The DIT Spot Posts

I may have been the only person out there that used IMC’s Incite software. It was a very well featured and relatively stable platform that ran on Windows, and the Matrox Digisuite. However it never really seemed to gain much traction in the marketplace and it was abandoned like many other packages when both Apple and Avid moved into the lower-end video market. IMC as a company still exists today, and looks to provide software and services for broadcasters and news organizations.

Back in the day (around 2001), IMC Incite was a supremely featured system, according to their marketing materials, these were the top 10 Reasons to Chose Incite over it’s competitors:

 

Blog Editor's Wake

As professional NLE software users, we’ve been conditioned to the 18 month release cycle, wherein we dole out our hard-earned cash about every year and a half for a new version of the software we already use, with a new number attached (i.e. version 6 becomes version 7, etc).

In the meantime we’ve come to expect that any version of the software that includes our original version number (say 6.3. 6.6 etc), should be ours to download for free. On the whole this is because successive versions are generally bug-fixes that fix problems that should not have been there in the first place, that they released anyway. They modify our ire at purchasing buggy or broken software, by making the fixes downloadable for free. It’s an assumption that’s now built into the customer-software vendor relationship.

This somewhat masochistic policy of buying known buggy software and hoping that the company eventually fixes most of the major issues, was the price we paid for the rapidly developing technical capabilities of our software and hardware. While the software was buggy, it made up for it in additional productivity features that our old version and old hardware just couldn’t handle.

Adobe Premiere Avid Blog Industry Rant

Once upon a time in Canada, there was a company called Discreet Logic. They were a bold people, who developed high-end visual effects software on SGI computers called flame*, inferno*, and smoke*,for major Hollywood releases and broadcasters. They also liked to write things in only lower case and add asterisks* after* words* for* no* apparent* reason*. Looking to branch out into the industrial and lower end video markets they brought out a new NLE in the late 90’s, designed to work on PC’s and Windows NT, and they called it: edit*.

edit* quickly gained a rabid following in its market. It ran on PC workstations with a Matrox Digisuite, or Pinnacle Targa 2000 card, for a ridiculously low price of only around $10,000. The simplicity and workflow that discreet brought to the NLE interface won many converts, including myself, and for the time it was the by far the best bang-for-the-buck editor out there. You got to have a small, capable real-time, dual stream, uncompressed video system, with the cachet of the discreet name, that felt like running your video on the “big iron” systems. As someone who was trained in flame* and smoke* back in the SGI days, this was the big clincher. Combined with discreet’s combustion* motion graphics app, you could have your own mini-flame* for a fraction of the price. It was an unstoppable combination, that died a quick and pointless death.

Blog Editor's Wake

http://www.youtube.com/watch?v=TZImzzPaXew When geekiness collides. It’s no secret that I’m a huge video and film geek, it’s also no real secret that I’m a huge fantasy geek as well. This one…

Production Video Cameras

With all the hoopla surrounding “full frame” camcorders this year, it’s easy to forget that smaller chips have their benefits too, we just take them for granted. Certainly in terms of resolution, the smaller 3-chip models still beat the socks off their DSLR competition, and frankly you often want deep DOF in your shots. Panasonic stepped up to the plate to announce their newest 3 CMOS 1/3″ camcorder, the AG-HPX250. This is the latest model in Panasonic’s legendary P2 stable.

It records to AVCHD Intra 4:2:2 10 bit, which is the only good implementation of AVCHD as far as I’m concerned. It also records in DVCPRO HD, DVCPRO, and even DV. I really appreciate that Panasonic keeps bringing it’s legacy codecs to its newer models. It makes me as an owner feel more secure that if I invest in a new technology, Panasonic won’t end-of-life it in a few years leaving me high and dry. Say I bought an expensive DVCPROHD deck back in the tape days, I could still use it natively with this new camera for backups. Speaking of which, the media is still P2 cards, which you may have lying around from when you first bought an HVX-200 in 2006. 10 out of 10 for compatibility.

Video Cameras

Ironically, maybe the biggest news from NAB this year, wasn’t actually at NAB. The big wait is over, Final Cut Pro X  was announced at the FCUG Supermeet in Las Vegas. It will be released in June, downloadable at the App Store for only $299.

There were several new features demonstrated and workflows explained, but the presentation may have actually generated more questions than answers for the future of FCP.

1. Has FCP been dumbed down to iMovie Pro? This was the big question on everyone’s mind, and the answer seems to be: yes and no. I may be in a minority, but there were a lot of editing features in iMovie that I really liked, and wished that could be brought over to FCP. Probably the biggest shift in FCP X, is getting rid of the source viewer. The whole 3-point editing paradigm seems to be phased out for a more click and drag type of experience. The new trimming tool looks interesting, and the magnetic timeline should be amazing, if it works properly (How can you maintain sync when all your clips are moving around independently?). The compound clips looked like a very advanced nesting feature, which will be exciting to see in action. Face detection a lot of people dismiss as a “consumer” function, but I find it incredibly useful and always wondered why we didn’t see more of it on professional camcorders and software, the uses for it are many.

Final Cut Pro Post

In recent years, no trip to NAB is complete without a visit to the Blackmagic Design booth. Each NAB Grant Petty always has something new and truly useful to show, and as a bonus, the products usually very reasonably priced. This year’s lineup is no different, with no less than three product announcements worth mentioning.

The first is Blackmagic Design’s foray into the increasingly crowded Standalone Video Recorder (or corder) market, the Hyperdeck Shuttle. While other manufacturers have been frantically adding features to their corder offerings to make them stand out, Blackmagic has gone the opposite way and stripped the recording unit to its bare essentials. The Hyperdeck Shuttle is really an HDMI/HDSDI interface, playback controls, and a dock for an SSD drive, that’s it.

Gear Post

I’ve always loved the products from Sound Devices, we own several of their 702T recorders, and 302 field mixers, that we use on our student films, day in day out, year after year. They’ve been very rugged for us, and that’s saying something for the amount of student productions they’ve been exposed to. In fact, I can only remember one time when we had a student break a 702T, and our first question was “how did they manage that?” (the forcible insertion of a mis-aligned compact flash card in case you’re wondering). Sound Devices products usually have that winning combination of high-quality, dependability, and reasonable price that film schools appreciate so much.

Industry Production Sound

Yesterday, Arri updated their Alexa Software Upgrade Packet (SUP) to version 3.1. On top of a very impressive 3.0 update, that included much needed improvements such as video clip playback and audio recording, version 3.1 adds just a bit on top:

  • Support for ALEXA and ALEXA Plus
  • Support for yellow and white radios
  • Support for the Remote Control Unit RCU-4
  • Recording to two SxS PRO cards simultaneously

Video Cameras

The internet is abuzz (Pro Video Coalition) with the fact that Apple has decided to take over the entire Final Cut Pro User’s Group Las Vegas Supermeet. This really could…

Final Cut Pro