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Articles tagged with Tapeless
We have been shooting tapeless now for over a decade but in my experience Producers are still not accounting for media transfer time within the shoot day. With different codecs it’s important that both the crew and the client be on the same page in that regard. Now the crew needs to be aware of what card or drive they are recording to and which one needs to be moved to a client hard drive or backed up. We need to be ready to download the footage at moment’s notice.Continue Reading "Scheduling Time to Transfer Media On-site"
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.Continue Reading "FREE Through May 31st – Sony Content Browser 2.0"
By now you might have read a handful of reviews for the new Sony 4K cameras that recently started shipping. If you had the opportunity to read Adam Shanker’s review of the PMW-F5 then you have a general idea of what you can expect from it big brother, the Sony PMW-F55.Continue Reading "Sony’s Game Changing PMW-F55"
In a perfect world, we would only need one media to record everything. But this isn’t a perfect world. In the last couple years a plethora of new cameras, codecs and different types of recording media have been released. Sony has recently expanded their 4K presence and now has upgraded their SxS cards with the new SxS PRO+ cards. The PRO+ cards can write up to 1.5/Gbps and read up to 1.6/Gbps. They are designed to support the massive amount of information required in the capture of 2K and 4K...Continue Reading "New Media from Sony: the SxS PRO+ and Mirroring Memory Sticks"
When Emmy Award-winning Director of Photography Bill Mills (Florida Film & Video) was asked to document a 10 day safari to three of the most important big cat conservation areas in southern Africa, he obviously accepted the challenge. His strict limitations were weight, and distance from subjects. He needed to travel as light as possible and shoot in full HD broadcast quality, while also being able to capture both on-the-fly interviews and distant animals.Continue Reading "Panasonic AG-HPX250 Delivers Master Quality In A Compact Size"
So much of the information that we get about the video production industry is what is new, bigger, and better. In this article we focus on what has worked for our clients in the past, what is being requested now, and what we forecast for the near future. The video production world, like most other industries, is moving forward at lightning speed thanks to new technologies. But think back—it wasn't always this way. Just a few short years ago, Crews Control’s clients were using tape, and...Continue Reading "Video Production Trends A Look Back And To The Future"
At the 2012 NAB show Sound Devices unveiled their newest model in their Pix line of mobile recording devices, the Pix 260. The Sound Devices Pix 260 employs many of the mainstays of the flagship mobile recorder the Pix 240 while pushing for higher-end options to attempt to compete with full resolution recorders like Convergent Design’s Gemini 4:4:4.Continue Reading "For Field And Suite: Sound Devices Pix 260"
Black Magic Design, mostly known for its Da Vinci color correction system, has slowly crept into the video production equipment line. They have created their own version of the “Super 35” Digital camera called the Black Magic Cinema Camera. A relatively straightforward name compared to the complicated model numbers of many Sony, Canon, and Panasonic cameras.Continue Reading "Blackmagic Cinema Camera—Did You Say Cinema Camera?"
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.Continue Reading "Know Your Panasonic Codecs! DVCPRO HD, AVC Intra & AVC Ultra"
Crews Control University is a series of educational seminars on new technology, equipment, and software. The most recent Crews Control University was held at the Crews Control offices, and a couple representatives from Abelcine gave demonstration of a vast array of mobile recording device. Mobile recording devices are recording devices that attach to a camera and can record different formats, codecs, resolutions, and other options.Continue Reading "Crews Control University On Mobile Recording Devices"
Once a year in Las Vegas the National Association of Broadcasters (NAB) annual tradeshow highlights the new technologies for the upcoming year but also indicates trends of the broadcast industry. Trends have carried over from last year’s NAB show with larger sensors cameras, higher resolution for less money, and versatile technology that makes production lighter, faster and easier. Let's unwrap the wonderful gifts of NAB 2012.Continue Reading "NAB 2012: It’s the Most Wonderful Time of the Year"
The technology to make create instant files directly from a tape-based camera is not new. Many companies have been marketing devices since tapeless cameras first camera out. But as the market becomes more refine, the devices become more intuitive. AJA has been one of the leaders in this market, and their most recent device, the Ki Pro Mini is no exception.Continue Reading "The AJA Ki Pro Mini: The Little Recorder with Big Dreams"
Sound Devices doesn’t sound like a company that would make a splash with a video mobile recording device, but they have in a big way. The Pix 220 and 240 are mobile video recorders that create up to 10-bit digital video files and transfer them to a compact flash of solid state drive. Not only can the Sound Devices Pix record from a tape to make an instantaneously digital file, it can convert resolutions of the file at the same time. The Pix 240 and 220 offers real-time conversion from 1080i...Continue Reading "Sound Devices Goes Visual with the Pix 240/220"
The media deliverable is essential to how the footage you’ve shot will be backed up on site and imported to your editing suite. At the time you book your shoot with your Crews Control production manager you also need to discuss not only the crew size and style of your shoot but also how to handle the deliverable; what media type(s), format(s), frame size(s) and frame rate(s) you want based on what your editor can import. Currently, the most popular choice is to go tapeless which usually...Continue Reading "White Paper: Deliverable Data Management and Hard Drive Usage in Video Production"
Let’s get ready to rumble. In one corner we have video production equipment heavy weight Sony with the XDCam EX format shooting to SxS cards. In the other corner we have Panasonic who set the precedent for tapeless card cameras with their release of the HVX 200 in ‘05 and 13 or soContinue Reading "In The Ring With P2 vs. SXS"
Back in the old days of tape production it was easy to plan how much tape stock would be needed for your video shoot. Now there are so many tapeless cameras that require memory cards as the media type it takes a few calculations to figure out the record time recording time for your videoContinue Reading "P2 & SxS Card Record Times"
Crews Control teams up with the best equipment resellers, manufactures and video production solutions providers for Crews Control University. Our free classes provide an opportunity for our contacts to discuss video production solutions with their peers and with our experts with a minimum time investment. The classes are usually 4 hours or less and include lunch...yummy.Continue Reading "Crews Control University"