media
• 1920 x 1080 Full HD 24p/60p video
• Internal 35 lumen projector • Carl Zeiss
Vario-Sonnar T* zoom lens (10x, 17x extended) • 3.0" (16:9) LCD screen
& Color viewfinder • 5.1-ch recording • WI-Fi capable (optional ADPWL1M wireless module) • Optical image stabilizer • Smooth slow-motion
recording capabilities • Built-in GPS • Microphone & headphone input
• Two independent 3MOS sensors
• HD Stereoscopic 3D recording
• Dual Integrated 10x Lenses
(12x in 2D) • Triple manual rings:
focus, zoom and iris
• Multi View Coding (MVC)
Recording in 3D 1080p60
• 3.5" 3D compatible LCD
• Dual XLR Inputs
• 2D/3D Still Image Recording
24
Mega
Pixels
Fax:
212-239-7770
20
Mega
Pixels
#SOHDRTD30VB
HD Flash Memory Camcorder
#SOHDRPJ790VB
+2
#PAHDCZ10000
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906
NEW
We Buy, Sell and Trade
Used Equipment
Store & Mail Order Hours:
Sunday 10-6 • Mon.-Thurs. 9-7
Friday 9-1 EST / 9-2 DST
Saturday Closed
contents
full screen
Page 1
print
XA10
PMW-100
XDCAM HD422
Handheld Camcorder
XDCAM HD422 Handheld Camcorder
NEX-VG900
35mm Full-Frame
Interchangeable Lens Camcorder
35mm Full-Frame Interchangeable Lens Camcorder
#CAXA10
#CAXA10
#JVGYHM600U / JVGYHM650U
#JVGYHM600U / JVGYHM650U
#SOPMW100
#SOPMW100
#SONEXVG900
#SONEXVG900
AG-AC90
Corner of 34th Street
Corner of 34th Street
New York,
York, N.Y.
N.Y. 10001
10001
New
• Three 1/4.7" HD 2.19MP CMOS back
• Three 1/4.7" HD 2.19MP CMOS back
illuminated sensors • 1920x1080 native with
illuminated sensors • 1920x1080 native with
variable 60p, 60i, 30p and 24p frame rates
variable 60p, 60i, 30p and 24p frame rates
• Five-Axis optical image stabilization
• Five-Axis optical image stabilization
• Dual SD Memory Card Slots
• Dual SD Memory Card Slots
• 12x zoom (f/1.5) and 25x digital zoom lens
• 12x zoom (f/1.5) and 25x digital zoom lens
• 3.5" LCD screen & LCOS color viewfinder
• 3.5" LCD screen & LCOS color viewfinder
• AVCCAM HD Recording Modes • Six scene
• AVCCAM HD Recording Modes • Six scene
presets, and seven programmable user buttons • Interval Record, Prepresets, and seven programmable user buttons • Interval Record, PreRecord, Record Check, Last Clip Delete • Two-Channel XLR Audio Inputs
Record, Record Check, Last Clip Delete • Two-Channel XLR Audio Inputs
HXR-NX30
• 1/4" 4.2Mp, ClearVid Exmor R CMOS sensor
• 1/4" 4.2Mp, ClearVid Exmor R CMOS sensor
• Built-in 64GB hard drive
• Built-in 64GB hard drive
• SD/SDHC/SDXC & Memory Stick slot
• SD/SDHC/SDXC & Memory Stick slot
• 1920 x 1080i AVCHD (24Mbps)
• 1920 x 1080i AVCHD (24Mbps)
• MPEG-2 SD Mode (9Mbps)
• MPEG-2 SD Mode (9Mbps)
• 12x wide angle Sony G lens
• 12x wide angle Sony G lens
• Optical SteadyShot stabilizer
• Optical SteadyShot stabilizer
• 2.7" ClearPhoto LCD
• 2.7" ClearPhoto LCD
• Manual lens ring with assignable
• Manual lens ring with assignable
parameters
parameters
# SOHXRNX30U
# SOHXRNX30U
BandH.com/catalog
212-444-6633
212-444-6633
full screen
print
Page 2
Page 2
NEW
NEW
AG-AC130A / AG-AC160A
AG-AC130A
/ AG-AC160A
3-MOS HD Handheld
Camcorders
3-MOS HD Handheld Camcorders
NEX-EA50UH
#PAAGHPX370
#PAAGHPX370
#SONEXEA50UH
#SONEXEA50UH
• 10-bit, 4:2:2, native 1080 and 720p
• 10-bit, 4:2:2, native 1080 and 720p
HD resolution in variable frame rates
HD resolution in variable frame rates
• AVC-Intra 100 and 50 codecs
• AVC-Intra 100 and 50 codecs
• Two P2 card slots (hot swapping,
• Two P2 card slots (hot swapping,
loop, pre-record)
loop, pre-record)
• 3 advanced 1/3”, 2.2 MP
• 3 advanced 1/3”, 2.2 MP
CMOS sensors • HD-SDI output
CMOS sensors • HD-SDI output
• 20-bit digital signal processor
• 20-bit digital signal processor
• 17x Fujinon HD lens • Built-in scan reverse mode
• 17x Fujinon HD lens • Built-in scan reverse mode
• Waveform and vector scope display
• Waveform and vector scope display
• Exmor APS-C CMOS sensor (AVCHD /
• Exmor APS-C CMOS sensor (AVCHD /
MPEG2-SD) • Supplied 18-200 servo
MPEG2-SD) • Supplied 18-200 servo
power zoom • E-mount interchangeable
power zoom • E-mount interchangeable
lens system • Add lenses without being
lens system • Add lenses without being
locked on a lens brand or lens mount
locked on a lens brand or lens mount
• Use Alpha A-mount lenses with
• Use Alpha A-mount lenses with
15‐point phase detection AF
15‐point phase detection AF
• Mechanical shutter Still Picture
• Mechanical shutter Still Picture
• 3.5’’LCD Panel • Record onto Memory Stick/SD/SDHC/SDXC/HXR• 3.5’’LCD Panel • Record onto Memory Stick/SD/SDHC/SDXC/HXRFMU128 (Optional) • Records on media card and FMU128 Simultaneously
FMU128 (Optional) • Records on media card and FMU128 Simultaneously
XF300 / XF305
XF300
3 CMOS Solid
State/ XF305
HD Camcorder
Cinema 2.5K / Production 4K
3 CMOS Solid State HD Camcorder
• Record HD 1080/720 onto
• Record HD 1080/720 onto
Compact Flash cards
Compact Flash cards
• 50Mbps MPEG-2 4:2:2 recording
• 50Mbps MPEG-2 4:2:2 recording
• 3 1/3" 2.37Mp CMOS sensors
• 3 1/3" 2.37Mp CMOS sensors
• 18x Canon HD L series lens
• 18x Canon HD L series lens
• DIGIC DV III image processor
• 4" 1.23 Mp LCD monitor
• 4" 1.23 Mp LCD monitor
• 1.55 Mp Color EVF
• 1.55 Mp Color EVF
• Over and under crank
• Over and under crank
XF305 Step-up: HD-SDI Output, Genlock & SMPTE Time Code
XF305 Step-up: HD-SDI Output, Genlock & SMPTE Time Code
#BLPKCINECAM
#BLPKCINECAM
#PAAGAC130A / #PAAGAC160A
#PAAGAC130A / #PAAGAC160A
#CAXF300 / #CAXF305
#CAXF300 / #CAXF305
XA20 / XA25
NEW
NEW
• 1/2.84” HD CMOS sensor with RGB primary color filter
• 1/2.84” HD CMOS sensor with RGB primary color filter
• 20x HD Zoom Lens • 2 x SD/SDHC/SDXC
• 20x HD Zoom Lens • 2 x SD/SDHC/SDXC
card slots with relay and dual recording
card slots with relay and dual recording
• Canon Digic DV 4 image processor
• Canon Digic DV 4 image processor
• Built-in Wi-Fi technology with FTP transfer
• Built-in Wi-Fi technology with FTP transfer
capability • Optical image stabilization
capability • Optical image stabilization
• 3.5” LCD screen and color viewfinder
• 3.5” LCD screen and color viewfinder
• 2 phantom-powered XLR audio inputs
• 2 phantom-powered XLR audio inputs
• Native 24p and slow- and fast motion recording
• Native 24p and slow- and fast motion recording
XA25 Step-up Features: HD/SD-SDI output and pre-record 3-sec. buffer
XA25 Step-up Features: HD/SD-SDI output and pre-record 3-sec. buffer
#CAXA20 / CAXA25
#CAXA20 / CAXA25
XF100 / XF105
XF100
XF105
HD Professional
CF/ Camcorders
• 1/3" CMOS 1920 x 1080 CMOS sensor
• 1/3" CMOS 1920 x 1080 CMOS sensor
• Dual CF card slots
• 50Mbps MPEG-2 recording
• 50Mbps MPEG-2 recording
• Canon's MPEG-2 4:2:2 color sampling
• Canon's MPEG-2 4:2:2 color sampling
• 60p/60i, 30p, 24p MXF File Format
• 60p/60i, 30p, 24p MXF File Format
• 10x HD zoom lens
• 10x HD zoom lens
• 3.5" 920K dot LCD monitor
• 3.5" 920K dot LCD monitor
• Stereoscopic 3-D recording capabilities
• Stereoscopic 3-D recording capabilities
• Dual XLR inputs • Waveform Monitor
• Dual XLR inputs • Waveform Monitor
XF105 Step-up: HD/SD-SDI, SMPTE Time Code, Genlock
XF105 Step-up: HD/SD-SDI, SMPTE Time Code, Genlock
#CAXF100 / #CAXF105
#CAXF100 / #CAXF105
AG-HPX250 / AG-HPX255
AG-HPX250
/ AG-HPX255
3-MOS HD Handheld
Camcorders
3-MOS HD Handheld Camcorders
• 3x 1/3”, 2.2 Mp CMOS sensor - 18-bit dsp
• 22x optical zoom lens
• 1080p 1080i 60/p30/p24 & 720p60
• 1080p 1080i 60/p30/p24 & 720p60
• Three rings; Manual Zoom, Focus & Iris
• HD-SDI & HDMI output
• HD-SDI & HDMI output
• 59.94 Hz / 50 Hz switchable
• 59.94 Hz / 50 Hz switchable
• Slow/quick motion recording mode
• Slow/quick motion recording mode
• P2 card and DVCPRO mode recording
• P2 card and DVCPRO mode recording
AG-HPX255 Step-up Features:
AG-HPX255 Step-up Features:
• Remote terminal for studio control
• Remote terminal for studio control
NEX-VG30
NEX-VG30
Interchangeable
Lens HD Camcorder and Lens
Interchangeable Lens HD Camcorder and Lens
• 16.1MP Exmor APS-C HD CMOS sensor
• 16.1MP Exmor APS-C HD CMOS sensor
• Includes E-mount f/3.5-6.3 18-200mm
• Includes E-mount f/3.5-6.3 18-200mm
OSS zoom lens • A-Mount capable
OSS zoom lens • A-Mount capable
with optional A-mount lens adapter
with optional A-mount lens adapter
• Direct power zoom w/ variable
• Direct power zoom w/ variable
zoom speed control • XGA OLED
zoom speed control • XGA OLED
electronic viewfinder • Quad Capsule
electronic viewfinder • Quad Capsule
Spatial Array Surround mic (5.1
Spatial Array Surround mic (5.1
channel) Mic/Headphone jacks • Optical SteadyShot image stabilization
channel) Mic/Headphone jacks • Optical SteadyShot image stabilization
• Comprehensive manual controls expanded focus, zebra, and peaking
• Comprehensive manual controls expanded focus, zebra, and peaking
#SONEXVG30H
#SONEXVG30H
EOS C100
16
16
Mega
Pixels
Mega
Pixels
Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2013 B & H Foto & Electronics Corp.
Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2013 B & H Foto & Electronics Corp.
Fax:
Fax:
212-239-7770
212-239-7770
EOS Camcorder
C300
Cinema EOS/PL
Body
Cinema EOS/PL Camcorder Body
Lens Optional
Lens Optional
• Super 35mm CMOS sensor
• Super 35mm CMOS sensor
• 50 Mbps MPEG-2 EF or PL lens mount
• 50 Mbps MPEG-2 EF or PL lens mount
• Canon XF Codec - 4:2:2 color sampling
• Canon XF Codec - 4:2:2 color sampling
• Multiple recording formats
• Multiple recording formats
• High-resolution VF and 4", 1.23 Mp LCD
• High-resolution VF and 4", 1.23 Mp LCD
• HD-SDI, HDMI, XLR audio
• HD-SDI, HDMI, XLR audio
• Canon DIGIC DV III image processor
• Canon DIGIC DV III image processor
• High-Speed, Slow-Motion, Time-Lapse and Stop-Motion
• High-Speed, Slow-Motion, Time-Lapse and Stop-Motion
• Timecode I/O, Genlock in & Sync out
• Timecode I/O, Genlock in & Sync out
Used Equipment
Equipment
Used
Lens Optional
Lens Optional
#CAC300EF / #CAC300PL
#CAC300EF / #CAC300PL
PMW-200
PMW-200
XDCAM HD422
Camcorder
XDCAM HD422 Camcorder
• Three 1/2" Exmor CMOS sensors
• Three 1/2" Exmor CMOS sensors
• MPEG HD422 at 50 Mbps recording
• MPEG HD422 at 50 Mbps recording
• HD422 1080p at 24 & 30 fps HD422
• HD422 1080p at 24 & 30 fps HD422
720p at 24, 30 & 60 fps Fujinon
720p at 24, 30 & 60 fps Fujinon
14x zoom (servo/manual) lens
14x zoom (servo/manual) lens
• Dual SxS memory card slots
• Dual SxS memory card slots
• Four Channels of 16-bit audio
• Four Channels of 16-bit audio
• Supports MXF and XDCAM EX
• Supports MXF and XDCAM EX
workflows • Articulated 3.5" LCD screen
workflows • Articulated 3.5" LCD screen
• Timecode & Genlock input • Cache recording Up to 15 seconds
• Timecode & Genlock input • Cache recording Up to 15 seconds
#SOPMW200
#SOPMW200
• Canon EF and Zeiss ZE mount compatible lens mount • 2.5K image sensor
• Canon EF and Zeiss ZE mount compatible lens mount • 2.5K image sensor
• 12-bit RAW, ProRes, DNxHD, and CinemaDNG RAW formats
• 12-bit RAW, ProRes, DNxHD, and CinemaDNG RAW formats
NEW
• 5” display size • Variable frame rate recording
NEW
• 5” display size • Variable frame rate recording
• Super wide dynamic range • SDI video output
• Super wide dynamic range • SDI video output
and Thunderbolt Port • Records to removable
and Thunderbolt Port • Records to removable
5” SSD drives • Uncompressed and
5” SSD drives • Uncompressed and
compressed recording • Includes DaVinci
compressed recording • Includes DaVinci
Resolve and UltraScope
Lens Optional
Resolve and UltraScope
Lens Optional
Production Camera 4K Step-up Features: 4K super 35mm sensor
Production Camera 4K Step-up Features: 4K super 35mm sensor
800-947-9925
800-947-9925
212-444-5025
212-444-5025
EOS C300
EOS C100
EF Cinema Camcorder
EF Cinema Camcorder
• Super 35mm 8.3MP CMOS sensor
• Super 35mm 8.3MP CMOS sensor
• Canon EF mount with EF contacts
• Canon EF mount with EF contacts
• Dual SDHC/SDXC memory card slots
• Dual SDHC/SDXC memory card slots
• Multiple recording modes and frame rates
• Multiple recording modes and frame rates
• Full manual control and focusing aids
• Full manual control and focusing aids
• Exceptional low light sensitivity and wide
• Exceptional low light sensitivity and wide
dynamic range
dynamic range
• High resolution EVF and integrated LCD screen
• High resolution EVF and integrated LCD screen
• Dual XLR audio connectors
• Dual XLR audio connectors
Cinema
2.5K /with
Production
4K
Cinema Interchangable Lens
Camera’s
EF Mount
Cinema Interchangable Lens Camera’s with EF Mount
#BLCINECAM / #BLPRODCAM4K
#BLCINECAM / #BLPRODCAM4K
#CAC100EF
#CAC100EF
#PAAGHPX250 / #PAAGHPX255
#PAAGHPX250 / #PAAGHPX255
Lens Optional
Lens Optional
HD Shoulder NEX-EA50UH
Mount Interchangeable Lens Camcorder
HD Shoulder Mount Interchangeable Lens Camcorder
AG-AC160A
AG-AC160A
• 1080p 1080i 60/p30/p24 & 720p60
• 1080p 1080i 60/p30/p24 & 720p60
• Dual SD/SDHC/SDXC card slots
• Dual SD/SDHC/SDXC card slots
• AVCHD & DV recording (SD) modes
• AVCHD & DV recording (SD) modes
AG-AC160A Step-up Features:
AG-AC160A Step-up Features:
• HD-SDI & LPCM audio recording
• HD-SDI & LPCM audio recording
• 59.94 Hz / 50 Hz switchable • Slow/quick motion recording mode
• 59.94 Hz / 50 Hz switchable • Slow/quick motion recording mode
/ XA25
ProfessionalXA20
HD Camcorder
Professional HD Camcorder
www.BandH.com
www.BandH.com
AG-HPX370
3-CMOS Pro Solid
State Camcorder
3-CMOS Pro Solid State Camcorder
• Super 16mm Sized Image Sensor
• Super 16mm Sized Image Sensor
• Active Micro Four Thirds Lens Mount
• Active Micro Four Thirds Lens Mount
• 13 Stops of Dynamic Range
• 13 Stops of Dynamic Range
• Records Full HD 1920x1080
• Records Full HD 1920x1080
CinemaDNG RAW • Apple ProRes
CinemaDNG RAW • Apple ProRes
422 (HQ) at 220 Mbps • Portable
422 (HQ) at 220 Mbps • Portable
Design (5” Long and 12.5 oz) • 3.5” LCD with 800x480 Resolution
Design (5” Long and 12.5 oz) • 3.5” LCD with 800x480 Resolution
• Uses SDXC and SDHC Memory Cards • EN-EL20 Compatible
• Uses SDXC and SDHC Memory Cards • EN-EL20 Compatible
Rechargeable Battery • HDMI, LANC, 3.5mm Audio Input and Output
Rechargeable Battery • HDMI, LANC, 3.5mm Audio Input and Output
HD Professional CF Camcorders
contents
Mega
Pixels
Mega
Pixels
#SOHXRMC2000U
#SOHXRMC2000U
Pocket Cinema Camera
Pocket Cinema Camera
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#PAAGAF100A
#PAAGAF100A
AG-HPX370
HXR-MC2000U
• Shoots AVCHD Up to 1080/60p
• Shoots AVCHD Up to 1080/60p
at 24Mbps
at 24Mbps
• Built-In 96GB Flash Memory Capacity
• Built-In 96GB Flash Memory Capacity
• Pro Audio Control & Level Adjustment
• Pro Audio Control & Level Adjustment
• Equipped with Dual XLR Inputs
• Equipped with Dual XLR Inputs
• Built-In Projector & 3.5" LCD Monitor
• Built-In Projector & 3.5" LCD Monitor
• Built-In Stereo Shotgun Microphone
• Built-In Stereo Shotgun Microphone
• Super-Wide Carl Zeiss 10x Optical Lens
• Super-Wide Carl Zeiss 10x Optical Lens
• Balanced Optical SteadyShot
• Balanced Optical SteadyShot
• Features SD or Memory Stick Card Slot
• Features SD or Memory Stick Card Slot
• Large 4/3-type MOS sensor
• Large 4/3-type MOS sensor
• Micro four thirds lens mount
• Micro four thirds lens mount
• Uses still & cinema lenses
• Uses still & cinema lenses
• Two SDHC/SDXC memory card slots
• Two SDHC/SDXC memory card slots
(Relay Recording)
(Relay Recording)
• AVCCAM Recording 1080i/p,
• AVCCAM Recording 1080i/p,
720p variable frame rates
720p variable frame rates
• Optical low-pass filter
• Optical low-pass filter
• HD-SDI, HDMI output, Dual XLR
• HD-SDI, HDMI output, Dual XLR
#SOHXRNX5U
#SOHXRNX5U
HXR-MC2000U
Shoulder Mount
AVCHD Pro Camcorder
Shoulder Mount AVCHD Pro Camcorder
Pixels
Mega
Pixels
AG-AF100A
Digital Cinema Camera
Digital Cinema Camera
• Three 1/3” Exmor CMOS sensors, with a ClearVid array
• Three 1/3” Exmor CMOS sensors, with a ClearVid array
• Capture uses Memory Stick PRO
• Capture uses Memory Stick PRO
Duo / SDHC Cards, with relay
Duo / SDHC Cards, with relay
record capability (optional HXRrecord capability (optional HXRFMU128 flash memory unit)
FMU128 flash memory unit)
• 20x wide G series lens
• 20x wide G series lens
• HD-SDI & HDMI output, SMPTE
• HD-SDI & HDMI output, SMPTE
Time Code in/out, Dual XLR inputs
Time Code in/out, Dual XLR inputs
• Built-in GPS system
• Built-in GPS system
• 3.2” Xtra Fine LCD
• 3.2” Xtra Fine LCD
• Three 1/3” CMOS Exmor sensors
• Three 1/3” CMOS Exmor sensors
• Records to Memory Stick PRO Duo,
• Records to Memory Stick PRO Duo,
SD/SDHC Cards (Dual media slots)
SD/SDHC Cards (Dual media slots)
• 1080/60i, and 24p/30p AVCHD recording
• 1080/60i, and 24p/30p AVCHD recording
• 20x zoom G-Lens (29.5mm wide)
• 20x zoom G-Lens (29.5mm wide)
• Zoom, focus, and iris rings
• Zoom, focus, and iris rings
• Dual XLR inputs • 3.2” Xtra Fine LCD
• Dual XLR inputs • 3.2” Xtra Fine LCD
• Low-light (1.5 LUX) capabilities
• Low-light (1.5 LUX) capabilities
• CinemaTone Gamma and CinemaTone
• CinemaTone Gamma and CinemaTone
Color control
Color control
24
24
AG-AF100A
HXR-NX5U
3-CMOS NXCAM
Flash Memory Camcorder
3-CMOS NXCAM Flash Memory Camcorder
HDR-AX2000
3-CMOS AVCHD
Flash Camcorder
3-CMOS AVCHD Flash Camcorder
#SOHDRAX2000H
#SOHDRAX2000H
Compact HD HXR-NX30
Camcorder
Compact HD Camcorder
• 24.3MP full-frame 35mm Exmor CMOS HD sensor
• 24.3MP full-frame 35mm Exmor CMOS HD sensor
• E-Mount, and A-Mount with includes
• E-Mount, and A-Mount with includes
LA-EA3 A-mount lens adapter
LA-EA3 A-mount lens adapter
• 1080/60i/60p/24p • Quad capsule
• 1080/60i/60p/24p • Quad capsule
microphone with XLR option
microphone with XLR option
• Tru-Finder OLED viewfinder with eye
• Tru-Finder OLED viewfinder with eye
sensor • Cinematone Gamma with
sensor • Cinematone Gamma with
comprehensive manual control
comprehensive manual control
• Uncompressed 1080 HDMI Output • Memory Stick PRO Duo/PRO-HG
• Uncompressed 1080 HDMI Output • Memory Stick PRO Duo/PRO-HG
Duo, SD/SDHC/SDXC • 3.0" LCD screen
Duo, SD/SDHC/SDXC • 3.0" LCD screen
Mega
HXR-NX5U
HDR-AX2000
#PAAGAC90
#PAAGAC90
Over 70,000 square feet
Over 70,000 square feet
of the latest gear
of the latest gear
The most knowledgeable
The most knowledgeable
Sales Professionals
Sales Professionals
Hands-on demos
Hands-on demos
Convenient free parking
Convenient free parking
available
available
• 1/2.9" CMOS Sensor (1920 x 1080)
• 1/2.9" CMOS Sensor (1920 x 1080)
• XDCAM 422 MPEG-2 Codec at 50 Mb/s
• XDCAM 422 MPEG-2 Codec at 50 Mb/s
• 10x Zoom Lens - 40-400mm
• 10x Zoom Lens - 40-400mm
(35mm Equiv)
(35mm Equiv)
• 3.5" LCD Screen (852 x 480 Pixels)
• 3.5" LCD Screen (852 x 480 Pixels)
• HD-SDI & HDMI Outputs
• HD-SDI & HDMI Outputs
• Dual XLR Inputs / Timecode
• Dual XLR Inputs / Timecode
& Genlock I/O • Dual ExpressCard SxS
& Genlock I/O • Dual ExpressCard SxS
Card Slots • Compatible with XDCAM
Card Slots • Compatible with XDCAM
Disc & EX Formats • DVCAM Recording
Disc & EX Formats • DVCAM Recording
• Three 1/3” (1920 x 1080)
• Three 1/3” (1920 x 1080)
12-Bit CMOS sensors
12-Bit CMOS sensors
• Dual SDXC/SDHC card slots,
• Dual SDXC/SDHC card slots,
dual-backup, continuous recording
dual-backup, continuous recording
• MPEG-2 / AVCHD / H.264 Recording
• MPEG-2 / AVCHD / H.264 Recording
• 23x Fujinon wide zoom lens
• 23x Fujinon wide zoom lens
• F11 Sensitivity • Optical image stabilizer
• F11 Sensitivity • Optical image stabilizer
• 3.5” LCD screen with focus assist • HD-SDI and HDMI connections
• 3.5” LCD screen with focus assist • HD-SDI and HDMI connections
GY-HM650 Step-up Features: WiFi with Apps for iOS/Android, Live
GY-HM650 Step-up Features: WiFi with Apps for iOS/Android, Live
transmission (streaming), Secure FTP File upload via WiFi
transmission (streaming), Secure FTP File upload via WiFi
AG-AC90
AVCCAM Handheld
Camcorder
AVCCAM Handheld Camcorder
420 Ninth
Ninth Ave.
Ave.
420
NEX-VG900
/ GY-HM650
ProHD GY-HM600
ENG Camcorder
ProHD ENG Camcorder
• 64GB Internal and Dual SDHC/SDXC
• 64GB Internal and Dual SDHC/SDXC
card slots with relay recording
card slots with relay recording
• 1920 x 1080 CMOS Image Sensor
• 1920 x 1080 CMOS Image Sensor
• Canon 10x HD Video Lens
• Canon 10x HD Video Lens
• 8-Blade Iris and Manual Focus Ring
• 8-Blade Iris and Manual Focus Ring
• DIGIC DV III Image Processor
• DIGIC DV III Image Processor
• 24Mbps Recording (AVCHD)
• 24Mbps Recording (AVCHD)
• 3.5" High-resolution touch panel
• 3.5" High-resolution touch panel
LCD and EVF
LCD and EVF
• Dual XLR terminals
• Dual XLR terminals
When in
in New
New York,
York,
When
Visit
our
SuperStore
Visit our SuperStore
PMW-100
GY-HM600 / GY-HM650
ProfessionalXA10
HD Solid State Camcorder
Professional HD Solid State Camcorder
PMW-F5 / PMW-F55
PMW-F5
PMW-F55
CineAlta Digital
Cinema/ Camera’s
CineAlta Digital Cinema Camera’s
• 8.9MP Super 35mm CMOS Image Sensor
• 8.9MP Super 35mm CMOS Image Sensor
• 2K and HD Recording • Highly Modular
• 2K and HD Recording • Highly Modular
Design • 8.9MP Super 35mm CMOS
Design • 8.9MP Super 35mm CMOS
Image Sensor • SxS Pro+ media cards
Image Sensor • SxS Pro+ media cards
• Native FZ-Mount and PL-Mount Adapter
• Native FZ-Mount and PL-Mount Adapter
Lens and Equipment Optional
• Dynamic Range Rated at 14 Stops
Lens and Equipment Optional
• Dynamic Range Rated at 14 Stops
• Olivine Lithium Iron Phosphate Batteries • Optional AXS-R5 docking
• Olivine Lithium Iron Phosphate Batteries • Optional AXS-R5 docking
recorder enables 4K and 2K resolution video recording in 16-bit RAW
recorder enables 4K and 2K resolution video recording in 16-bit RAW
PMW-F55 Step-up Features: 4K /2K /HD Recording
PMW-F55 Step-up Features: 4K /2K /HD Recording
#SOPMWF5 ..........................................................................................$16,490.00
#SOPMWF5 ..........................................................................................$16,490.00
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Saturday Closed
Saturday Closed
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Buye
Audio
r’s
Guid
e
Editing Software
BY HAL ROBERTSON
Audio editing software is crucial for just about any video
creator today. While your video editing software may
include some basic audio editing capability, most can’t
compare to even the simplest dedicated program. Essentially a studio-in-a-box, audio editing software provides
editing, mixing, cleanup and effects in one simple interface.
W
hether you’re producing a weekly webcast or an independent
feature film, you’ll need some audio editing software at some
point. A professional soundtrack can grab the viewers and keep
them glued to the screen – or at least keep them from clicking the
stop button. We’ll just say it: nothing says amateur louder than bad
audio. Fortunately, there are dozens of audio editing applications out
there, with one for just about every skill level and budget.
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Adob
www e
.abo
Syst
de.c
Something That Fits
uct, Sound Forge Pro 10. This is a full-featured,
Shopping for audio editing software is a lot
mature product that should perform any audio
like shopping for a car. For your first car, you
task. By contrast, they also offer Sound Forge
probably don’t have much cash to spend and
Audio Studio which offers a simple interface,
you just want something simple to get you
reduced features and a lower price tag to match.
from here to there. As you mature and your
You can do good work with either. The trick is
bank account
finding the best fit.
grows, it’s easy
Think about
WILL THE SOFTWARE TAKE YOU
to see how much
your normal projnicer a better
ect. What types of
THERE, OR IS IT MORE LIKE YOUR
car would be; a
audio challenges
smoother ride,
present themFIRST CAR?
more features and
selves each time?
a better overall
Which features
fit. Audio software
address those
is the same way.
challenges? What comes along every now and
In this guide, you’ll find products to fit
then to throw you a curve and what would
virtually any set of requirements. For instance,
make that easier to solve? Next, think a little
Sony Creative Software offers its flagship prodmore long-term and consider where you want
MANUFACTURERS
Abyssmedia
GoldWave Inc.
www.goldwave.com
www.ntrack.com
n-Track
Sonic Studio LLC
Acoustica, Inc.
HairerSoft
NCH Software
Sony Creative Software
Adobe Systems Incorporated
Harris Broadcast
Online Media Technologies, Ltd.
Steinberg Media Technologies GmbH
Apple Inc.
Kreatives.org
PreSonus Audio Electronics, Inc.
Sydec Audio Engineering NV
Audacity
Image-Line Software
Prism Media Products Limited
Traverso DAW
Avid Technology, Inc.
MAGIX
Prism Media Products Limited
TwistedWave
Cockos Inc.
Martin Pesch
Program4Pc Inc.
Wavosaur
Conrad Parker
MOTU, Inc.
Rogue Amoeba Software, LLC
Zynewave
FlexiMusic
Mystik Media
SOFTONIC INTERNATIONAL S.L.
www.wave-editor.com
www.acoustica.com
www.adobe.com
www.apple.com
www.audacity.sourceforge.net
www.avid.com
www.cockos.com
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www.metadecks.org
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www.fleximusic.com
www.hairersoft.com
www.nch.com.au
www.harrisbroadcast.com
www.avs4you.com
www.kreatives.org
www.presonus.com
www.image-line.com
www.prismsound.com
www.magix.com
www.sadie.com
www.mpesch3.de1.cc
www.program4pc.com
www.motu.com
www.rogueamoeba.com
http://audioedit.mystikmedia.com
www.sonicstudio.com
om
ems
Avid
Inc.
your production
level in a year.
Will the software
take you there, or
is it more like your first car?
Picking a Platform
Let’s assume you already have a computer.
The operating system and its specific version
will affect your software options. While many
programs are cross-platform – working on
all the major operating systems – many only
support one. As you’re considering features
and options, keep your operating system and
hardware in mind. While audio editing isn’t
the most taxing process for a computer, each
program has minimum and recommended
system requirements.
Te
www
.avid chnolo
.com
gy,
Inc.
Consider Adobe Audition. Audition has been
around a long time with a
faithful following. And for
good reason: it’s a stable,
full-featured professional audio tool with a
long history and good support. Part of Creative
Suite 6, Adobe Audition is available for both
Windows and Mac platforms. Both versions
are great, and provide the extensive features.
Compatibility for all software extends to
certain versions of an operating system. Do the
homework and make sure the program you
want works on your specific version of operating system. Virtually anything that runs on
Windows 7 should work fine on Windows 8
too, but we’re saying “should work fine.” The
same applies for Mac and even Linux operat-
We’ve been writing
about movies since
before there was
an Internet.
www.sonycreativesoftware.com
.com
www.steinberg.net
www.sydec.be
www.traverso-daw.org
www.twistedwave.com
www.wavosaur.com
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www.zynewave.com
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www.power-sound-editor.en.softonic.com
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33
PreS
www onus
Audi
.pres
onus
o
.com
Elec
Cake
tron
ics,
Inc.
www walk
Inc.
.cake
walk
.com
Choose Wisely
ing systems – if you have the most up to date
platform, a company’s most recent software
should work.
Extensibility
Audio editing software is great out of the box,
but does it play well with others too? Adobe’s
Other Goodies
Creative Suite products use a little program
So far, we’ve primarily discussed standard stereo
called Adobe Bridge to move media between
audio editors. These editing programs are crucial
programs, simplifying the process of editing
for day-to-day editing chores, much like Adobe
audio for video. This is a great feature, but just
Photoshop is for photographers. But many audio
about every other program requires that you
packages can handle multiple channels too –
render, export, edit, render and import – all in
some as many as your computer and audio card
order to get your audio from your audio editcan support.
ing software to your video editing software. But
Multitrack or multichannel-capable softthere are other ways your software can interact
ware makes it easy to sync audio from several
with the outside world.
sources if you shoot events like weddings and
Most audio editing applications offer a nice
concerts. It’s also handy in sound effects work
selection of audio effects, and many in the
when layering several sounds to create a new
form of plug-ins. The small pieces of software
version. And it’s
allow for specific
one of the best
processing in
ANY AUDIO EDITOR CAN OUTPUT A
ways to record
line with your
multiple sound
project. These
WAV FILE OF YOUR FINAL MIX. BUT
sources at a conare just digital
CAN IT OUTPUT ANY OTHER FORMATS? cert or recording
equivalents of
session. Not all
analog devices:
editors support
equalizers,
such recordreverbs, delays,
ing or editing. And, of the ones that do, some
compressors and limiters. When considering a
aren’t as easy to use as simple two-channel
specific program, check for compatibility with
editors. When in doubt, use a software’s free
third-party plug-ins. Virtual studio technology,
demo, if available.
often found as VST, is the most common type
Another useful option is surround sound mixof plug-in on the Windows platform while the
ing. Most editors that support multichannel auAudio Unit, or AU format is common with Macs.
dio also support surround mixing, although the
There are literally hundreds – maybe thousands
methods vary quite a bit. Most include a special
– of plug-ins out there and, while the bundled
surround panning control for each track. If this
effects are fine, you want the ability to expand
feature is important for your projects, make sure
the selection if possible.
the software can export a surround file compatOne last compatibility issue is rendering or
ible with your video editing program.
export formats. Any audio editor can output
a WAV file of your final mix. But can it output
Around the Edges
any other formats? Tiny MP3 and AAC files
There are several audio programs that don’t exwill travel well, and AIFF files work great on
actly fit in the “editor” category, yet contain some
Macs and AC3 is required for DVD and Blu-ray.
editing features. Most are music editors rather
The FLAC format can save a lot of space with
than standard audio editors.
its lossless encoding. Windows Media Audio
One of these unique packages is Sonicfire
and even OGG can come in handy from time
Pro from SmartSound. With Sonicfire Pro,
to time – not just as an output format, but for
you start with a library of tracks, choose your
input too.
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34
length, mood and variation and the software
automatically edits a complete version based
on your criteria.
Loop-based editing is also supported on a
number of platforms, but Apple’s GarageBand
and Sony’s ACID act as stand-alone editors.
Using loop-based production, the user builds a
soundtrack using short, repeating chunks
of sound. Everything from a simple backbeat
to a full band is possible with this type of
audio editor.
As you can see, there are many options
in the world of audio editing, and many
levels of pricing too. Choosing audio editing
software is much the same as video editing
software. You need something that meets
your needs, has room for growth and fits
both your production style and resources.
There are plenty of free demo versions to try
out, so you have plenty of opportunities to
find the right fit.
Contributing Editor Hal Robertson is a digital media producer,
photographer and technology consultant.
For comments, email: [email protected], use article
#15762 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/15762
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NAB
For 90 years the
National Association of
Broadcasters has been
putting on a convention
for their industry. For the
last 20 years, they’ve
set up camp in Las
Vegas, and over the
last five years, they’ve
repositioned the annual
gathering as a content
producers’ paradise.
This year’s event
did not disappoint.
BY DWIGHT C. DOUGLAS
WRAP UP 2013
M
ore than 90,000 people from 155 countries came to see the latest and greatest
from lights and lenses to cameras and
codecs. As you maneuver through the masses
of humanity and more than 1,600 booths in
the industrially lit convention center, you can
suffer from sensory overload. Being heavily
burdened by bags of product brochures, free
samples and gimmicky giveaways, you wonder if you can ever see it all.
Why 2k? Why not 4k?
Every show has a hook or theme. The marketing tagline this year was METAMORPHOSIS:
The Changing Face of Media & Entertainment. No
matter what slogan the NAB puts on a show, there is
always a buzz created by the attendees. Last year, following
the glow of Avatar and an appearance by James Cameron,
3D was the word most heard. This year, if one had a dollar
for every time the term 4k was uttered, one would have left
‘Vegas a rich person. 4k pushed 3D out of the limelight and
took front and center stage.
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Internet. This is not a fad; this is where things
are going. The NAB simply attempts to prepare
the industry for how things will be in the future.
Extreme Sports and Choppers
Fads and Trends
In the 1982 best-selling book Megatrends, John
Naisbitt made a great point about the difference
between fads and trends. In the not so recent
past, like last year, everyone was talking about 3D
and how it was going to be the new rage. What
was driving the 4k chatter at the NAB convention? Was it the hardware manufacturers, the
movie makers or the broadcasters?
First, it is not the broadcasters. At this point,
even cable TV is still only 1080i, even though
1080p televisions do a fantastic job up-converting the signal. For the industry to convert
transmit-
... THE CAMERAS GET SMALLER,
WHILE MAINTAINING OR IMPROVING
QUALITY.
ters, televisions and cable systems to 4k Ultra HD
it would cost billions. With 4k, the film industry
has found a way to cut costs, deliver content
faster and be able to do more with special effects.
Even TV shows are keeping a 4k copy of each episode believing the future will give them a home.
Another driver in this equation: the audience.
People are getting better quality video from all
sides. They are seeing high quality digital video
in the theater. The Federal Communications
Commission forced all the TV stations in the
United States to move to HD, literally taking the
analog signals away from broadcasters in 2009.
As more and more people watch flat screen
televisions and monitors for their content, their
eyes are getting used to seeing high definition
video. Even YouTube offers 1080p videos via the
One of the liveliest booths at the NAB was GoPro,
where they describe their fans as a “movement.”
Their palm-sized cameras, are sold in editions
and do have 4k, but only at 15 frames a second.
And right behind the GoPro booth were the
DJI people who demonstrated their Phantom
quadcopter with a GoPro mount. By attaching
a GoPro HERO, to this 1.8lb. helicopter, one can
shoot from places only Peter Pan can go. If the
controller stops working or falls into the ocean,
the Phantom quadcopter has a GPS. It is programmed to return to where it was launched.
Phone home Phantom.
Another real trend in technology, as we saw
with the iPod to nano era, things get smaller. With
smaller cameras, you can start to do amazing
things. The Blackmagic Cinema Camera begets a
Blackmagic Pocket Cinema Camera. Lenses may
always be large, but the cameras get smaller, while
NAB
NAB
WRAP UP 2013
Six years ago, the RED One camera
pushed 4k to the forefront and now
every major camera manufacturer has
a 4k entry. Most of these kits are far
beyond the budget of most enthusiasts, but there are some offerings that
will capture the imagination of those
who want to take the leap into 4k.
4k refers to the horizontal resolution (instead of the vertical) of the
video files. Generally, they are in
the range of 4,000 pixels wide. In
the digital cinema game the resolution is 4096×2160 at the aspect
ratio of 1.90:1, while the standard
for Ultra High definition television is
3840×2160 resolution at 1.78:1. With more
than eight million pixels in each frame, not
only do you need loads of storage space, but
you’ll need the right software and hardware to
handle 4k.
This year includes Blackmagic Design’s Production Camera 4K which features 4k recording
directly to high speed SSD (solid state disks).
The suggested retail is $3,995 without lens. Put
a $1,000 lens on this baby and you’ll be in the
movie business.
However, the diamond in their display case
was a new HD offering, the Blackmagic Pocket
Cinema Camera, which delivers high-quality
Apple ProRes 422 (HQ) recording files and is
touted as the world’s most compact Super 16
digital cinema camera. With interchangeable
optics, you have some flexibility with an active
Micro Four Thirds lens mount. You’ll need a
64GB SD card and a lens: add about $600+ in
gear to the $995 retail price and this just might
be the next camera for the run and gun documentarian.
maintaining or improving quality. The fact that
a consumer can attach a high definition camera
to a helmet and participate in extreme sports is a
remarkable step forward. It appears that the GoPro movement feels similar to what we have seen
before with Apple products; lots of third-parties
producing accessories and add-ons to the product, a cult-like following and high youthful accep-
WRAP UP 2013
You're Ready
to Make a Documentary.
Now All You Need is
the Money...
Don’t panic! Fundraising doesn’t need to
be a chore; Videomaker’s Documentary
Funding DVD will
break it down for
you, so you’ll know
exactly where to
go, what to say,
and how to get
the funds you
need to realize
your vision.
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VI D EO MA K ER >>> J uly 20 13
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The Reflex Revolution
There was another debate at rushed NAB
lunches. It was beyond the question of 4k or not
THE 10 BEST ANGLES IN VEGAS AS SEEN THROUGH THE LENS OF A CAMERA
We cover at least two tradeshows in Las Vegas every year – for some
of us, that means we’ve hung out in Las Vegas 20 or more times.
Ironically, we rarely get to see anything except the convention center
during the day and The Strip at night, but we always have a camera in
hand. Next time you’re in Sin City, here’s a list of our favorite places to
take shots that show off the sparkle and glitz of ‘Vegas.
1. From the Stratosphere observation deck – that space needlelike hotel: 360-degree view of the lights and desert.
2. The Fountains of Bellagio – shows are every half-hour 3 p.m.
to 7 p.m., then every fifteen minutes 7 p.m. to midnight. Great video
opportunity.
3. The night shot from the footbridge between Caesars Palace and the Flamingo Las Vegas – great shot of the Eiffel Tower;
easier than flying to France.
4. The traffic going north from the footbridge connecting
MGM Grand and New York-New York – excellent time-lapse shot.
5. Early in the morning (before the traffic) a shot of the Paris
Las Vegas Hotel entry – If you frame the Arc de Triomphe just right,
it’s like you are on the Champs-Elysées.
6. The fountains in the garden of Caesars Palace – you could
be back in ancient Rome.
7. The Excalibur from the MGM Grand footbridge – jolly old
England.
8. The Luxor from Las Vegas Boulevard – the obelisk, sphinx and
pyramid make a great image.
9. Looking up from the sidewalk in front of the MGM Grand
looking toward New York-New York – the dynamic New York
skyline.
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10. And for another closer to the ground 360-degree of the strip, take
the elevator to the top of the Eiffel Tower at the Paris Las Vegas
Hotel and see the other city of lights.
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4k; it was which kind of camera to buy. There
are those who will invest in a state of the art HD
camera, but some who will prefer DSLR cameras
with cinema lenses for their cinematic efforts.
Canon, with its massive 16,000 square foot
booth also had a 90-seat theater where they rotated
a 20-minute movie showing off some of the videos
that were shot with their cameras. It was one of the
most convincing pitches driven by the number of
high-quality artistic works being created by cameras that were primarily designed for photography.
The fact that they can shoot raw video makes them
a wonderful tool for independent filmmakers with
limited budgets. This is not a fad, this is a trend.
More and more filmmakers are seeing the high-end
DSLR camera as the answer to achieve 4k features.
If properly applied, the quality is stunning. The
trend is affordable high quality.
Silver Lining Clouds
Most of our devices today are connected to
the Internet. The revenue that is being created
by digital advertising is growing by leaps and
bounds. The click-to-buy generation helps move
sales of companies everywhere. Even with the
decreases in external drive storage costs, the idea
of keeping your data in the cloud is now getting
NAB
NAB
WRAP UP 2013
tance. It’s not just the product, it’s how it will be
used; lifestyle trends. The high-quality cameras in
smartphones demonstrate the point vividly.
Engines. As soon as assets are uploaded to the
servers, they are available for viewing, editing
and rendering from anywhere. In a sense, this is a
private cloud on a heavenly level. Of course, you
have to buy the servers and maintain them.
reasonable costs of downloading footage, backgrounds and music tracks in seconds makes this
trend a life-saver for the content creator who wants
to look professional without breaking the bank.
More services will surface and join this trend.
Working Smarter and Faster
Where its At
It’s almost midnight. You’ve been working for
hours on a video and you need some footage
to complete your project. You don’t want to be
up all night searching through your archives.
This is when you need a service to acquire some
stock footage to complete your project.
With companies like Shutterstock with
100,000 HD video tracks and Videoblocks.com
with more than 100,000 videos, sound effects
and music tracks, they are setting the trend for
content producers who are attaining assets from
outside sources. Videoblocks.com offers After
Effects templates of show titles and lower-thirds
that can be rendered out in minutes for that last
minute production additive.
The NAB show had hundreds of booths with
unique providers of content, services and products that help people get things done faster. The
WRAP UP 2013
The NAB show is more than just a marketplace.
It is a gathering of experts, creators, inventors
and video people from around the world. Beyond
the broadcasting aspects of its origin, the annual
gathering is a predictor of where video, media and
entertainment are going. Those who choose not
to attend, like Apple, are missing out on a forum
to show their products and services and motivate
creative minds. Most people agree this is the one
show that has it all. Where else can you learn so
much and also ride in a gondola?
Dwight C. Douglas is a VP of Marketing for a major broadcast
software company
... CLOUD COMPUTING IS NOT A
FAD, BUT A REAL SUBSTANTIAL
TREND.
some real traction. From Dropbox to Google Play
Music and Drive, cloud computing is not a fad,
but a real substantial trend.
It has almost been a tradition that Adobe
releases its next version at the NAB. Some people
thought they would see Creative Suite 7 revealed,
but that was not the game plan. At this NAB show,
Adobe pushed their Creative Cloud monthly subscription model that includes cloud storage space
and upgrades to their software programs. This
initiative is so important to Adobe that their postconvention Internet questionnaire focused on the
customers’ perception of their cloud offering.
On top of that, Adobe premiered a concept
they’re calling Adobe Anywhere that will take collaboration to the next level. For large productions
where producers, editors and directors are located
around the world or around the block, Adobe’s
enterprise software combines a collaboration hub
with three or more Adobe Mercury Streaming
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BY JACKSON WONG
New Designs
and the Best Products
NAB Show
2013
at the
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A trip to Las Vegas for the 2013 NAB Show means exciting news from some of
the biggest manufacturers. At the center of all the lights and attention we found
products for video production that simply couldn’t go without being recognized.
V
ideographers can take a reprieve
from Sin City for a few months before the next tradeshow, and the best
part is that manufacturers left us with
plenty of new products to stay excited
about. There’s been deliberation and
not all of these debuted April 8, but
the following products will be worth
waiting for. Let’s start with the Best of
Show award honoring an innovation
that combines technology with size
and price for an industry first.
Best of Show:
Blackmagic Pocket Cinema
Camera
The Blackmagic Pocket Cinema Camera is truly a game-changer. Cameras
that fit in your pocket have changed
a lot in recent years – for example,
the option to change out lenses, shoot
3D, access Wi-Fi or operate Android
apps – all with quality HD video. The
Blackmagic Pocket Cinema Camera
has a Super 16 sensor and captures 13
stops of dynamic range for a completely different story. For some, the
Micro Four Thirds mount will make
adapting difficult, but the open file
format – for recording in ProRes 422
and CinemaDNG – shouldn’t.
For a little physical analysis,
Blackmagic Design opens up the battery compartment and answers the
questions for many potential users
by providing a removable Nikon ENEL20 battery and SD card slot. A fully
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charged battery should allow you to
shoot for 50 minutes before you’ll
want to swap it out. For $995, putting
a cinema camera in your pocket has
never been so feasible than with the
Blackmagic Pocket Cinema Camera.
Best Camcorder:
Blackmagic Production Camera
4K
Best of Show: Blackmagic Pocket Cinema
Best Camcorder:
Blackmagic Production Camera 4K
The team at Blackmagic Design has
been hard at work preparing the
release of the Blackmagic Production Camera 4K. We may begin with
this one by looking at the Blackmagic
Cinema Camera, which looks virtually
the same, save for a 4K insignia. Go
ahead and discover other changes if
you’re a continuity master. Some key
differences include the jump up to 4k
resolution, instead of 2.5k, the Blackmagic Production Camera 4K captures
3840x2160 on its Super 35 sensor.
There is one less stop of dynamic
range, for 12 total – we certainly
wouldn’t discard the camera for such
an aspect. Otherwise we come up to
many of the same features from the
older relative, SSD workflow, internal
battery, touch screen control, and
thus far, compatibility with EF mount
lenses. We’re thinking we had you at
4k for $4k ($3,995).
Best Post-Production Software:
Avid Media Composer 7
Best Post-Production Software:
Avid Media Composer 7
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Best Light: Zacuto PlaZma Light
44
Videomaker gets to see lots of different editing software, and Avid’s Media
Composer 7 is a revamped version of
a trusted product. We also take notice
of trends and though it’s no price
drop like Autodesk’s Smoke 2013,
Media Composer 7’s starting price at
$1,000 definitely reaches a larger base
of potential editors. The workflow
in Media Composer has traditionally
been a very different system from the
way other editing programs function,
so when we hear that there’s been
simplification and acceleration of filebased workflow, we trust that Avid is
doing this to help editors spend more
effort on the production. Specifically
real-time productions and global
productions at that, Avid Interplay and
Interplay Sphere (both sold separately)
will allow editors to edit, sync and
share their work via the Internet, and
for those times when you want your
workstation to do tasks in the background, consider automating copying,
consolidating, Dynamic Media Folders
and transcoding. There’s lots more to
discover with Media Composer 7 and
if you’re ready to get Media Composer
6.5 right now, Avid will give you a
complimentary upgrade to Media
Composer 7 when it is ready.
Best Light:
Zacuto PlaZma Light
It’s hard not to like the Zacuto PlaZma
Light. This technology has been in development for some time with Zacuto,
and shipping models are sure to be
scrutinized since the plasma element
in video lighting is so young. A characteristic of the PlaZma Light is that it is
very diffused, and that means it’s easy
to look at; your talent will appreciate
it. Another key characteristic is the
flatness of the PlaZma Light, enabling
more freedom in placement. The tiny
pockets of plasma that provide the
lighting element have a strong color
rendering index at 90, 2,000 lumens,
and won’t get hot to the touch. At an
estimated price of $1,350, users will
enjoy similar costs as LED lights. The
wait will continue until late summer
when Zacuto plans for shipping of the
PlaZma Light to begin.
construction, and they cost $200 and
$190 respectively for the head only.
Best Accessory:
VariZoom Stealthy
The VariZoom Stealthy could really
be called The Versatile – as it is really designed to meet many different
needs. As a handheld stabilizer your
camera can float with the Stealthy, the
counterweight mainly coming from
the length of the leg directly below
the camera. A second handheld mode
curls that same leg up to rest directly
behind the camera. From there you
might try the 3-point shooter position
in which one leg rests against your
mid-section and you use two hands.
By connecting the gimbaled handle
to the straightened leg you create a
monopod that can also be combined
with an extension. From there you
may also go hands off and configure
the leg into the long leg of a tabletop
tripod. The Stealthy weighs less than
2lb. and can carry cameras up to 3lb.
with optional support for 5lb. cameras. VariZoom wants your camera
support to be truly Stealthy, so the
compact handheld configuration can
also be attached to a belt for quickdraw video.
Spotlight:
Redrock Micro One Man Crew
The One Man Crew is a motorized
parabolic slider. The movement is what
you’d expect from a slider, except in
this case, the parabolic motion allows
your focus to remain much more accurate – and a follow-focus operator is
a whole job that you won’t need to fill.
The smooth customizable movement
is another job that you might pass off
to another, if it were necessary. Having gear that is easy to pack away for
travel is simply unbeatable for a one
man crew. Redrock Micro put in a lot
of thought with this one; easing in and
out while the One Man Crew changes
direction, and if the lasers for keeping
an accurate distance don’t get you ex-
Best Support: Manfrotto 500 Fluid Head
Best Accessory: VariZoom Stealthy
Best Support:
Manfrotto 500 Fluid Head
Manfrotto wants better balance and
control with the 500 Fluid Head. The
MVH500A 60mm half ball and the
MVH500AH flat base both feature a
wide base to match the wider base of
DSLRs. The plate will also help you
set adjustments that vary depending
on the length of your attached lens.
There are two separate fluid cartridges to provide smooth and precise
control of camera packages weighing up to 11lb. The counterbalance is
set to 5.3lb. The release for the plate
takes one step to unlock and allows
for the camera to be removed upward from the tripod. The MVH500A
and MVH500AH have an Easy Link
3/8-inch connector for attaching
an accessory. The sturdiness of the
MVH500A and MVH500AH fluid heads
is complemented with aluminum
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FullPageAD_NEWTemplate.indd 48
45
11/13/2012 4:21:49 PM
Spotlight: Redrock Micro One Man Crew
craft like the Phantom. Simplicity and
cost are what make the Phantom so
attractive, and what is even better is the
range of shots you’re able to record.
The remote controlled unit ships
practically ready to fly, and appears
to be remarkably good at holding a
steady position. The remote control
requires four AA batteries and will be
able to control the Phantom as far as
300 meters. A Naza-M autopilot system
helps you achieve a better flight, and
provides fail-safes including a fly-home
feature in case the Phantom ends up
out of range. The price range for camera supports can get up there, and for
specialized supports it’s even tighter
– for $680 we imagine many will try
their hand at some new flying shots.
Spotlight:
Shure LensHopper VP83F
Spotlight: DJI Phantom
Spotlight: Shure LensHopper VP83F
cited, then we don’t know what will.
Six feet is the recommended distance
from camera to subject, and all that
remains is selecting a sliding speed.
As for set up, a standard tripod will
do, since it comes with a 1/4-inch-20
and 3/8-inch-16 cheeseplate and has
capacity of 20lb. Then, for $1,495
they toss the One Man Crew into a
case and it’s ready to be shipped.
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Spotlight:
DJI Phantom
We’ve been looking at flying camera stabilizers for quite some time,
mainly because cameras are becoming lightweight enough for small
46
Among the DSLR-centric products we’ve
seen, none have done what Shure does
with the LensHopper VP83F. Combine
an on-camera shotgun mic with the
ability of an audio recorder and you
get a very compact and efficient audio
option for shooting video. The supercardioid pickup pattern of the VP83F will
help you get audio from the right area.
And for all the adjustments you’ll need
to make, there are 60 increments of 1dB
to get it just right. The Rycote shock
mount and 24-bit/48kHz sampling rate
recording should keep your sound professional. With pricing undetermined,
we’ll continue to get creative with our
DSLR/audio setup until the VP83F becomes available.
Spotlight:
Canon XA25
For the run and gun shooter, Canon
created the XA25. Top-notch recording is a staple for Canon’s cameras,
and the XA25 is no exception. It can
record AVCHD and MP4 at 28Mb/s and
35Mb/s respectively. Full 1080p at 60
frames per second is a nice benchmark
on which the XA25 rests. Another
hallmark of quality video is great audio
which is a lot easier to capture with
XLR inputs, so Canon includes two.
Additionally, the XA25 includes HD-SDI
out, for a clean, professional video
signal. When it comes to accessing
the video from remote locations, you
may or may not care about Wi-Fi, but
perhaps uploading video directly to an
FTP is more interesting. Of course, the
dimensions of the XA25 are a consideration, and at a length/height of
about 9-inches and 7-inches, including
the mic, Canon kept it compact. The
extensive features rolled into one solid
camera from an exceptional line of
cameras are sure to deliver for $3,000.
Spotlight:
edelkrone SliderPLUS+
The SliderPLUS+ is a compact and
smooth slider that can fit your backpack. This isn’t a typical slider though.
The rails move with the camera, creating a very smooth move, and taking
full advantage of their length. The
drag is adjustable and will have an
option to be controlled by a motorized
unit. The range of the slider is extended with the SliderPLUSXL version,
so the final distances using a tripod
are 1.7ft. for the SliderPLUS+ and
2.6ft. for the SliderPLUSXL. The materials are high-quality and use 3/8-inch
mounts, and weigh in at 3.7lb. and
4.8lb. respectively. The folks at edelkrone ask for $500 for the SliderPLUS+
and $700 for the SliderPLUSXL.
From Vegas With Love (For Video)
These 11 products have the potential to
make your production more professional and that’s really the bottom
line of why you’d look into getting
new gear. Does it help you work faster,
smarter or even make you appear
more capable? Each of these products
can be a great addition to your set of
video tools. Learning how to use them
is another story.
Jackson Wong is an Associate Editor for Videomaker.
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BASIC TRAINING
800-323-2325
b y B r a d Sw e e t
Life at a Community Access Station
Does your local news station cover
provider about public access to help
your community showcase itself.
Part II of The Cable Communications
Act of 1984 requires that a franchising authority, which is typically a
local town or city government, has the
authority to require a cable operator
to provide television channels that are
designated for public, educational or
government use. The exact determination of how many stations are designated, how they are to be funded,
contents
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Avid Media
Composer 7
Adobe
Creative Cloud
for Teams
NEW! SONY
Vegas Pro 12
Crossgrade to
Grass Valley
EDIUS Pro 6.5
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$
00
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seamlessly sharing files from
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You get the entire collection of CS6 tools and exclusive
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make working together — and managing licenses
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Premiere Pro, After Effects, Photoshop, Illustrator,
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599
The editing application
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broadcasters and video
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EDIUS Pro 6.5 adds new
features for better editing
$
00
and faster operations.
for a limited time
It’s the perfect choice for multiformat
editing EDIUS®, by Grass Valley™, supports real-time
editing of all popular standard-definition (SD) and high
definition (HD) formats. EDIUS nonlinear editing software
is designed for any broadcast and postproduction
environment, especially those using newer, tapeless
forms of video recording and storage.
299
Combining a familiar
track-based timeline
with 100s of thoughtful
workflow innovations,
Vegas Pro 12 simplifes
the editing process
$
00
while offering the
high-end performance
and features you’ve come to expect in an award-winning
NLE. Supporting more formats, more workflows, and more
creative control than ever before, Vegas Pro 12 makes it
easy to deliver your message and express your artistic
vision. Includes DVD Architect & Dolby Encoder software
499
Also available without DVD Architect & Dolby Encoder
as the Sony Vegas Pro Edit - $399.95
Videoguys.com is your source for video streaming and production
Many Local Stations Are Now NonProfit Organizations
In the 1980s and 1990s, the cable
provider usually built the studio, purchased the equipment, hired personnel to run the studio, operated the
equipment and provided training to
local residents who were interested in
producing their own shows or helping
out. In general, local residents did not
have a tremendous amount of input
into the day to day operation of PEG
stations. In the New England states
in particular there were a couple of
mergers and buyouts that negatively
impacted local PEG stations.
In the mid 2000s, when many of
the initial franchise agreements were
coming up for renewal, Comcast made
it clear that it wanted to put the day
to day operation of PEG channels and
local access studios into the hands
of the local community. As part of
the renewal contract they often accomplished this by requiring that a
non-profit organization be established
for the sole purpose of operating a
local community's PEG station(s). The
franchise fee that Comcast collected
would then be sent directly to the PEG
non-profit.
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00
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VS4 not only sends video feeds to Wirecast for streaming, it
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and who will run them is spelled out
in the franchise agreement, which
is typically a 10-15 year contract
between the cable provider and the
local government authority which is
usually negotiated through a series of
public meetings.
These television channels are
generally referred to as Public, Educational and Government, or PEG
channels. A franchise fee, which by
law can be no greater than 5 percent
of the television portion of your
monthly cable bill, provides the funding for PEG channels.
Telestream
Wirecast Pro
Matrox VS4
Matrox
Monarch HD
Cable companies
charge users a franchise fee that helps
pay for the community's PEG channel,
(Public, Educational
and Government).
This fee is small,
but spread over the
entire community,
brings in enough
revenue to support a
small channel meant
for local coverage.
48
Videoguys.com is your source for video editing software
999
Maybe it's time to ask your cable
What is public access television?
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Media Composer 7
opens your possibilities
even further, simplifying
and accelerating filebased workflows and
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00
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operations and global collaboration, experience the
industry’s preeminent NLE, now starting at just $999.
With the new FrameFlex tool and LUT support, you
can acquire 2K, 4K, and 5K media and deliver the HD
programming required today, eliminating time-consuming
transcodes and resizing.
everything except local news?
Several years ago I heard someone
say that public access television isn't
real TV. Upon hearing a statement
like that, all I could do was smile
and walk the other way, because in
my heart I knew that real TV is about
my neighbors, my local government,
my children's school, after school
activities, and the interesting folks
I have met and their friends. I truly
believe that any interesting story has
the potential to be compelling and
real TV.
Videoguys.com is your source for streaming
media and live production equipment, storage,
and video editing hardware and software. Our
technicians can help you find the BEST solution
for YOUR needs... and budget.
995
1,495
950
Videoguys.com is your source for video storage solutions, GPU and other add-on hardware
NEW! BluStor
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G-RAID – A dual drive,
now with USB3 starting at
professional RAID 0 storage solution with
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00
high-speed USB 3.0 and FireWire interfaces.
Designed for professional content creation
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layers of HDV/DVCPRO HD ProRes 422 HQ with the leading video
editing applications, including Apple Final Cut Pro®, AVID Media
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NVIDIA Quadro K2000
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AJA T-TAP
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T-TAP is a very small Thunderbolt bus-powered device
for high-quality 10-bit SD, HD and 2K output through SDI
Regardless of what tapeless formats you shoot on, or computer,
and HDMI connections. This adapter enables a simple,
or application you edit with; Matrox MXO2 Mini turns your TV
unobtrusive means of getting pro video & audio out of any
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multi-layer, realtime video editing via Matrox RT™ technology; and SD to HD to 2K & 3D with 10-bit quality, even over HDMI faster than realtime H.264 encoding
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AJA IoXT Thunderbolt I/O
Io XT connects with Thunderbolt & provides another
Thunderbolt connector for chaining other devices like
storage. Compact, portable & powerful, with features
including 3G/Dual-link/HD/SD-SDI, Component
Analog, and HDMI connectivity.
Videoguys.com is your source for Mics
Azden 330
99900
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Grass Valley ADVC-G1
1,49500
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Matrox Convert DVI Plus
Any In to SDI Multi-Function Converter
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Convert/Upconvert sources from HDMI,
DVI, component, composite, S-Video,
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air. Downscale or upscale your region-ofinterest to any size & position on screen.
995
Dual-Channel OnCamera UHF Systems
Features 188 UserSelectable frequencies
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with 2 lapel mics - $699
Handheld & lapel - $769
Lapel & XLR- $739
Azden SMX-20
Designed by colorist
& film director Stu
Maschwitz, this Suite
produces Hollywood$
00
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let you capture the emotion of your subject,
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Videoguys.com is your source for Converters
Boris Continuum
Complete FxPlug
gives editors and
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00
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FCPX and Final Cut Pro.
Red Giant
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Suite
Videoguys.com is your source for hardware I/O solutions
Matrox MXO2 Mini with Matrox MAX
Create streaming TV, or air broadcast-quality
video on the Web & mobile devices quickly
and easily. For TV stations, schools, offices,
and production startups that don’t have access
to an SDI infrastructure, this is a simple
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Boris Continuum
Complete FxPlug
Professional Video
Storage Solutions
149
NewTek TriCaster 40
All-in-one Video Production Solution
Videoguys.com is your
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95
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499
Go to Videoguys.com for more plug-ins!
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BASIC TRAINING
The advantage of being an independent nonprofit is that the board of directors can more easily make changes in order to adapt to changing
technology, local viewership interests, and local
membership needs than a town government can
or even a cable provider would be able to.
BCATv
I volunteer at Boxford Cable Access Television
Corporation, Inc. (BCATv), a 501(c)(3) non-profit
organization that was established in 2005 for
purpose of operating a government channel and
a public access channel for use by the residents
of Boxford, Mass.
Initially appointed by the Boxford Selectmen
in 2005, its non-profit has three board members,
who started out as videographers when Comcast
operated the PEG channels, and now share the
responsibility of operating two television channels that broadcast 24/7, as well as a recently
acquired public access studio.
Video This Week/Show Next Week
The philosophy of the BCATv board is that public
access television is more like fresh fish, than fine
wine – it generally doesn't improve with age!
Since a lot of video producing opportunities involve on-location work such as local high school
and youth sports, community events, lectures,
school concerts, etc., the goal is to show next
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Whether it's a trip to
city hall or the local
high school baseball
field, a good idea
for a public access
station is to follow
BCATv's example.
They provide prepacked “studios in
a bag” setups for
volunteers to grab
and go that includes
everything they'd
need for a shoot,
including camera,
batteries, lights,
mics, tripods, mixers,
headphones, etc.
week, those events that we shot on video this
week. This philosophy has been very successful in sparking community interest for both
watching our community channel broadcasts as
well as inspiring individuals to step forward and
create their own events.
In order to produce 15-20 new events averaging 60 minutes each on a weekly basis requires
a lot of easy-to-use video equipment, dedicated
people, effective post-production techniques,
... THE GOAL IS TO SHOW NEXT WEEK,
THOSE EVENTS THAT WE SHOT ON
VIDEO THIS WEEK.
fast Internet connections, good organization,
and patience. Also, don't forget that you need
events to record!
Studios in a Bag
them an hourly rate that is more than they can
get bagging groceries.
Our youngest student started almost two years
ago and he is now in 7th grade. His brothers are on
the high school soccer team, and he wanted to run
the camera at home and away games. We paired
him up with our best announcer and they have
covered almost 30 games in two years, including a
Division 1 state championship. With his knowledge
on how to make a video, he also edits and produces
several videos for BCATv every week.
Our oldest student announcer started covering
hockey games as a sophomore with his friends.
Later that year, he and his younger brother
covered men's softball games in the summer and
became an instant hit in the town because of
their humorous and sometimes wacky commentary. The older brother is now a junior at Boston
University majoring in communications and does
sports coverage for a major Boston radio station
during the summer.
Currently we have about 20 students who put
in significant hours during the course of a year.
We have six "Studios in a Bag," which typically
consist of a Canon VIXIA HD memory chip camcorder, remote zoom, Velbon tripod, Shure microphones, headsets, Rolls mixer, and a carrying bag
or equipment case. Everything is battery powered
and the components are selected based upon
a combination of weight and reasonable price.
Fully loaded, these bags need to be easily carried
by anyone between the ages of 13 and 75.
This equipment can be quickly and easily
setup on a gym's bleachers, on top of a press
box, in a meeting room, on a baseball field,
lecture hall – almost anywhere. The mixer will
support up to four mics and some of the bags
have wireless mics and headsets.
Finding and keeping dedicated people is always
a challenge. Word of mouth, a friend of a friend,
a brother or sister are all proven techniques.
One thing that helps BCATv is our local high
school, which requires that every student
perform 10 hours of community service every
year. BCATv works with the school and helps
students fulfill this requirement through public
access television. Because we only have one
paid administrative position, who is a part-time
manager/scheduler, we have some financial flexibility. As a result, we waive membership fees
for students and seniors, and once a student's
community service time is fulfilled, we will pay
print
JULY 2013
Young students get hands-on training at BCATv for school credit. Often you’ll find
top-notch level gear and tools available at a community access station that anyone
can use once properly trained.
Become a professional
wedding videographer
To be a professional wedding videographer,
you need to show up prepared to do things
right. The award winning Wedding Videography
will make sure you can handle any curve ball
the big day throws at you.
Dedicated People
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50
BASIC TRAINING
JULY 2013
Telly d
Awar er!
Winn
This complete six-part training DVD covers every aspect of the wedding, giving you
the inside scoop on the extra details that separate the serious wedding videographer from the amateur with a camera. Videomaker's trusted editors will walk you
through every facet of wedding videography, from navigating the legalities ahead of
time to adding post-production effects after the ceremony.
Segments include: Legalities, Pre-Ceremony, Audio, Ceremony, Reception and Post-Production.
Learn more at www.videomaker.com/weddingDVD
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51
BASIC TRAINING
JULY 2013
Several are in college who come back on winter
and spring breaks and during the summer. We
live in a bedroom community, so there aren't always a lot of activities for teens to do, especially
after school and during the summer. Public Access television has definitely helped fill that void.
It Pays to be Organized
We let our members choose their events and
pick their roles, such as camera, play-by-play,
lighting, etc.
In order to keep this fair, we will have a quarterly meeting with them to let them know what
is upcoming and make sure that everyone gets
enough events to cover. Before the meeting, we
will make sure that we have updated our website with all the upcoming events we can find,
which is not always easy. We visit the websites
of all the local schools, sports programs, youth
orchestra, churches, hobby clubs, charities,
town government, newspapers, etc. We also
need to ensure up front that we have permission to record and air the event, so we will send
out an email requesting permission the first
time around.
Members have their own login to our website
and a BCATv email address that links to their own
personal email. We also provide free business
cards to those members who want them. These
are all inexpensive incentives that lets our members know they are an integral and valued part of
our organization.
Keeping It Fun
During the summer we will record a few major
out of town events, such as a military air show,
a live concert, an all-night cancer walk, a whale
watch, etc. All of these events are several hours
in length and require multiple cameras and postproduction work. These events are usually one or
two hours away, so adults provide transportation
and BCATv will pay for travel time, lunch, dinner,
water, soft drinks, etc. We want these field trips
to be fun, memorable, and both a reward and an
incentive for doing great work.
The air shows are a lot of fun, especially if you
have never seen a jet-powered school bus scream
by at 300mph, a stealth bomber fly overhead,
or a stunt pilot like Michael Goulian do amazing death defying stunts! We will arrange for
media passes ahead of time, which allows our
videographers access to the press viewing area,
the ability to get interviews at the hangers after
a performance and at the stationary displays on
the tarmac.
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52
The opportunities are unlimited!
BCATv recently purchased a 2,100-square-foot
office condominium with a 27-foot x 30-foot cathedral ceiling sound conditioned performance
area and enough space for a control room, three
editing rooms, a 20-foot x 30-foot space for
training and meetings, and a room with racks for
equipment storage.
The performance area is equipped with four
HD cameras, a Blackmagic ATEM 1 M/E HD
video switcher, a 24-channel PreSonus digital
mixer, and a variety of custom built and commercial LED lighting. To date we have recorded
several musical performances, a lot of interviews, and several lectures. We also rent out
the space to bands for practice rehearsals, but
will waive the fee, if we can record a 25-minute
performance that we can air on our local public
access station.
Final Thoughts
It's all about providing our town's cable subscribers with a variety of fresh and engaging
local public access television every week. It's
only fair, because they are paying for it every
month via the franchise fee that is added to their
cable bill.
In order to make a local public access
channel successful, there also needs to be a
handful of local residents who will step up
and become unpaid board members, or unpaid
volunteers. These folks do this because they
are passionate, they want to give back to the
community, and perhaps they want to offer
their children the ability to create community
channel television, rather than just watching
commercial television.
From a personal note, this is my 20th year as
an unpaid volunteer at BCATv. My girls, who are
in their mid-20s, have spent a lot of quality time
with me at the many video producing events
that we have been lucky enough to cover. It's
been a great experience!
Brad Sweet works full-time as a senior software engineer for financial
services firms and he has been an unpaid contributor to Boxford Public
Access TV in several capacities since 1993. He is a board member
and the vice president/secretary of the www.BoxfordCableTv.com
non-profit with responsibilities for scheduling volunteers to cover
events, website development, and field/studio equipment evaluation
and selection.
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EDITING
EDITING
EDITING
EDITING
JULY 2013
b by
y E Ed dRRo og ge er sr s
How to Edit Pre-Edited Footage
1
There are times when a video
editor is called to re-edit existing
footage. Whether it was edited
decades ago or last week, your
anguished cry might be: Why didn’t
2
I save my original source files?!
It happens in every videographer’s
life – you didn’t save your editing files
and now need to make changes. For
instance, a customer mailed you footage of her kid playing by the pool. She
wants it delivered on YouTube and a
DVD. A few days later, after mailing the
material back, the irate customer calls
you. She complains that her two-yearold is parading naked over the Internet
– um, not that this has ever happened
to me ... but it must be fixed.
Covet Not the Work of Others
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Before we get more in-depth, let’s get
a caveat out of the way: Do not copy
copyrighted material! This article is
meant for editors who need to alter
their original work. Even if you’re not
a “professional,” you need to pay due
respect to copyright laws. Individuals who intentionally use the work of
others for their benefit (financial or
otherwise) are committing a crime.
Now, in order to re-edit a project,
you need to have the video in your
editing suite. If you’ve already sent the
source footage back to your customer,
what can you do? Of course, you can
always have the client send it back.
This may not be possible, however.
Perhaps it’s your personal project and
you discarded the original material
(video, editing files, etc.). Hopefully,
you’ll have a backup copy of your
edited video somewhere, laying about.
Let’s explore the common options.
54
3
The How-To of Copying
You have two or three choices: Use the
file that you uploaded to the Internet,
directly import the files from a disc or
capture the video from a DVD or Bluray player to a with your computer.
Option 1: From the File You Used
to Upload:
This is probably the easiest solution
but not without challenges. Simply
import the file into your editing program and drag it to your timeline. Create the edits you require and export.
Option 2: Capture From a DVD or
Blu-ray Player:
This method involves using a player
and capturing to your hard drive. Typically, you’ll have cable(s) connected
from the output of your player to the
input(s) either of a device leading to
your computer or an internal capture
card. There are numerous devices
available, ranging from $50 up to
$1,000 for this special task. Naturally,
you’ll likely get the best results from
the more expensive equipment, as it
will have better capabilities. This route
has at least two huge benefits – you
won’t have to worry about compression degradation and you won’t have
to reassemble your video, since you
are getting files directly from a DVD or
Blu-ray disc.
If you have capture capability,
whether built-in or from a capture
card, it’s a simple process to import
it into your editing program. You add
the video to your timeline and create
the edit(s) you want. By employing
this process, you bypass any problems
with artifacts. It is important to note
that you should use the same resolution settings as the original.
Option 3: Direct File Import:
Hopefully, you have a disc to copy
from. You’ll have to locate the video
and audio files on the DVD or Blu-ray
disc. For DVDs, you’ll need to explore
the disc. You should find the video in
the Video_TS folder. The video is broken into segments and will often have
.vob file extensions. Blu-ray discs are
also broken into segments. They are
normally found in the STREAM folder,
which is contained in the BDMV
folder. They have .mts extensions.
Once you import all of the files, you
can drop them into your timeline and
edit at will. Of course, nothing is ever
easy, is it? The immediately obvious
issue is you have to reconnect the files
together. This can be tiresome.
4
5
Figure 1: Oops! “From” is misspelled and “Yellowstones” needs a possessive apostrophe.
Figure 2: Here, the “p” in “frpm” is covered by
a black rectangle, effectively hiding it.
Figure 3-4: Now we move in the “o”, covering
the black mask and fixing the wording.
Figure 5: We fixed the error “Yellowstones” to
make it possessive, and no one is the wiser!
This illustrates the importance of spelling and
grammatical checks
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55
4/23/2013 9:51:29 AM
EDITING
PROFIT MAKING
JULY 2013
by D avid G . W elton
Cashing in on Stock Video
6
Do you like to explore interesting
places and events … and make
money doing it? Who wouldn’t! Then
shooting and selling stock video
Figure 6: Occasionally, as in the Witness Security Program, identities must be protected. These two members of the notorious “Wedbetter
Gang” are dancing. We don’t want to show their faces on the Internet so we place a blot over them. But because these babyfaces keep moving, their garbage mattes need to move with them.
The Meat and Potatoes of Editing
Adding Footage
Now that we have the video loaded
into your editing software, it’s time to
get down to business. First, you can’t
magically “grow” video unless you
create new footage. In a studio there
is usually no problem: Stage the scene
exactly as it was (don’t forget lighting and acoustics) and make certain
the talents’ costume/grooming and
makeup are identical to your original
footage. You should be good to go.
Outdoor scenes may be more challenging. Weather and the season may
drastically alter your set. Your continuity will be totally destroyed if your
snow-covered landscape is suddenly
lush with green foliage. The lesson
here is make corrections as soon as
you learn they’re necessary. Also pay
attention to the time of day. Once
again, set your scene exactly as it was.
Look for things that were present that
may not be there now – and vice versa.
Finally, pay attention to the lighting
characteristics of your original video
for cues on how to proceed. If there
had been a cloud partially blocking the
sun it will certainly look different if
you have full sun in the new scene.
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Cutting Out Footage or Garbage
Mattes
If you have unwanted signs or graphics from the original product you have
two choices – cutting the offending
footage or using garbage mattes. Cutting is the easiest and swiftest method,
56
especially if you use a “ripple” edit.
The video after the cut automatically
butts up to the end of the first part.
Sometimes, for various reasons, you
need to retain these parts. Perhaps the
talent or equipment is unavailable to
reshoot the scene. In these situations,
garbage mattes may be the solution.
Garbage mattes are shapes you overlay (the track above the video) on your
timeline. The goal is to cover other
elements of your video, as in our titles
examples in Figures 1-5 on page 55.
There are several ways to create
masks. You can use your editing software’s title application, in this case
Adobe Premiere Pro. Apple’s Final Cut
Pro also has the same capability, as
does Sony Vegas Pro and others. It is
also easy to create garbage mattes in
Adobe Photoshop, Adobe Illustrator,
even Microsoft Paint.
Keyframes: When You Need to
Eliminate Elements of Your Video
That are Moving
Sometimes, like in the example of
our naked toddler, you need the mask
to move with the subject. (See Figure
6) This is done by using keyframes. In
Adobe Premiere Pro, you have your
mask in the timeline, in the track
over the footage where you need it.
You must have the mask selected on
the timeline. From there, you need
to select the Effect Controls, usually
in the middle panel of your workspace. Click on the arrow at the left
of the panel, next to Motion. You’ll
see Position and Scale with what look
like stopwatches next to them. We
typically will have our mask already
at the point where we want it to start.
We’ll have the opacity set to zero and
bring it up to 100 percent. Depending
upon what we want to accomplish
we’ll move the mask by dragging the
horizontal control (left) and vertical
control (right) at various points. The
closer the points to cover the movement, the smoother it’ll look.
A Final Word
It is almost certain that you will run
into difficulties when trying to re-edit
one of your projects. Let’s review our
Key Points:
• You have at least three methods of
copying your original work.
• Recreating scenes, indoor and outdoor must be identical to the original.
• Use simple cuts or garbage mattes to
eliminate unwanted elements.
• Choose your export settings wisely,
to avoid degradation and artifacts in
your new, finished product.
Nothing beats adequate review
before publishing. However, if the
need arises, you can be ready with
these strategies.
Ed Rogers runs his own videography/editing business
from his home, in Utah. He is self-taught, stemming from
a job assignment he had in the U.S. Air Force in 2000.
might be just the thing for you.
Say someone editing video needs a
shot of a beagle catching a flying disc.
Or maybe someone needs video of
a teenager performing an awesome
yo-yo trick.
Both of those shots might prove difficult or expensive for some people to
acquire unless you have that athletic
beagle or a teenager yo-yoing — you
have something that many others simply do not. Why not turn that unique
access into cash as you shoot and sell
stock video?
Many people use the word “footage” when referring to stock video
recordings. We’ll focus on stock video
instead of analog tape. Here, we may
use the more generic term “stock
media” to include video elements like
images, music and sound effects.
The concept of buying media that is
hard to record yourself is not something new, but the digital age makes
capturing and distributing it faster,
easier and potentially more profitable.
Clip art, stock photography, sound effects and music are other examples of
media sold to those in need of content
that isn’t readily available.
Playing the Stock Market
Enterprising videographers can turn
their stock video efforts into cash.
Companies like RevoStock (revostock.
com) and Getty Images (gettyimages.
com) sell and distribute stock media to
customers. You may have seen images
from Getty Images on breaking news
coverage of a raging water rescue, or
of a one-in-a-thousand shot at a basketball game, for instance.
Freelance videographers and phoface represent the literal subject mattographers, like you, submit content
ter of a rock climber. But the video
to these companies called stock or
could also illustrate abstract concepts
microstock agencies. After the content such as how risk-taking can pay off;
is submitted, reviewers decide if they
the excitement of adventure; overwant to include your assets in their
coming dangerous situations; how
collection. The more unique the video
a steady approach leads to success;
is — and the more rare — the better.
women facing their fears or how to
Video clips that tell a story, or have
stay young – each concept is trendy
a dramatic or emotional theme, are
and current.
of special value.
Video of one tow
truck towing another tow truck is an
example. The shot
could illustrate some
very bad luck, or a
loyal friend helping
another in need, or
even the concept
of irony. Video that
has both literal and
conceptual meaning is more likely to
be popular as stock
media. Images of a
smiling middle-aged
female rock climber Getting your media to Getty Images puts you in collaboration with
slowly but steadily
a well-recognized company. And you never know what people are
climbing up a rock
searching for, news clips, a music bed, or clouds.
57
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PROFIT MAKING
profit making
JULY 2013
advertising index
July 2013
Adorama ________________________ 47
30+ years of experience in still and video work.
He learned valuable lessons from both his accepted and rejected work. He captured a gorgeous shot of a fisherman in a canoe on a foggy
morning. It was rejected because, even though
Arnett only showed the fisherman’s back, the
stock agency feared recognition of the man. In
addition, Arnett warns others to also be aware of
recognizable logos and brand names — concerns
by the stock agency over copyright and trademark issues will almost certainly lead to rejection. Also, avoid including audio that contains
copyrighted music.
Having a model release for your talent is a must, especially since they’re
easy to obtain and some companies require it.
Legalize It
In most situations, it is legal to record images
of people in public places if the subjects of
the image are newsworthy — this is generally
called “editorial use.” But, what is legal and
what is ethical can be different things — it’s
best to err on the side of respecting personal
privacy.
When acquiring video for commercial use
— like selling stock video — things get more
restrictive. Stock media resellers, like iStockPhoto.com, require model release agreement
for all identifiable faces. If the model is less
than 18-years-old, a parent or guardian will
need to sign. You’ll find boilerplate model
Know Your Rights
Technically speaking, stock media customers don’t
buy your video, they buy a license that gives them
permission to use your work — which is where
you earn money. You still own the rights to distribute and display your video and even place it on
multiple stock agency sites.
Royalty-free is a licensing model granting the
customer the ability to use a specific clip in an
unlimited number of projects for a fixed, one-time
fee. This type of license is generally more affordable than a rights-managed license.
Submission Basics
LIGHTING AND COMPOSITION ARE
FAR MORE IMPORTANT THAN USING A TOP-OF-THE-LINE CAMERA.
releases on websites that sell stock video or on
Videomaker’s website: www.videomaker.com/
article/10015.
In some situations you might also need a
signed location or property release. A property
release documents the owner’s permission to
capture images of buildings, cars, artworks and
pets — just about anything except people. The
more recognizable and unique the property, the
greater the need for a property release.
Harley Arnett of the San Francisco area
became involved in stock media after a friend
earned thousands of dollars selling rights.
Arnett describes himself as an amateur with
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58
Rights-managed (sometimes called
rights-ready) is a more complex licensing model giving the customer the
right to use a clip in a specific project
for a fixed fee determined by the category of the project like broadcast TV,
Web video or training production.
The rights-managed model is best
if you’re convinced you have a clip
that is in demand, and one-of-akind. To prevent use by others, some
prefer rights-managed media with
an exclusive license. In contrast,
a royalty-free clip could appear in
limitless productions.
Payment methods and rates vary
across the industry. For example,
iStock (istock.com) pays contributors a base rate of 15 percent for
each file download — up to 45
percent for exclusive contributors.
iStock issues payment when an account balance reaches $100. Earnings at Shutterstock (shutterstock.
com) top out at $23 per download.
Getty Images pays 25 percent for
royalty-free video and 30 percent
for rights-managed content.
Above are some examples of metadata that you may need
to record alongside each clip. This information can answer
questions for yourself, the company or customers.
Some agencies allow you to upload
your clips on their websites. But, due
to the massive file size of high quality
video — think 4k — it might be best
to submit your assets on DVD. Some
agencies even take submissions sent
on a hard drive or USB drive.
Before an agency accepts a clip,
they review the required information
submitted with the video. This metadata could include a description of the
camera used, capture and submitted
format, shoot date and location, color
correction or enhancements, clip
filename and suggested keywords. Accurate, relevant keywords provided by
you are critical for potential customers to find your clip.
Most agencies structure pricing based
on a range of video resolutions, so always capture video at the highest quality possible and with high production
value. For example, make sure all video
is in sharp focus. Autofocus systems are
prone to getting confused — it’s best to
use manual control. Shots that smooth-
ly change focus from foreground to
background, or vice versa, will give
your shot some extra drama.
Smooth boom and dolly shots are
beyond the reach of some filmmakers. If you own such equipment, use
it to make your video stand out above
the rest. In addition, a good quality
tripod will ensure silky smooth pan
and tilt movements. Don’t overlook
white balance and lighting. Arnett
ACCURATE, RELEVANT
KEYWORDS PROVIDED BY
YOU ARE CRITICAL.
found that lighting and composition
are far more important than using a
top-of-the-line camera.
Don’t Chase Ambulances
Successful stock video entrepreneurs
shoot popular concepts in unique
ways that distinguish their video from
the pack. Use your unique knowledge
and insights gained from your job,
hobbies or interests — or location —
to your advantage.
A handful of people make a living
selling stock video, but for many it’s
more of a hobby — one with the potential to pay for itself. If you create
a small business, you might even be
able to claim some of your expenses
like travel and equipment.
Want to double your commercial
success? Shoot still images along
with video and submit those images
as stock photography. Using a DSLR
makes it easy.
Arnett offers some advice to stock
video novices, “Be very, very patient.
They will likely reject most of what you
send them. Try to learn from the rejections and you will come out the other
end much better at your craft.”
David G. Welton teaches college media production
courses.
Adorama ________________________ 53
AJA Video Systems Inc. ___________ C3
B&H Photo/Video & Pro Audio ___ 27-29
Blackmagic Design _______________ 07
Canon ___________________________ C4
Carl Zeiss Microscopy, LLC ________ 17
Convergent Design Inc ____________ 05
Eagle America Sales Corp. _________ 39
Full Compass Systems ____________ 09
Glide Gear _______________________ 55
Glidecam Industries Inc. ___________ 35
Glidecam Industries Inc. ___________ 45
G-Technology Inc. ________________ 15
Home Video Franchising ___________ 33
JVC Professional Products ________ 03
KinoFlo _________________________ 41
MovieMaker Magazine ____________ 33
Shure, Inc. ______________________ C2
VideoGuys ______________________ 49
Videomaker Documentary FundingDVD 39
Videomaker Wedding DVD _________ 51
WeVideo _________________________ 55
VIDEOMAKER >>> July 201 3
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59
REVIEWS
AUDIO
by H al R oberts on
Continued from page 6
Figure 4: Depth of focus
Figure 5: Various ISO settings
ISO 200
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of moiré while maintaining high
resolution. To test it we shot a men’s
suit coat with a very fine pattern, and
while moiré was present, it did appear to be less than what we’ve seen
elsewhere. In another test we panned
across an area featuring rooftops
with a horizontal lined pattern. Moiré
in the rooftops was minimal, even
though the shot was very sharp.
Another bane of CMOS based cameras is the rolling shutter or “Jell-o” effect. To test this we panned rapidly back
and forth across a telephone pole in the
distance. While the effect was present,
we have definitely seen far worse.
To test the effectiveness of the O.I.S.
we shot a scene handheld, while
standing as still as possible, with the
stabilizer turned off and using the
14-140mm lens on full zoom. We
then switched it on and shot the same
scene again. The difference was very
impressive and really spoke to the effectiveness of the system. As a further
test we repeated the scenario while
slowly walking. While the stabilizedwhile-walking shot had quite a bit of
movement it, was markedly less than
the non-stabilized shot and with considerably less blurring.
A field of wildflowers gave us the
opportunity to test the GH3’s ability
to handle color. To our delight, the
gorgeous array of yellows, greens and
purples were beautifully reproduced,
Figure 3 while another fabulous
flower find enabled us to get some
beautifully shallow depth of focus
shots Figure 4.
To test the autofocus response time
we achieved sharp focus on a close
60
ISO 800
ISO 1600
object, pointed the camera away to a
distant object and back again. Each
time the GH3 responded very quickly
in regaining sharp focus.
We went outside at sundown to see
how the GH3 handled low light. Upon
panning across a rural landscape
in Intelligent Auto mode we were
pleased with the result. Although the
sun had set and lights were visible in
the distance (we even captured a bat
flying through the frame) the scene
was surprisingly bright with minimal
noise. We then shot a number of stills
at various ISO settings (up to 12800
and 25600 extended) with equally
pleasing results Figure 5.
We deliberately shot (that’s our
story and we’re sticking to it) both underexposed and overexposed footage
to see how well it responded to postprocessing. A too-dark shot of a river
under cloudy skies was treated to successive passes of RGB curves, levels
and the three-way color corrector. An
overexposed pan across a garden area
required a bit of luminance adjustment to restore contrast and color to
the scene. In each case, a little bit of
processing went a long way with very
nice results.
The Panasonic DMC-GH3 is a very
capable camera, delivering quality
results at a reasonable price. If you
desire creative lens options, excellent
color reproduction and broad dynamic range in an easy-to-use format (and
who wouldn’t) then you will want to
take a closer look at this camera.
SUMMARY
ISO 3200
If you’re looking for interchangeable
lenses, great color reproduction,
broad dynamic range and more, you
will want to take a closer look at the
Panasonic DMC-GH3.
Contributing Editor Mark Holder is a video producer
and trainer.
ISO 12800
Surround Sound – Gathering the Audio
Surround sound is everywhere:
movie theater, home theater, video
games and TV. But it’s not just a
tool for production facilities with
deep pockets. You can create it too.
Just as standard definition video surrendered to high definition, stereo audio starts to fade into more and more
surround sound. Aside from mobile
devices, it seems virtually every other
form of entertainment can or does
have surround sound attached. That’s
great because it helps draw the viewer
into the action and creates a bond with
the material that pixel counts alone
can’t achieve. As things progress, the
line between professional and prosumer productions gets even blurrier. In
fact, with just a few tools and some patience, you can create a DIY surround
sound track for any production. This
issue and next, we’ll walk you through
the process of sound editing for your
first surround sound project.
Gathering Goodies
A surround sound project has to start
with raw materials. As the sound
designer for your project, your job is
to capture or create elements that fit
in the context of the production. This
could be simple or difficult.
Our first example is a concert video
for your local performing arts society.
It’s a simple concert featuring piano,
string quartet and a solo vocalist.
The finished video will be used as a
fundraiser to bring more concerts to
the area. This is a live, one-time event,
so you have to get it all on the day of
performance. Obviously, you have to
record the musicians, but there is an
audience too and their contribution
will be in the form of applause. How
do you record all these elements with
surround sound in mind?
Perhaps the best recording method is
the use of a multichannel audio interface and some computer software. Any
interface that can capture eight or more
inputs simultaneously is ideal. Not too
SURROUND SPEAKERS
If you don’t already own one, there are many 5.1 channel multimedia speaker systems available today. Some are very cost-effective while others are a bit pricey.
Logitech and Klipsch even offer THX Certified models. As in most things, you get
what you pay for, but audition them in the store if possible. You can find some
bargains out there. Alternatively, a home theater surround sound system could be
a perfect solution. Using a coaxial or optical audio output on your computer, the
home theater system becomes your amplification, decoder and speaker system,
with the added bonus of replicating the home theater experience exactly.
long ago, this would have been an expensive proposition. Today, manufacturers like MOTU, TASCAM, PreSonus and
others offer this technology for around
$500 – even less if you shop carefully.
Attach the device to your computer,
install an audio editing software, hook
up some microphones and you’re ready
to record. Of course, it’s a little more
complicated than that, but this type of
audio recording makes surround sound
production easier and opens up even
more production opportunities.
In our concert, (Figure 1) you’ll need
at least five microphones: a stereo
pair facing the stage for music, a
stereo pair facing the audience for
their reaction and a single mic for the
vocalist. You don’t need identical mics
for everything, but each pair should
include identical mics. The solo mic
can be anything that works well. If
you have the resources, you could
mic each instrument individually, but
this requires quite a bit more mixing
work later and, typically, these types
of performances work quite well with
simpler mic technique.
A more economical approach uses
a couple of simple portable audio
recorders. A current, self-contained
4-channel audio recorder with built-in
mics is Zoom’s H2 (or H2n) records
61
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audio
audio
July 2013
Classified Network
July 2013
equipMent & accessoRies
front and rear stereo pairs simultaneously. By
mounting one of these on a stand near the front
of the stage, you’ll capture all the music and
audience reaction. Dedicate another portable recorder close to the vocalist and you have all the
audio elements for your surround sound mix.
Using this type of setup requires some time
ahead of the performance to get recording levels
right. You can easily set levels during rehearsal,
but there is no way to gauge audience reaction.
It could be very loud compared to music levels.
In this case, it’s best to leave quite a bit of headroom in the recording level. You can tame some
extra noise later, but you can’t get rid of overload distortion from an enthusiastic audience.
The Indie Movie
Advancements in camera, lighting and audio
technology have made independent film tempting for many budding producers. Film projects
are usually all about the dialog. That means you
need to capture the best quality dialog possible.
Normally, this means wireless mics on each
actor and a shotgun mic overhead as a backup.
Rather than spend $500 or more for a single
wireless mic, consider using a simple pocket
recorder coupled with an inexpensive lapel mic.
You get the mobility and sound of a wireless system at a fraction of the cost, plus audio recordings safely tucked away on a media card. In fact,
using the least expensive pocket recorders, you
can outfit three actors for less than the price of
one wireless unit.
contents
Figure 1. Recording
a small concert is
no simple task, but
to help simplify it,
here’s an idea of
what your mics need
to pick up. Audience
and instruments by
the way of paired
mics. Then the vocals
on a fifth mic. Be
sure the audience
has plenty of headroom with your levels
– those fans, friends
and family didn’t
rehearse.
Figure 1
The Mixing Environment
Once you have all the raw materials in place, it’s
time to figure out how to blend it all together. The
crucial parts of this equation are your mixing
hardware, software and environment. It would be
nice to have a dedicated, acoustically treated space
to mix in. This seems impractical for most of us, so
we’ll make the best of what’s available. We’ll start
with your computer desk. The room should be
large enough to pull the desk away from the wall
a bit. This will help with speaker placement and, if
necessary, acoustic treatment. Speakers should be
mounted on stands if possible, but wall mounting is
acceptable if there are no alternatives.
Most desktop computers come with sound card
that carries surround sound, but if yours didn’t,
there are internal and external add-on cards that
What’s Next?
Look for surrouNd souNd Part 2:
Getting the Mix in Videomaker‘s august 2013 issue.
In this issue, we look at gathering material for a
surround sound mix; our next issue actually brings
these elements together into a finished mix and
marries it to the visuals.
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Imagine this scene: a couple is discussing their
future over drinks at a club. They’re seated at a
table surrounded by other patrons. In the background, a disc jockey is playing music at moderate
levels. Your task is to capture all these elements
quickly and efficiently for your indie feature film.
First, and most important is the dialog. Whether
miking the couple individually or using a shotgun
mic overhead, the dialog for the scene is recorded
without any other sounds. The extras who serve
as your club patrons will have to fake their conversations, eating and drinking with as little noise
as possible. Once the dialog is tracked, it’s time to
break out your multichannel recorder. The H2 is
perfect here again, but you can also do this with
two stereo recorders or a multichannel computer
recorder. Place the recorder(s) or mics near the
location of the table from the scene and direct the
crowd to talk, laugh, eat and drink as they please.
Record this for at least five minutes. Recording
the DJ isn’t necessary, although, if there’s dancing in the background, make a note of the tempo
of the music so you can match it later. If there’s a
practical way to log audio file names and associate
them with scene takes, the extra effort will save
some frustration later when editing and mixing.
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stock Music
will do the trick. While there are six,
seven and eight-channel surround
modes available, we’ll concentrate on
5.1 mixing, since it’s the most common
and supported across a broad range of
products and delivery methods. Speaker
placement for mixing surround material
is a bit more exacting than setting up in
your living room. Imagine a large circle
and your mixing chair is in the center
of the circle. (Figure 2) Directly in front
of you or zero degrees – is the Center channel speaker. Along the arc of
the circle, 30 degrees to either side of
center are your Left channel and Right
channel speakers. Finally, behind your
mix position, and somewhere between
110 and 150 degrees off center of
either side are your Left and Right surround speakers. The subwoofer should
be located against the wall behind the
computer desk, but somewhat offcenter if possible.
Once the speakers48are set up and
FullPageAD_NEWTemplate.indd
connected to the computer, check
the sound card settings to make sure
the computer knows you’re using a
six-channel (5.1) speaker system, then
listen to some of your favorite music
and movies. This gets you familiar
with the new setup and can identify
any potential problems like rattles and
buzzes. You might find that your mixing
environment is too lively. If so, consider
some sound absorbing material to
minimize audio reflections. This doesn’t
have to be expensive – even some
simple moving blankets hung from the
walls will work well in a pinch.
Only the Beginning
That does it for part one, but there’s
much more to come. Next issue, we’ll
work with your mixing software – both
audio and video – and marry the finished surround mix to your visuals. In
the meantime, enjoy gathering materials for your first legitimate surround
sound mix.
Contributing Editor Hal Robertson is a digital media producer and technology consultant.
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11/18/2011
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63
9:34:52 AM
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PRODUCER’S RIGHTS
b y J e n n if e r O’Ro u r k e
Judge Says No – Ken Burns Wins Legal Battle
Ken Burns will not have to give up his documentary’s outtake footage. A case in which a
high-profile documentarian is questioned and his footage subpoenaed, shows that making documentaries can be challenging to anyone.
The well-known, award-winning
documentarian Ken Burns won a
battle for journalistic rights when he
refused to give up outtake footage to
New York City. Burns, his daughter,
Sarah Burns and son-in-law, David
McMahon, were named in a subpoena
demanding they give up unseen footage from a documentary they co-produced. That documentary The Central
Park Five is about five men wrongfully
convicted in a high-profile New York
rape case. The film has been making
the film festival route and premiered
in 2012 at Cannes Film Festival.
New York City wanted to examine
the unused footage and interviews in
defense of a lawsuit against the city.
The co-producers fought the subpoena
stating the city’s demands interfered
with the New York shield law that protects journalists along with their notes
and sources. The judge agreed.
Back Story
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In 1989, a woman was jogging in
Central Park where she was brutally
attacked. Around the same time, a group
of young men were caught in the park
throwing rocks at cars, among other
actions. New York City’s investigation
pointed to the young men in the park
and they were arrested, charged and
sent to prison. Twelve years later, in
2001, a serial rapist admitted to being
the culprit and that he acted alone. DNA
and other evidence proved he was the
attacker, and the wrongfully accused
and imprisoned men are all now in-
64
volved in a multi-million dollar lawsuit
against the city.
The Arguments For and Against
Burns and company never used the
outtake footage in the final cut of the
documentary, so it was “unknown.”
New York City’s attorneys felt that questions and/or answers during interviews
in that unseen footage might assist the
city in its defense. They argued the film
had crossed the line from documentary
to advocacy – meaning it was onesided. But Magistrate Judge Ronald L.
Ellis of the United States District Court
in Manhattan blocked the subpoena.
John Siegal, Burns’ attorney, said it was
a “marvelous decision for the media
industry generally and documentary
filmmakers in particular.”
What does it mean to you?
This win means documentarians
should be accorded the same rights
as journalists as stated in the First
Amendment in the Bill of Rights of the
United States Constitution.
Along with the right to speak freely,
petition the government, assemble, and
worship, the First Amendment prevents
the government from infringing on the
freedom of the press. As a journalist,
you have the right to gather information, even if it might hurt a government
entity, as long as it isn’t defamatory or
maliciously and factually wrong. Additionally, individual states have what are
called shield laws, and although these
might differ from each other, generally,
they mean a journalist doesn’t have to
give up notes, footage or reveal sources
unless through a court order, which is
what protected Burns and his company
from giving up their footage.
Many whistle-blowers would
never step forward if the reporter or
documentarian they’re working with
couldn’t guarantee their protection.
One of the most well-known cases
was an informant known as Deep
Throat who, along with The Washington Post journalists Bob Woodward
and Carl Bernstein, took down a president of the United States and many
of President Nixon’s associates and
advisors headed to prison.
How well are your rights as a
documentarian protected?
Just because you might think your
rights are protected as written in the
United States Constitution, doesn’t
mean you can move around freely with
a camera in one hand and a press badge
in another. In even the most honorable
situations, there have been many slippery situations where journalists have
been jailed anyway, so you must know
your facts, know your rights and trust
your sources to have their facts backed
up before you venture into shark-filled
waters. For instance, don’t get involved
in the story, you are there to document
it, not participate. Being a participant
might remove you from objectivity.
There are times when giving your footage might help solve a crime – should
you then give it up without protest?
Only you know for sure, so know your
rights and stay informed.
Whether you want to help right a
wrong, expose corruption or just want
to find a good story to enter in a film
festival, remember: from your rights
as a journalist or documentarian to the
copyright laws and privacy, it’s up to
you to know what can lead you into
trouble – be prepared and study well!
Jennifer O’Rourke is Videomaker’s managing editor and
has had to face Shield Law subpoenas twice as a news
journalist.
use' article #15632 in the subject line. You can
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B e c a u s e i t m a t t e r s .™
B e c a u s e i t m a t t e r s .™
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