So you’ve scheduled your shoot, but want to make sure you have the capability to view the footage onsite through your laptop. If you are shooting with Sony cameras, the Sony Content Browser 2.0 is just the solution. The Sony Content Browser 2.0 handles all XDCAM HD, XDCAM EX, XAVC, and NXCAM clips. Including support for XAVC Intra 4K and XAVC Intra HD clip types.

Sony knows that 4K displays are not consumer affordable, yet. Only individuals with heaps of expendable income will invest in the first generation of 4K monitors and televisions. The idea behind Sony’s October 30th announcement was to stir up some excitement for their upcoming 4K production lineup. Sony’s goal is to make 4K production affordable so that content creators will utilize the technology, and effectively stir a demand for 4K technology on a consumer level. At which point we should...

If you have never used FTP it might be difficult to just jump right in, especially if you are unfamiliar with how it works. In this article I am going to explain everything you need to know about File Transfer Protocol (FTP) so that you can make a clear decision on whether or not you should use it for your next deliverable. Before we begin there are three questions you should seek answers to before you ask for the deliverable media to be transferred via FTP...

I had the chance to sit down with seasoned video editor Russ Johnson and discuss his initial reactions from working on his first project in Apple’s Final Cut Pro X. Over the last 14 months there have been many discussions around FCPX and the direction Apple is taking its post-production software. As an experienced Final Cut Pro 7 editor, I still had a few lingering questions that needed answers. So I sought out Russ Johnson, served up an unhealthy batch of banana pancakes, and started rapidly...

I conducted a Q&A with Post-Production Supervisor for Accord Productions, Michael Ball. In this interview we discuss everything under the sun in regards to the post-production process, and how accord productions is keeping up with changing technology. Michael Ball also shares his advice and experience time management, workflow, and client relations.

In the world of video editing every minute matters, and you will typically find yourself spending time on tasks you could have been done remotely. Having the proper editing and post production tools on location can make the clients finished video appear as if it was done over weeks of editing. The location editor and his suite must be prepared for many different environments so each package is built differently.

From a producer’s perspective, you know your technical specs, you may know exactly what camera you want, you know what you are shooting (interview, documentary, b-roll, green screen, etc) and how it will be shown, but you are generally not concerned with how your material gets from the camera to editor. If you ask your editors what they want as a deliverable, generally they are going to ask for a plug and play file. The files can be delivered on an external hard drive, thumb drive, or even...

Asking a freelance director of photography about the codecs of their Panasonic cameras is like asking a mechanic about the engine of a car. Be prepared for a long technical answer. All you need to know is why a certain codec is important and correct for your shoot. Panasonic currently has two often confused codecs: DVCPRO HD and AVC Intra. The third codec, AVC Ultra, is to be released next year.

Avid has recently announced version 5.5, and the news is all exciting and good. Avid continues to evolve and support a more open format. They are allowing even more third-party support, which something in the past was impossible. It seems Avid has done an about face and is really giving other NLE’s a run for the money. Even in our SuperNLE Bowl, Avid came out victorious. Check out some of the new features in Avid Media Composer 5.5