Teleprompters have always been a must have tool for speeches, news broadcasts, and industrial videos. By organizing ideas and proscribing specific language, talent is less dependent on memorization and better focused on delivering content. The ability to stay on script and on point saves time, and provides greater efficiency during production. Teleprompters are not without their flaws, however. Broadcast units can be cumbersome, costly, and difficult to use. In the era of new media, however, this might be changing.
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The HDR-AX2000, expected to sell for around $3500, is a solid state AVCHD camera that crams a whole lot of professional features into a prosumer camera. Able to record at up to 24 Mbps in the AVCHD format, the HDR-AX2000 can capture 1920x1080/60i HD video as well as progressive scan video at 1080/30p and 1080/24p directly to Memory Stick PRO Duo or SDHC cards (the 24p/30p footage is converted to 60i when recorded to the memory stick/SDHC, and 2-3 pull-down is used when converting the 24p to 60i).
Traveling with precision camera tools has long been a game of seeing how far one can press airport limits without pushing one-button-too-many of the person behind the ticket counter. Ever tighter carry-on allowances and skyrocketing checked baggage fees have made matters worse. And do you really want to wave bye-bye to your precious gear as it's carted off to a Samsonite version of hell?
It's been almost 10 years since Apple brought its first version of Final Cut Pro to market. In that time, the professional, nonlinear video application has seen many improvements and features added. With each subsequent release the software has offered greater stability, reliability, and productivity in the ever-changing moving image space. These updates have always been informed by the latest innovations in both Apple hardware and OS software deployment. Final Cut 7 is no exception.
Though inexpensive flash memory camcorders have been snapped up by consumers in droves in recent years, even casual users recognize their severe limitations. Typically, these devices offer a lackluster lens, provide only digital zoom, and perform poorly in dim light or an unsteady hand. Manual controls, touch screens, and GPS simply aren't included in the equipment. All this helps explain why cameras that record to tape or hard disks continue to be preferred by home video enthusiasts.
Traveling with precision tools and instruments has long been a game of seeing how far one can press the limits of government/corporate rules without pushing one-button-too-many of the person behind the ticket counter. Ever tighter carry-on allowances and checked baggage fees of $25, $50, $75, and higher have only made things worse. And do you really want to wave bye-bye to your precious camera gear as it's carried off to a Samsonite version of hell?
You wouldn't want to use any of these pocket-size devices as your primary camcorder to record a major event like a wedding. But if your priority is to get the couple's vows posted to YouTube before the first dance, you can't go wrong with one of these point-and-shooters. They seamlessly integrate software for sharing your videos with the global community.
At the heart of the receiver is the surround-sound processor. The most basic surround processors use a Dolby Pro Logic II decoder. Pro Logic II is a "matrix" system that takes an encoded two-channel stereo signal and converts it to a five-channel full bandwidth (range) playback (Left/Center/Right/Left Surround/Right Surround),resulting in a surround experience. Most TV shows are encoded in Dolby Pro Logic II, as are the majority of VHS videos. You can also play DVDs through a Pro Logic II only-receiver because DVD players can synthesize a Pro Logic II signal that mimics a surround soundtrack. The newer Dolby Pro Logic IIx adds the ability of converting stereo or 5.1-channel surround sound for seamless 6.1 or 7.1 playback.
When I was a younger lad I shot a movie for which I elected to pursue using a Steadicam instead of tracks and dollies. In an effort to reduce setup times from location to location, the production team felt it was the right way to go. Upon doing some research I soon discovered that Steadicams were slightly out of my price range. So, I turned my attention to the Glide cam V-16 and eventually was able to get my hands on one.
Even those who have never worked with film sometimes long for the shooting techniques & aesthetic effects lost in the transition to digital video. Thankfully, some of that lost magic is being returned to our craft with devices like 35mm adapters, which allow you to marry a 35mm SLR camera lens to a video camera.
Chandler Griffin's feet have always been itchy. From Africa, Latin America, and the Middle East, he's walked around the globe as a documentary filmmaker. His optimistic eyes peer pensively through a thoughtful camera lens. With human issues at the heart of his unique brand of filmmaking and teaching, he's partnered with UNESCO in Burundi, the Desmond Tutu HIV foundation in South Africa, and FXB in Rwanda.
