EventDV.net
Search EventDV

EVENT-DV 25
2010 Awards Show
2009 All-Star Team
2008 All-Star Team
2007 All-Star Team
2006 All-Star Team


RELATED SITES
Streaming Media Producer
OnlineVideo.net
Streaming Media


PRIVACY/COOKIES









Copyright © 2004 -
Information Today, Inc.



February 17, 2009

Table of Contents

In the Field: Panasonic AG-HMC150
JVC Introduces GY-HM700 ProHD Camcorder
Panasonic Debuts AG-HPX300 P2 HD Camcorder
Matrox Announces Rackmount Version of Popular Matrox MXO2 I/O Device for the Mac at Broadcast Video Expo
Zacuto Makes Shooting on a 2/3" Camera With DOF Adapter Affordable to Indie Filmmakers
JVC Introduces First Hand-Held Camcorder to Record Native Final Cut Pro Files
Ultrasone's Edition 8 Achieves The Pinnacle of Headphone Sophistication
Panasonic Offers Free AVCHD to DV Transcoder Update
Panasonic Expands Professional AVCCAM Product Line with Compact HD Recorder and Multi-Purpose Head
NEC Display Solutions Launches NP Short-Throw Series With Two Portable Projectors
Red Giant Software Offers Free Weekly Tutorials on Red Giant TV

In the Field: Panasonic AG-HMC150

As I write this article, it's a cold January day in Oklahoma. I'm listening to one of my favorite jazz artists, Marcus Miller, on Pandora Radio. I can't help but draw comparisons between musical artists and media artists. We are all creative artists, producing art in various forms. It has often been said that NLEs and cameras are just "tools" that we use in our craft. I'm sure I've expressed the same sentiment at times, but I'd like to suggest a slightly different view.

Having played bass for more than 30 years, I look at my bass not merely as a tool for playing music but as an instrument that helps me bring the music I've heard inside of me out to my fellow musicians and to my audience. For the last 20-plus years, I've played custom-made basses. The type of woods used, the electronics, neck length, strings, and the volume and tone all affected the way I've played and interacted with the other musicians on the stage.

I see my video camera in much the same light. Many times when I'm at a wedding, I can see the image I want in my mind. And my camera will either help me or limit me in achieving the shot I want. When viewing a video camera in this light, the camera becomes much more than just a tool—it becomes an instrument in the hand of an artist. So choose your instrument wisely.
I've used Sony video cameras for 13 years. I currently own five of them. Over the past 13 years, I've also owned a few Canons and one Panasonic. But the AG-450 I have from the '90s is not exactly one of Panasonic's best cameras, so I can't really claim to have delved into the best of what Panasonic has to offer—at least not as a camera owner.

Today, I find myself in a unique position. Through the various types of training we do with other videographers, both in small group workshops and private consulting, I've had the opportunity to shoot with just about every hand-held HD camera on the market: the Sony HDR-FX1, HVR-Z1, HVR-Z7, PMW-EX1, PMW-EX3, HDR-FX7, and HVR-V1; the Canon XH A1; and, most recently, the Panasonic AG-HMC150 (Figure 1, above, right).

I know there are many diehard Panasonic HVX and DVX users out there, but I've never been one of them. So when the Panasonic HMC150 arrived, I was at least a little skeptical; after all, it didn't have those four magic letters I've come to expect on my cameras: S-O-N-Y. But I was bound to see a number of things I didn't expect. Since I was new to the Panasonic world, I did a little digging around at www.DVXUser.com and found a wealth of information. The users were always very helpful and professional.

In the EventDV-TV video window at the top of this article page, you'll see some clips illustrating the capabilities of the HMC150 and some comparisons to the Sony Z1. Click the full-screen icon (second from the right in the player controls panel, just to the left of the audio control) to view the video full-screen in a new window.

Physical Comparisons
The first thing I noticed about the HMC150 is how little it weighs, which is a welcome feature. The Sony Z7, while nicely balanced, is quite heavy for a hand-held camera, weighing in at about 5.3 lbs. The HMC150 is nearly 30% lighter at 3.7 lbs. I weighed both the Z1 and the HMC150, complete with battery and tape/card. The Z1 came in at 5 lbs., 7 oz. and the HMC150 came in at 4 lbs., 6 oz. Both cameras had the full-size battery and no additional lens. One pound may not sound like much, but it really makes a difference on a Glidecam or after several hours of shooting handheld.

The lens of the HMC150 is much wider than the Z1 or the PD170, which means that there's no need for HMC150 shooters to purchase a wide-angle lens. Not only does this save money, but when using the camera on a stabilizer device such as a Glidecam or a Merlin, not having that lens attached saves weight. This makes it easier to get better gliding shots and shooting for longer periods of time on my Glidecam.

Less fatigue is a good thing. We all need to consider the physical toll we put our body through by shooting hand-held for hour upon hour, year after year. The lighter weight of the HMC150 is welcome news.

How Your Footage Is Stored
The HMC150 records in the AVCHD format to an SDHC card. AVCHD is a compressed HD video acquisition format based on MPEG-4 (specifically, H.264 or MPEG-4 Advanced Video Codec). HDV is an HD video acquisition format based on MPEG-2. AVCHD cameras typically record to hard disk or compact flash cards, such as SD, while most HDV cameras record to DV tape. Nearly all videographers have experienced dropouts on tape, which can be very bad. Solid state cards such as the SDHD cards used in the HMC150 do not experience dropouts, and they are not as delicate as recording to a hard drive (there's a reason Panasonic coined the phrase "no moving parts" when it first announced its solid-state cameras).

The HMC150 can use the currently available SD cards ranging from 4GB to 32GB. When recording in the highest-quality setting, a 32GB card will hold 3 hours of footage. A 32GB class 4 or 6 will cost $100 or more, while a 16GB class 4 or 6 can cost as little as $25 and will hold 90 minutes of footage at the highest-quality setting.

How does AVCHD stack up against HDV? AVCHD in the PH mode records at 21Mbps with the maximum variable rate at 24Mbps. HDV records at 25Mbps, the same as DV. Just looking at those numbers, I would rather record HDV's 25Mbps than AVCHD's 21 Mbps. But according to Sony's own marketing information, "The quality of AVCHD recording at 9Mbps (HD-HQ) mode is roughly equal to HDV recording." Since the HMC150 will record at 21Mbps and, according to Sony, AVCHD at 9Mbps is equal to HDV, is there any doubt to why the AVCHD format is superior to the HDV format? Keep in mind comparing the quality of video achieved with different codecs is not a simple bitrate comparison; MPEG-4 compression is far more efficient than MPEG-2. 

Camera Layout
I found the layout of the HMC150 to be very intuitive, like a finely crafted musical instrument. The gain and white balance toggles are placed in an easy-to-access position, very similar to the other hand-held HD cameras currently on the market. I was pleasantly surprised to find it much easier to do a manual white balance on the camera as well. The button is placed below the lens, which is much easier to locate than on other cameras.

I have mixed feelings about the location of the iris wheel. It's positioned on the body just before the lens. Now, this is a big improvement, both in size and location, from the older DVX100. And the location is much better than Sony's PD170. But it's not as good as on the Canon XH A1, Sony Z7, or Sony EX1, which have the iris on the lens barrel, where it should be.

The ease of use of the manual zoom and focus are very important to me. I want to be able to whip in fast with the zoom to get focus and then whip out quickly to frame the shot. The bad news is that the zoom servo is a little slow. It takes approximately 3:09 seconds for the HMC150 to go from all of the way from a wide shot to a close one, compared with only 1:22 seconds on the Z1. The good news is that the manual zoom on the HMC150 is very fast, much better than the Canon XH A1.

The zoom is only a 13x with a focal range of 3.9mm–51mm, which is a 28mm–368mm range 35mm equivalent. This is really sweet on the wide end and not too shabby on the zoom end. While shooting from the balcony in a very long church, the zoom was just adequate—certainly not as good as a 20x but, given the nature of my style of shooting, the zoom range met my needs.

I really liked the feel of the focus ring. It flows freely, which makes rolling focus a pleasure. Focus is a huge issue in HD. When you nail focus, the image looks great. When you miss it, the whole world knows. In HD you simply cannot cheat on focus like you can in SD. I did not test the auto-focus feature because I always use manual focus. Another great feature of the lens is the macro focus. I can literally focus within inches of the lens.

Some Key HMC150 vs. Z1 vs. XH A1 Feature Comparisons
There are three features of the HMC150 that I really like compared to the Z1 and XH A1; and there's one feature that the Z1 does better. To Sony's credit, the Z1 features red peaking, which allows you to see the color red on the outline of items that have a lot of detail when they are in focus. This makes manual focusing much easier. The HMC150 does not have a peaking feature, which is the single-greatest focus aide that I use on my Z1.

The Sony Z1 and the Canon XH A1 also have another useful focus-assist feature: If you push the expanded focus button, the camera's LCD magnifies the image, essentially zooming in with the push of a button to attain critical focus. There are two shortcomings of the expanded focus on both the Z1 and XH A1. First, you cannot record while in expanded-focus mode, which is a huge negative. I could really use this feature during a wedding ceremony. But for some reason, both Sony and Canon have chosen to disable this function while the camera is recording. The other negative to Expanded Focus on both the Z1 and XH A1 is the location of the button, which is not always easily accessible, depending on your shooting style.
Expanded focus, called Focus Assist on the Panasonic, is where the HMC150 really gets it right. First, the location is perfect. The Focus Assist button is located just behind the zoom ring. There are no other buttons of similar feel near it, so it is very easy to access, no matter how you are holding the camera. Secondly, the expanded focus works while the camera is recording. Brilliant! Could I ask for more?

Well, the HMC goes a step further. There is also an option to have a Frequency Distribution Graph. When the center of the screen is out of focus, the graph shows a narrow bar on the left side of the graph. When the center of the screen is in focus, the graph expands to the right (Figure 2, below).

Panasonic HMC150

When the Focus Assist is activated, the icon "EXPANDED" appears in the viewfinder to remind you that the framing you see is not being recorded. Did they think of everything, or what?
Another focus aid of the Canon XH A1 is to bump up the detail on the LCD by selecting the PEAKING button, not to be confused with the type of peaking available on the Sony Z1. The HMC150 also has the ability to increase the detail of the LCD. The downside of the XH A1's implementation is that when the detail is turned on, the zebras become inactive. On the HMC150, the zebras remain active while the detail is on, so there is no need to worry about overexposing the shot just because the zebras went away while the LCD detail was turned on. This is yet another big plus of the HMC150.

The HMC150 has a few exposure aides as well. In addition to two levels of zebra bars, which are user definable, it also features a waveform monitor. The auto/manual iris button is also very easy to access, so if you need to pop the camera into auto as a reference and then go back to manual, it can be done very quickly and easily.

Within the exposure category I would like to bring up an outstanding feature called Dynamic Range Stretcher (DRS). DRS expands the dynamic range, both in bright areas and dark areas. We have all experienced the limited dynamic range of video. Common examples are when the bride is in the sun and the groom is in the shade. If you expose the bride properly, the groom is underexposed and visa versa. Or perhaps the exterior of the church is partially in the shade (see video clip below). You have to choose between underexposing the shaded part of the shot or overexposing the bright portion of the shot. Well, no more. DRS can brighten the dark areas while at the same time prevent clipping of the bright areas. This is truly an amazing feature!

You can see this comparison illustrated in the first clip in the video at the top of this article.

The HMC150's 3.5" LCD screen is noticeably sharper than the Z1's. When shooting with the two cameras side by side, there were details that I could see in the LCD of the HMC150 that were just not visible in the LCD of the Z1. The LCD screen of the HMC150 also displays nicely in bright light.

The LCD screen is 4:3, and the image looks letterboxed. At first I was not fond of the look, but I soon saw the advantage, which is ingenious. By having black bars at the top and the bottom of the LCD, the timecode, battery readout, VU meters, f-stop, zoom, and distance all appear in the black area, which keeps all of that valuable information from appearing over the picture. This really helps to declutter the LCD screen without loosing all of the valuable information.

Audio Features
As far as audio features, the HMC150 has two XLR connections, and it is very easy to switch between the built-in mic and the audio coming through the XLR jacks, whether the source is wireless mics or a shotgun mic. The Z1 requires the user to go through a menu to change between the internal mic and XLR. The HMC150 has a button, which is much better than going through a menu. You can even have one channel for the on-camera mic and the other channel using an XLR source.

The HMC150 shows the audio VU meters in both auto and manual audio. The Z1 shows the VU audio meters only when the camera is in manual audio or when you bring up the meters. Even when the HMC150 is in auto audio, you can adjust the level of the sensitivity with actual dials conveniently located on the camera. The audio level dials are partially covered so they are not accidentally bumped. The Z1 again requires navigating through a menu to adjust the sensitivity—yet another example of the HMC150 getting it right where other cameras haven't quite nailed it.

Low-Light Performance
So how does the HMC150 perform in low light? First, it's important to note that the HMC150 is rated at 3 lux. The Sony Z1 is rated at 2 lux. Lux ratings are not standardized, so don't put too much stock into lux numbers. In the real world, the HMC150 performs much better in low light than the Z1.

In one of the weddings that I shot with the HMC150, the ceremony was very dark. I shot in 1080/30p. I limited the gain to 9dB and I slowed the shutter down to 30. The image in the LCD was much brighter than what my eyes could see. You can see extensive low-light testing and the highlight from this wedding in the video component of this article on EventDV-TV. Figure 3 (top, with screen grabs from Z1 footage) and Figure 4 (bottom, showing screens from HMC150 footage) give a glimpse of what I'm taking about, with the 0dB gain, max zoom shots shown on the left, and the increased gain, max-wide shots on the right in both images.

Panasonic HMC150

You can see a better view of this comparison in the first video clip that accompanies this article.

To get a comparison with a more recent Sony HDV model, I talked to Rob Neal of Glass Slipper Productions (www.gspvideos.com). Rob owns a Sony Z7, and he told me that the HMC150 is very similar in low light to the Z7; however, he said that he can get more out of the HMC150 low-light footage in post.

Format Support
The HMC150 records in the following formats: 1080/60i, 30p, 24p, 720/60p, 30p, and 24p. In my testing, I shot in 1080/60i, 30p, and 24p. I stayed in the 1080 range for comparison's sake because the Z1 shoots in 1080/60i.

I really did like having the option to shoot in 30p and 24p. At first, 30p and 24p didn't seem very smooth due to the fact that I have only shot in 60i in the past. I shot a full wedding in 30p with the HMC150, and I really grew to like the look of it. While I did experiment with 24p, I avoided shooting very much in 24p because it doesn't look very good in slow motion. You can see the three different modes of 1080 in the clips at the top of the article page.

Editing AVCHD?
Ever since the first consumer AVCHD cameras (which preceded the pro models) debuted in 2007, users have been buying up the cameras without realizing that they have no clue what to do with the footage when it comes off the camera. Pro videographers are likely to look before they leap, but AVCHD editing is still pretty challenging. If you want to edit it natively, you're going to need some serious horsepower. Although previous versions of Premiere Pro and EDIUS required intermediate codecs to edit AVCHD, Adobe Premiere Pro CS4, Edius 5, and Sony Vegas 8 can all edit AVCHD files natively. Final Cut Pro transcodes AVCHD files to Apple's own ProRes 422. I am using Edius 4.6, which cannot edit AVCHD natively.

The workflow in Edius 4.6 is to transcode the AVCHD files to the Edius HQ format. On my Core 2 Duo 2.0GHz laptop, it takes about 3 minutes to transcode a 1-minute clip. The good news is that Edius will transcode multiple clips at one time, depending on your processor setup. Because I'm using a Core 2 Duo, two clips were transcoded at the same time. I have been told that a Quad Core processor will transcode four clips at once.

Transcoding is a bummer. It defeats part of the advantage of simply transferring the files instead of capturing from tape. Remember when HDV first came out, and the NLE vendors each had their own set of solutions for editing HDV? Well, AVCHD is a new camera format, so once NLE manufacturers have it all figured out (and we've all upgraded to processors that are equipped to handle native AVCHD editing), it will be a breeze.

Shortcomings
No camera is perfect … but the HMC150 is very close, especially at a street price at about $3,200. My list of misses consists of a lack of the focus aide, peaking. Additionally, the lens cap is not integrated into the lens hood like Sony's cameras are. And finally, the battery charger has a green light when charging. The light goes off when the battery is charged. For $3,200 I don't expect a fancy charger like the one Sony offers, but at least the Canon charger blinks at three different rates to let you know where you are in the charging process.

In the Field
After spending a few weeks with the HMC150, I decided to take it out and shoot a full wedding with it. Unfortunately, the camera only came with one small battery, good for about 100 minutes. I contacted Tim Harry, of Dallas-based Videotex (www.VideoTexSystems.com) to see if Videotex could provide me with a larger battery from their rental fleet. The VW-VBG6 battery runs for about 230 minutes. They didn't have the larger battery in rentals, so Tim bought a battery, out of his own pocket, and sent it to me. Without Tim's go-the-extra-mile attitude, I would not have been able to shoot a full wedding with the HMC150. Kudos to Tim Harry! I would much rather purchase my gear from someone who provides that level of customer service, especially when Tim can match the price of the big box houses.

The HMC150 is a dream to shoot with. Manual focus is easy to attain. The LCD viewfinder is a breeze to work with. The light weight of the camera is such a huge bonus, not only for hand-held shooting but especially for Glidecam work. I can usually shoot for about 1 minute with my Z1 on a Glidecam. I found myself shooting reception dancing for two songs in a row with the HMC150 mounted to the Glidecam. Wow!

I have now shot two weddings and one Life Story video with the HMC150 (Figure 6, below). Additionally, I've introduced the HMC150 to more than a dozen videographers. The first comment is always, "Wow, it's so light."

Panasonic HMC150

On a recent trip to Nashville, Tenn., I helped one of our workshop graduates balance his Z1 on a Glidecam, complete with a wide angle lens. It was a handful. I then put the HMC150 on my Glidecam and handed it to him. His eyes just about jumped out of his head, and he said the exact same thing: "Wow, it's so light."

The Proof Is in the Pudding
So when it's all said and done, how do the images from this new Panasonic look? Amazing! In the Panasonic world, the faithful refer to it as Panny Mojo. For us outsiders, Panny Mojo looks less like video and more like film. It has a really nice organic look.

In addition to the Panny Mojo, the HMC150 uses CCDs. Sony has chosen to go with CMOS. The biggest negative to CMOS is the rolling-shutter effect when a photographer's flash goes off. If you're unfamiliar with the look of rolling shutter, just do a Google search to see it for yourself.

There is not another camera on the market that offers affordable solid-state recording, excellent low-light performance, XLR audio, and CCD imaging at the unbelievable street price of $3,200.
If all of that was not enough, Panasonic is offering a rebate program through March 31, 2009. With every HMC150 purchase, you'll receive a free VW-VBG6 battery and an 8GB Class 6 SDHC card.

So if you are like me, and you have never really given Panasonic much consideration when shopping for a new camera, or if you count yourself among the DVX faithful, the Panasonic HMC150 is an excellent choice.

Mark Von Lanken (info at vonweddingfilms.com) runs Tulsa, Okla.-based wedding video studio Von Wedding Films with his wife, Trisha. Three-time EventDV 25 honorees and WEVA Hall of Famers, they are regular speakers at WEVA Expo, and winners of numerous WEVA CEAs. Several times each year, the Von Lankens offer intensive two-day workshops at their Tulsa studio.
  

Back to Contents...

JVC Introduces GY-HM700 ProHD Camcorder

JVC announces its latest Compact Shoulder professional camcorder developed for mainstream production, electronic newsgathering and cinematography, the GY-HM700. The new camera uniquely records directly to inexpensive SDHC memory cards in the QuickTime (.MOV) format for Final Cut Pro™, and optionally to SxS media compatible with Sony's XDCAM EX™ format. Recording in the editing system's native format eliminates the time consuming transfer step and dramatically speeds up the post-production workflow, a major advancement for JVC and the industry. Additionally, the GY-HM700 includes several key technology innovations that result in significantly improved resolution in the camera's core components: CCD/optical block, lens, and viewfinder.

“Our new generation of ProHD products brings together the most highly regarded and proven technologies in the industry, providing unmatched ownership and operational experience,” says Craig Yanagi, JVC’s national marketing manager for Creation Products. “With the GY-HM700, JVC has changed the dynamics of professional video production. Its ergonomic design and video quality meets or exceeds the performance requirements of the most demanding broadcast, ENG and cinematography applications. Combined with fastest shoot-to-edit workflow in the industry, utilizing low-cost solid-state media, ProHD provides an unprecedented level of efficiency and economy for today’s professional videographer.”  

Industry’s first native support QuickTime file format for Apple’s Final Cut Pro
The GY-HM700 natively records the QuickTime file format used by Apple for Final Cut Pro. There is no need to convert or rewrap files prior to editing. Post-production can begin immediately after shooting. It is even possible to edit directly from the memory card. Since no transfer or re-encoding takes place, first generation quality is always maintained.  

The GY-HM700 is the industry's first shoulder supported camcorder to store files on inexpensive SDHC memory cards. The camera provides 2 memory card slots, for a total of up to 64GB of on-board storage—enough for more than 6 hours* of continuous HD recording. The camera automatically begins recording on the second card when the first card fills up. When the second card fills up, the camera reverts to recording to the first card slot, allowing for virtually unlimited recording lengths.  

SDHC cards are economical, highly reliable, and make possible a recording system that consumes up to 20% less power than tape or HDD based systems. The per-minute cost of SDHC memory is comparable to video tape. Moreover, SDHC media is the first practical solid state solution to physical archive. 

By attaching the optional KA-MR100 dockable media recorder, it is possible to record Sony XDCAM EX compatible .MP4 files onto high-speed SxS memory cards, while at the same time recording the same .MP4 files to inexpensive SDHC cards. Having two copies instantaneously available provides more versatility in the field with the assurance of always having a back-up.   

High Resolution Progressive Imaging
The GY-HM700 utilizes three precisely aligned 1/3-inch progressive scan full HD CCDs. JVC engineers developed a unique 1/3-inch optical block with Diagonal Offset and a patented exclusive Adaptive Pixel Correlation Technique that produces resolution significantly higher than previous JVC models and comparable to cameras with larger image sensors.   

The higher resolution imaging is complemented with a new standard detachable HD lens by Canon, the KT14x4.4KRSJ. Its superior MTF provides higher resolution than typical "stock" lenses and is ideal for full 1920 x 1080 imaging.  The GY-HM700's standard bayonet mount accepts a wide range of optional lenses available from JVC. Cinematographers will also appreciate JVC's optional prime lens adapter. The GY-HM700 can flip the image commonly inverted when prime lenses are used.

JVC’s proprietary MPEG2 encoder provides highly efficient compression at bit rates up to 35Mbps. The GY-HM700 supports all major HD signal formats including 1920 x 1080, 1440 x 1080 and 1280 x 720.   

New High Resolution LCOS Viewfinder
The GY-HM700 is equipped with a new, rugged high resolution viewfinder based on a new .45-inch 1.22 million pixel Liquid Crystal on Silicon (LCOS) panel (852 x 480 x 3). This new all-digital viewfinder displays images with more than 5 times the resolution of typical color viewfinders. Its sturdy reinforced die-cast aluminum chassis and LED light source ensure years of trouble-free operation. 

Also provided is a new jumbo size 4.3-inch flip-out LCD monitor that functions for recording, playback, clip management, and menu operation. Menu operation is intuitive with a single disk, outlined by an LED lamp.

Weighing in at a mere 8 lbs. including lens, viewfinder, microphone and battery, the GY-HM700 can rest comfortably on the right shoulder to provide stable, steady shots, without causing the fatigue associated with bulkier cameras.  

The GY-HM700 records two channels of uncompressed LPCM 16 bit audio at 48Khz. Levels can be controlled manually, or automatically using AGC, and an audio meter is provided in the LCD and viewfinder displays for easy adjustment. Balanced XLR inputs with phantom power are provided on the camera for an external microphone and/or wireless receiver, and a shotgun microphone is provided.  

Built-in clip view and management functions, a spot exposure meter, and JVC’s patented Focus Assist round out the GY-HM700’s many on-board features. The camera provides HD/SD SDI, Component, Composite and simultaneous DV/HDV IEEE-1394 outputs. Optional JVC remote control units can be connected to the GY-HM700’s 6-pin remote connector.

Back to Contents...

Panasonic Debuts AG-HPX300 P2 HD Camcorder

Panasonic unveiled the world's first affordable 10-bit, 4:2:2 professional HD camcorder, featuring individual frame AVC-Intra recording, native 2.2-megapixel imagers and variable frame rates. Incorporating an innovative, low profile shoulder mounted design, the 1/3" AG-HPX300 P2 HD camcorder offers the flexibility of interchangeable lens but comes standard with a 17x HD Fujinon lens.

The HPX300 imager incorporates advanced 1/3" 2.2-megapixel 3-MOS technology to acquire full native resolution HD images. With a redesigned optical block and a high-precision prism bonding technology, these advanced 3-MOS imagers provide exceptional image quality while minimizing any flare or chromatic aberration. A new 20-bit digital signal processor (DSP) also enhances the HPX300's image performance. The solid-state 1/3" HPX300 offers the security of a five-year warranty program (1 year + 4 additional years with registration), ultimate quality and flexibility in an affordable, full-size HD camcorder.

"The HPX300 establishes a new benchmark for performance within this price range," said Robert Harris, Vice President, Panasonic Broadcast. "It not only captures full native 1920 x 1080 HD resolution, but it allows professionals to record at a quality level that no other camcorder in this price range can equal. Without the compromise of 8-bit, long GOP, 4:2:0 recording, the HPX300 provides master-quality, 10-bit, 4:2:2 individual frame capture using our award winning AVC-Intra codec. Video professionals will immediately realize that this camera is in a field of its own."

Delivering the impressive quality of AVC-Intra 100 and AVC-Intra 50, the HPX300 also records individual frame images in 100Mbps DVCPRO HD and in standard definition in DVCPRO50, DVCPRO and DV. The AVC-Intra 100 and 50 codecs allows recording in a choice of HD video formats: 1080/59.94i, 1080/29.97P and 1080/23.98P (native 24p/30p), and 720P with variable frames in 23.98pN, 29.97pN and 59.94P. In DVCPRO HD, the camcorder records 1080/59.94i, 1080/29.97P, 1080/23.98P, 1080/23.98pA, 720/59.94P, 720/29.97P, 720/29.97pN and 720/23.98pN. In DVCPRO50/25 and DV, it records 480/59.94i, 480/29.97p, 480/23.98p and 480/23.98pA. The 1080P and 480P signals are recorded with 2:3 pull down (23.98p) or 2:3:3:2 advanced mode (23.98pA). The camera also supports 1080/23.98PsF output (via HD-SDI) for use in high-end movie production. The output of the camera can be set for down conversion or cross-conversion with letterbox, 4:3 crop or squeeze.

The HPX300's interchangeable lens design gives video pros the flexibility to utilize a wide range of broadcast and production HD lenses. The camera is equipped with numerous popular features including Chromatic Aberration Compensation (CAC) to maximize lens performance, built-in scan reverse for use with film lenses, a Dynamic Range Stretch (DRS) function to help compensate for wide variations in lighting, a waveform and vector scope display, and two focus assist functions - a picture expanding function and a focus bar.
For added creative flexibility, the HPX300 also has variable frame rate functions for creating fast and slow motion effects. In 720p mode, a user can choose between 20 variable frame steps between 12p and 60p. Because the HPX300 records images at the frame rate set in the camera, users can preview the speed effect right on the spot, without using a frame rate converter. When working with the camera's advanced 1080/480 24pA mode, users have the option of using 2:3:3:2 pull down, which allows most nonlinear editing systems to easily extract 24 frames on ingest.

Equipped with two P2 card slots and new 64GB P2 cards, the HPX300 offers recording capacity that exceeds that of tape based camcorders. The HPX300 offers all the benefits of a faster, file-based P2 HD workflow including such recording features as instant recording startup, clip thumbnail view for immediate access to video content on all cards, and a host of time-saving recording modes including continuous recording, card slot selection, hot swapping, loop, pre-record (three seconds in HD and seven seconds in SD), one-shot and interval recording. The camera also features an SD memory card slot for saving or loading scene files and user settings, or proxy data (optional AJ-YAX800G Proxy board required).

The HPX300 has advanced gamma functions offering six shooting scenarios, including the popular Cine-Like Gamma modes found on Panasonic's popular VariCam, which gives recordings the characteristic warm tone of film recordings. A scene file dial on the side of the camera provides quick access to six pre-loaded settings; the dial can also be programmed with user-defined settings.

The camera's interfaces include two SDI outputs (switchable between HD/SD-SDI output), video output (down-converted SD video only), IEEE 1394, USB 2.0 interface compatible with host mode, time code input/output (with built-in SMPTE time code generator/reader). Additional features include Genlock input, 4-position ND optical filter controls, DC power input, color bar switch, three XLR audio jacks (one in the front, two on the rear), wireless microphone slot (2-channel UniSlot wireless receiver compatible) and programmable user buttons.

The HPX300 can also be used as a studio camera. It is equipped with a remote control terminal (RCU) for use with the optional AJ-RC10G Remote Control Unit and compatible studio remote control systems. Later this year, Panasonic will release a customized studio configuration system for the HPX300, which will include the AG-BS300 base station, AG-EC4 extension control unit (ECU) and AG-CA300 remote control camera adapter.

At eight pounds, the HPX300's lightweight, well-balanced design and ergonomic handle makes it comfortable to use. All operation switches, volume controls and card slots are on the left side for easier operation. The HPX300 is equipped with a widescreen 1,226,000-dot LCOS color viewfinder and a widescreen 921,000-dot 3.2-inch LCD color monitor. Its power consumption is low at only 18 watts.

The HPX300 will be available in March at a suggested list price of $10,700. The studio configuration add-on package for the HPX300 will be available later this year for less than $10,000.

www.panasonic.com/broadcast

Back to Contents...

Matrox Announces Rackmount Version of Popular Matrox MXO2 I/O Device for the Mac at Broadcast Video Expo

Matrox® Video Products Group today announced Matrox MXO2 Rack, a new version of the award-winning Matrox MXO2 I/O device for the Mac. The 2RU-sized Matrox MXO2 Rack is designed for broadcast news operations, OB vans, and other environments where equipment must be rackmounted. It streamlines editing workflow with Apple Final Cut Studio on Mac Pros and MacBook Pros, providing broadcast-quality input/output, monitoring, and up/down/cross conversion. Users can benefit from file-based workflows with support for XDCAM, XDCAM HD, XDCAM EX, and P2 without transcoding. In addition, they are not limited to using a single codec as with some other I/O devices on the market. In HD for example, Matrox MXO2 Rack supports a variety of codecs including ProRes, ProRes422 HQ, DVCPRO HD, and uncompressed 8- and 10-bit.

"The first version of Matrox MXO2 was a big hit at NAB winning four prestigious awards and sales have exploded since it began shipping this summer," said Alberto Cieri, Matrox sales and marketing director. "With Matrox MXO2 Rack we are building on that success. We listened to our customers and are now delivering Matrox MXO2 Rack to meet the needs of broadcasters and post facilities who require heavy-duty, rackmountable gear with more audio inputs and outputs.

Matrox MXO2 Rack will be demonstrated at Broadcast Video Expo in London on February 17 on stand C6.

Key features of Matrox MXO2 Rack

· Rugged 2RU form factor

· HD/SD SDI, HD/SD analog component, Y/C, and composite inputs and outputs

· Genlock with loop through - SD analog black burst (bi-level) or HD tri-level sync

· HDMI input, output, and monitoring with calibration controls including blue-only

· 10-bit realtime hardware up/down/cross conversion

· Up to five user selectable simultaneous video outputs - HD and/or SD on HDMI, SDI, and analog

· Professional audio inputs and outputs with up to 7.1 surround sound monitoring

o 4-in, 8-out balanced XLR

o 4-in, 4-out unbalanced AES/EBU

o 8-in, 8-out SDI and HDMI embedded

· RS-422 machine control for frame-accurate capture and print-to-tape

· Captures to a variety of codecs - Apple ProRes 422 HQ, 10-bit uncompressed HD and many more

· Supports file-based workflows - XDCAM, XDCAM HD, XDCAM EX, P2

· Works with Final Cut Pro, Apple Color, and all QuickTime applications that support the V-out component

· For use with Intel-based MacBook Pros and Mac Pros

Price and availability
Priced at $1,995 US (£1,495, €1,695) not including local taxes, Matrox MXO2 Rack will be available mid-March 2009 through a worldwide network of authorized dealers.

www.matrox.com/video

Back to Contents...

Zacuto Makes Shooting on a 2/3" Camera With DOF Adapter Affordable to Indie Filmmakers

With the introduction of the Letus35 2/3" B4 Compact Relay lens, Zacuto is now the premier dealer giving independent filmmakers all of the components for an affordable depth of field (DOF) shooting system on a 2/3" camera. 2/3" cameras have been primarily relegated to news, broadcast, sports and corporate work, but have been too expensive for the indie film spectrum. Now available are Zacuto's 2/3 DOF Kits which give you all of the components needed to shoot on a 2/3" camera at less than the cost of one HD ENG lens.

2/3" B4 Mount DOF Kit Components:
1. Letus35 2/3" B4 relay lens
2. Letus35 DOF adapter (Extreme, Elite & Ultimate)
3. Zacuto 2/3" camera kits (Docu, Cine or Indie)
4. Zeiss ZF optics

The new Zacuto 2/3" B4 Mount DOF Kits: Cine, Docu, and the Indie are universal and quick-releasable. The kits are essential because of the weight and size of the Letus35 B4 relay lens, Letus35 adapter and lenses. It also serves as a platform for mounting your follow focus, matte box and lens support. When you purchase a Zacuto 2/3" B4 Camera Kit, get 5% off the Letus35 B4 Lens. See our new video "Introducing 2/3" B4 Cinematography" and check out how it all works together: http://store.zacuto.com/Letus-2/3-B4-Compact-Relay-Lens.htm.

"For about 25 years or so shooting corporate industrials, I have been begging for a device like this...mainly because a lot of the situations I have been in, put in rooms that were small with ugly backgrounds. If I would have had this, it would have been perfect to throw the backgrounds all out of focus and get them film feel. Finally I have some tools to shoot like a filmmaker!" Jens Bogehegn, DP and Zacuto Co-owner

"I talked to Hien, Letus35 owner, over a year ago about the idea of creating a cost effective way to attach his popular Letus35 DOF adapters to 2/3" camera. Up until now you really only had one option for shallow Depth of Field and that was the P+S Techniks which is really out of most people's price range. I prefer working with an ENG camera because of better audio control, monitor outputs, durability, balance, expanded menu options, better control of the color plus a whole lot more. What's amazing now is that you can get all of the components you need including 4 Zeiss ZF prime lenses for $9-$11,000 complete. That's less than the cost of one HD lens and really affordable." Steve Weiss, Director and Zacuto Co-owner

See Steve Weiss, Jens Bogehegn and Scott Lynch discuss the overall benefits of using their new Zacuto 2/3" DOF kits and how broadcast cameras are now an affordable options to indie filmmakers in their new HD video "Introducing 2/3" B4 Cinematography http://store.zacuto.com/Letus-2/3-B4-Compact-Relay-Lens.html

Pictures of 2/3" B4 camera setups: http://zacutoimages.com/p248000971

Steve Weiss Filmmaking Blog: http://zacuto.blogspot.com/

View Zacuto videos here: http://zacutovideo.com

Back to Contents...

JVC Introduces First Hand-Held Camcorder to Record Native Final Cut Pro Files

JVC Professional Products Company today formally announced the GY-HM100 ProHD camcorder, the industry's first professional hand-held model to record files directly to solid state media in the native format of Apple's Final Cut ProTM editing system. For the first time, recorded material can be edited directly from the solid state memory card, dramatically reducing the amount of time required to edit programs together. The camera met with rave reviews when it was previewed at the Final Cut Pro User Group SuperMeet at Macworld in January.

"Traditionally, camera manufacturers have designed their products expecting NLE vendors to conform to proprietary or generic file formats resulting in an extra and often time consuming step when preparing to edit," said Craig Yanagi, National Marketing Manager for Creation Products at JVC. "Files created in the GY-HM100 can be edited immediately without conversion. It's truly the first camcorder designed for post production."

With the development of the new GY-HM100 ProHD camcorder, JVC offers versatility, quality and value in a hand-held, professional 3-CCD format that is both easy to use and on par with broadcast cameras. The GY-HM100 delivers amazing high-bandwidth recordings at 1080p, 720p and 1080i on affordable and widely available SDHC Class 6 memory cards and is sure to cause waves in the industry. Weighing a mere 3.1 lbs, the GY-HM100 packs performance and features which until now were found only in larger, more expensive models.

With three progressive scan CCDs, a newly designed 1080p digital signal processor, and JVC's proprietary 35Mbps MPEG2 encoder, the GY-HM100 outclasses and outperforms other professional hand-held camcorders, delivering rich, accurate colors and full 1920x1080 images in the HQ mode. Additionally, the GY-HM100 can record 720p (19/35Mbps) and 1080i (25Mbps) in SP mode, assuring compatibility with today's leading professional NLE systems.

The GY-HM100 comes equipped with an integrated high definition Fujinon 10:1 lens which allows for manual and automatic control of focus and aperture. The lens features three aspherical elements and a new Electronic Beam Coating that greatly reduces degradation caused by reflection off the lens surfaces. A flip-in cover is integrated into the lens hood, eliminating the need for an external cap. With the addition of JVC's patented Focus Assist, achieving precise focus is fast and easy. The macro mode and user-adjustable depth of field supplement the wide array of manual controls available.

The GY-HM100 also boasts tapeless recording to dual SDHC Class 6 memory cards, allowing up to 64GB of on board storage-enough for up to 6 hours of continuous HD recording. The added benefit of dual memory slots is that less expensive smaller capacity cards can be used, while still offering the combined longer recording time. The camera automatically begins recording on the second card when the first card is full. Unlike competing proprietary solid state media, the cost per-minute of SDHC media is comparable to professional video tape, but with significantly less space required for physical storage.

Workflow through post is streamlined by the GY-HM100 which incorporates JVC's Native File Recording technology that stores video in the ready-to-edit format used by Apple's Final Cut ProTM-the industry's most popular non-linear editing system. The ".mov" files created in-camera can be dragged onto the NLE timeline without conversion or rewrapping. The camera also stores files in the ISO Base Media File Format (.MP4), compatible with all major non-linear editing systems.

The audio recording features of the GY-HM100 are equally impressive. Two channels of uncompressed LPCM audio are available with manual level controls and audio meter. Balanced XLR inputs with phantom power are provided on the handle for an external microphone and/or wireless receiver. A 2.8-inch LCD display, in 16:9 aspect ratio provides a wide array of monitoring and setup indications. Infrared wireless remote and ability to capture 2 megapixel still images from either a live grab or from recorded video round out the camera's many features.

The GY-HM100 is scheduled for delivery in April 2009 with a suggested list price of $3,995.

For more information and high-resolution photos of JVC's GY-HM100, please visit JVC's Web site http://www.pro.jvc.com/HM100.

Back to Contents...

Ultrasone's Edition 8 Achieves The Pinnacle of Headphone Sophistication

Ultrasone Inc., distributor for German headphone manufacturer Ultrasone AG, announces the debut of a new special edition headphone - Edition 8. Never before has such attention to detail been given to every aspect of a headphone design; every material and component used in the Edition 8 is second to none.

The Edition 8 is a stunningly elegant, black and silver closed-back headphone that employs Ultrasone's latest S-LogicTM Plus technology that results in an impartial acoustic feeling that allows the listener even more of a spacious tonal perception. Designed with the audio connoisseur in mind, the interior ear cups are covered in fine Ethiopian sheepskin, which provides the most isolation of any leather, while the outer ear cups are covered in Ruthenium, known for its brilliant metallic sheen and durable properties. These special edition headphones contain MU-Metal shielding (ULE technology) that reduce the amount of radiation directed to the listener by up to 98%, as compared to conventional headphones. Each Edition 8 headphone is individually stamped with its own serial number & comes in a leather bag for storage and transportation.

Edition 8 Technical Specifications

  • Principle: Dynamic /Closed
  • Impedance: 30 OhmDriver size: 40mm Titanium plated
  • Magnet: NdFeB
  • Frequency range: 6 - 42.000 Hz
  • SPL: 96 dB
  • Weight (excl. cord): 260g
  • USC Cord length: 1,2m (OFC Cable)
  • USC Extension cable 4m (OFC Cable)
  • 3,5mm gold plated plugs
  • Adapter 3,5/6,3mm gold plated
  • ULE technology

"This is the first pair of Edition headphones we have released that incorporates our newest S-LogicTM Plus technology," said Paul Taylor, President of Ultrasone Inc. "The Edition 8's drivers provide immaculate detail but are also capable of delivering thunderous bass, the range of these headphones is staggering. I truly believe our engineers have created one of most sonically accurate and visually appealing headphones to date."

The Edition 8 headphones have a MSRP of $1,499 and are available at www.ultrasone.com and other high-end audio dealers.

For additional information on Ultrasone's Edition 8 headphone, please contact PR Representative Brian Metcalf at (305) 576-1171 x11 or by e-mail at brianmetcalf@maxborgesagency.com. To learn more about Ultrasone, go to www.ultrasone.com.

Back to Contents...

Panasonic Offers Free AVCHD to DV Transcoder Update

Panasonic Broadcast has released an update of its free AVCHD transcoder that will allow users to downconvert AVCHD content recorded by AVCCAM camcorders into DV files, in addition to DVCPRO HD. Available at www.panasonic.com/avccam, the AVCHD Transcoder version 2.1 will provide AVCCAM users with even more flexibility for work across HD and SD workflow environments.

With the free AVCHD Transcoder version 2.1 update, AVCCAM users can now edit AVCHD clips on non-linear editors that support both DVCPRO HD P2 files and standard definition DV-AVI. The software update will transcode the following AVCCAM formats to DV: 1080i/59.94, 1080i/50, 1080p/29.97, 1080p/25, 1080p/23.98. The software gives users the choice of 16:9 anamorphic, 16:9 letterbox or 4:3 edgecrop display formats. Cross-conversion is not available. The software continues to offer transcoding from AVCHD to DVCPRO HD in both 1080 and 720 formats.

The downloadable AVCHD Transcoder version 2.1 is compatible with Microsoft Windows XP and Vista. Panasonic recommends using a computer with at least 1GB or more of RAM and a dual core or better processor. When exporting clips to a P2 card or an SD card, files should be kept at sizes of 4GB or under. To upgrade from previous versions of the AVCHD Transcoder, users must first uninstall the older version.

For more information about Panasonic's full range of AVCCAM products and resources, visit www.panasonic.com/avccam.

www.panasonic.com/broadcast

Back to Contents...

Panasonic Expands Professional AVCCAM Product Line with Compact HD Recorder and Multi-Purpose Head

Panasonic announced the expansion of its Professional AVCCAM line of professional solid state high definition products with the introductions of the AG-HMR10 handheld, battery-operated field recorder/player and the AG-HCK10 compact, multi-purpose camera head.

Offering the unbeatable combination of high quality, low cost and extreme mobility, the new AVCCAM recorder and camera utilize advanced compression (MPEG-4/AVC High-Profile) and are ideal for applications in video production, sports coaching, healthcare, law enforcement, remote operation/ surveillance, and much more. Equipped with an HD-SDI input and output, the HMR10 recorder is also suitable for back-up recording from any HD-SDI-enabled camera or for use in studio or event production.

Designed for use with the HMR10 recorder, the small HCK10 camera head features three 1/4" native HD resolution 3-MOS imagers. Iris, focus, zoom control and power are supplied from the HMR10 recorder. Cables connecting the camera to recorder will be available in lengths up to 10 meters.

The HMR10 provides the flexibility of low cost, SD memory card based recording and full 1080 and 720 resolution capture in a small, portable unit. Utilizing AVCHD, an MPEG-4 /AVC Hi Profile-based format, the HMR10 provides a near doubling of bandwidth efficiency with improved video performance over the older MPEG-2 compression used in HDV formats. SD cards containing AVCCAM recordings can be played directly in a growing number of affordable Panasonic Blu-ray players, Sony PlayStation 3® game machines, PCs and other devices.

The handheld unit records stunning full HD 1920x1080 resolution images in three recording modes - the highest quality PH mode (average 21 Mbps/max. 24 Mbps), HA mode (approx.17 Mbps) and HG mode (approx.13 Mbps). The HE mode (approx. 6 Mbps) records at 1440x1080. The HMR10 records in HD formats including 1080/60i, 1080/50i, 720/60p and 720/50p.

With the HMR10, users can capitalize on the cost advantages, reliability and widespread availability of SD and SDHC memory cards. Using just one 32GB SDHC memory card, a user can record three hours of full resolution 1920x1080 video and audio in PH mode, four hours at HA mode and 5.3 hours at HG mode. In the HE mode, the camera can record up to 12 hours of 1440x1080 HD content - all on a single 32GB SDHC card.

The HMR10 comes standard with interface connections including the HD-SDI in/out, HDMI out and USB 2.0. Professional audio features include an internal speaker and headphone mini jack. Compact and lightweight, the handheld unit has a built-in 3.5-inch color LCD monitor that displays content in thumbnail images for quick viewing. The HMR10 operates on battery or 7.3V DC power.

For editing or playback, professionals can instantly transfer content from the SD Card to Mac or PC computers with an SD/SDHC card reader or by connecting the HMR10 recorder directly via its USB 2.0 interface.

AVCHD is supported by wide range of editing options including Apple Final Cut Pro 6.0.5, Adobe Premier Pro CS4, Grass Valley Edius PRO v4.5, Pinnacle Studio Plus 11, Pinnacle Studio Ultimate 12, Nero7 Premium Reloaded, Apple iMovie, Ulead Video Studio 11 plus and DVD Movie Factory 6 Plus. In addition, a free transcoder, available for download from the Panasonic Broadcast web site, will convert AVCHD files to DVCPRO HD and downconverted DV files for use with most existing professional editing packages.

Panasonic's AVCCAM series brings the benefits of solid-state recording to budget-conscious professionals. Like digital still photography, recording onto SD/SDHC cards offers a fast and simple, file-based workflow with ultra-reliable performance and resistance to shock, vibration and extreme temperatures and weather. SD and SDHC memory cards are inexpensive, widely available and can be reused repeatedly. Since AVCHD records video as digital data files, content can be transferred and stored on affordable, high-capacity hard disk drives (HDD) or optical storage media and transferred to future storage media as technology advances.

The AG-HMR10 handheld recorder and the AG-HCK10 compact camera head will be available later this year.

www.panasonic.com/broadcast

 

 

Back to Contents...

NEC Display Solutions Launches NP Short-Throw Series With Two Portable Projectors

NEC Display Solutions of America, a leading stand-alone provider of commercial LCD displays and projectors, today announced two new portable short throw projectors, the NP500WS and NP600S, which address the needs of educational facilities, small-to-medium-sized businesses and corporate applications that require a short throw distance in classrooms and conference rooms.

The NP500WS, a wide-aspect ratio projector, features 1280 x 800 native resolution at 2100 lumens, while the NP600S provides a 1024 x 768 native resolution at 2600 lumens. Each has a contrast ratio of 600:1 and provides up to 4000 hours of lamp life in ECO ModeT.

The affordable portable projectors include automatic technologies that are essential and easy to use. The Auto Power ON via RGB (15-pin) input eliminates the need for a remote control by automatically turning the projector on when a signal is detected. AutoSenseT technology intuitively syncs the projector with most computer signals and features one-touch image optimization. This enables quick setup for users that need fast functionality.

"The NP Short Throw Series adds versatility to the NEC projector line by providing the unique ability to cast an image onto the screen from a short distance of less than 4-feet," said Rich McPherson, Product Manager at NEC Display Solutions. "The NP500WS and NP600S portable projectors are standout products for rooms that have little projection space but require bright images and easy-to-use technologies. With innovative components such as the projectors' wall mounting capabilities, the NP Short Throw Series enables users to bring new technology into an existing space that requires some creativity during installation."

The NP500WS and NP600S projectors include the following features:
. Short throw, which allows use with whiteboards and creates a 77" diagonal image from a mere 3 feet, 10 inches
. Virtual Remote (DDC/CI), which controls the projector directly from a computer without the need for additional control cables
. Remote diagnostics, which enables the user to monitor and make adjustments to the projector remotely
. Closed captioning, which enables users to display text information for the hearing impaired
. Automatic Vertical Keystone Correction, which allows the projector to be tilted up or down and still produce a square image without the need to make manual image adjustments
. Dual computer inputs (VGA and DVI-I), which ensure quick switching between presentations
. Integrated RJ45 connection, which provides for quick connection to the LAN (10/100 base-T capability)
. ECO Mode technology, which increases lamp life up to 4000 hours while lowering power consumption and noise level (29dB) for nearly silent operation
. Top cover lamp change, which provides easy lamp changes without removal of projector from the mount
. Powerful 7-watt speaker, which fills the volume requirements for most classrooms and large conference rooms
. Optional wall mount kit, which provides flexibility during integration and allows for wall mounting

The NP500WS and NP600S projectors come with a standard 2-year limited parts and labor warranty. Registered education users qualify for a 3-year limited parts and labor warranty.

Through March 31, 2009, registered Star Student users will receive $40 cash back reward incentives for each projector on their schools' debit cards. Additionally, registered users qualify for a 4-year limited parts and labor warranty. For more information on NEC's Star Student program, visit www.necstarstudent.com.

The projectors will be available for April 2009 shipment at an estimated street price of $1199 each.

www.necdisplay.com

Back to Contents...

Red Giant Software Offers Free Weekly Tutorials on Red Giant TV

Red Giant Software, with popular products including Magic Bullet, Knoll Light Factory and Trapcode, is proud to unveil the first release of Red Giant TV. These free tutorials are designed to help people get the most out of the company's library of video products.

Every Tuesday a new episode is released on how to produce complex motion graphics and visual effects. The shows feature one or more Red Giant products used in combination with the tools built into After Effects, Final Cut Pro, Premiere Pro, and more. Show host, Aharon Rabinowitz, shares his tried and true techniques to produce higher quality work in less time.

Visit Red Giant TV at http://www.redgianttv.com/. Viewers have access to over two hours of training on motion graphics, compositing, and effects.

New Features

Stay Connected with Red Giant Software
Follow Red Giant Software through these external sites with news, tips, user videos, and more. Live Chat was also added for tech support, visit http://www.redgiantsoftware.com/support/.

Back to Contents...