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June 07, 2011

Table of Contents

Video Tutorials: Using Adobe CS5.5 Production Premium—NEW TUTORIAL ADDED!
Applying Photo Principles to Event Cinematography
The Company Image: Corporations Embrace Social Media
Litepanels Ships Sola 6 LED Fresnel
Anton/Bauer Intros QR-HotSwap-AR Gold Mount for ARRI Alexa
Apple Will Offer Mac OS X Lion for $29.99 Apple Store Download in July

Video Tutorials: Using Adobe CS5.5 Production Premium—NEW TUTORIAL ADDED!

Adobe Photoshop Content AwareAdobe Premiere Pro Merge ClipsAdobe Medie Encoder CS5.5Roundrip Pro Audio Editing in Adobe CS5.5 Production Premium Adobe After Effects CS5.5 Warp StabilizerAdobe Encore CS5.5

CLICK THE THUMBNAILS ABOVE TO GO DIRECTLY TO A TUTORIAL ON VIMEO!

Kicking off EventDV.tv's new series of video tutorials exploring key new features of Adobe CS5.5 Production Premium that are likely to have the most impact on event filmmakers' postproduction workflow, instructor extraordinaire Luisa Winters explains the ingenious audio/video sync functionality of Premiere Pro CS5.5's new Merge Clips feature, while video production, compression, and streaming expert Jan Ozer discusses the most powerful new elements of Adobe Media Encoder CS5.5. NEW TUTORIAL ADDED: USING PHOTOSHOP'S CONTENT AWARE FILL WITH AFTER EFFECTS—Adobe certified trainer Luisa Winters explains how to remove unwanted elements from video clips using Photoshop's ingenious Content Aware Fill feature in conjunction with After Effects to make it appear as if those elements were never there. Go to page 2 to see Jan Ozer's Adobe Media Encoder CS5.5 tutorial. Go to page 3 to see Jan Ozer's Roundtrip Pro Audio Editing with Adobe Audition and Premiere Pro CS5.5 tutorial. Go to page 4 to see Shawn Lam's Stabilize Your Footage with After Effects Warp Stabilizer tutorial. SEE MORE OF EVENTDV ON VIMEO

USING PHOTOSHOP'S CONTENT AWARE FILL WITH AFTER EFFECTS

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Adobe CS5.5 Production Premium

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SEE MORE OF EVENTDV ON VIMEO

SYNCING AUDIO AND VIDEO USING PREMIERE PRO CS5.5'S NEW MERGE CLIPS FEATURE
BY LUISA WINTERS

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Adobe CS5.5 Production Premium

 

 

 

Click here to go to Page 2 and view Jan Ozer's tutorial, Using Adobe Media Encoder CS5.5

SEE MORE OF EVENTDV ON VIMEO

WHAT'S NEW ADOBE MEDIA ENCODER CS5.5? BY JAN OZER

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Adobe CS5.5 Production Premium

ROUNDTRIP PRO AUDIO EDITING WITH ADOBE AUDITION AND ADOBE PREMIERE PRO CS5.5 BY JAN OZER

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SEE MORE GREAT TUTORIALS ON ADOBE CS5.5 PRODUCTION PREMIUM

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Adobe CS5.5 Production Premium

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SEE MORE OF EVENTDV ON VIMEO

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Adobe CS5.5 Production Premium

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Applying Photo Principles to Event Cinematography

It's 2011 and video-capable DSLRs are everywhere. Photographers rely on them, videographers demand them, and it seems as though they're here to stay. As a supremely versatile tool, these cameras have inspired photographers to give video a whirl and videographers to test out their photo skills for the first time. While these two mediums have some very distinct differences, many essential principles apply to both. Despite the fact that many artists are now crossing platforms, it's rare to see the principles of one medium being applied to the other.

Of the common elements shared by photo and cinema, there are a few that stand out as most significant. A photographer sampling the world of cinema is generally familiar with the concepts of lens choice, composition, light, and color. But these tools are still new to many videographers who are just entering the DSLR world and are, for the first time, encountering the overwhelming abundance of choices, and exploring light in a whole new way.

The transition to DSLRs is an exciting one, but not without its challenges. By grabbing hold of a few of the most powerful concepts in photography, we can unleash the creative potential we have in all of us.

What Is The "Best" Lens?
There's something so beautiful about that glossy cylinder of glass. From the moment we take it out of the box, we clean it, we baby it, we adore it. And most of us have a favorite one-our go-to lens that we're confident will give us a beautiful image every time.

But there's a story-killing error that many of us make. Those who come from a world of "video" cameras never really had to deal with changing lenses and the impact lens-interchangeability would have on our workflow and our work. But now, we've been thrown into the curious world of DSLRs, where lens choice is a critical reality.

In comes the error: We choose a shorter focal length because we see more with it (it's wider) and a longer focal length because it "zooms" us in (it's tighter).

And while this is absolutely true, it is far from the only thing to consider when choosing a lens. In fact, field of view (how much you see in the frame) is only one of many variables that change when you change a lens.

So what are some of the other factors? Consider these:

• Depth of field
• Bokeh
• Distortion
• Size
• Image stabilization
• Maximum aperture
• Compression
• Color/contrast/sharpness

When you choose a lens based solely based on its field of view (FOV), you end up tossing all of these other storytelling tools aside, and leaving them no opportunity to contribute to the story. As a matter of fact, our failure to consider these tools in your lens selection may indeed impact the story, but in a detrimental way-whether we realize it consciously or not.

So, what's the difference between a 35mm and a 135mm besides lens how "wide" and "tight" they are?

The 135mm has a shallower depth of field with a "creamier" bokeh; it has far less distortion; and it's a somewhat bigger lens and a darker one too. It also compresses things front and back, making them look closer together, and it's sharp as a tack with great color rendition.

But what does that mean for the story?

Let's start of by ignoring FOV because-let's face it-we can move our feet to get more or less in the frame (practical limitations aside). It's the other tools that work together with FOV to create the mood of the frame.

The 35mm is a great choice for funny moments, majestic environments, with a degree of unpredictability. Its distortion and exaggeration of distances and sizes make the subject look and feel larger than life, more comedic, and often grander as well.

The 135mm is great for sentimental, dramatic, or intimate settings. The compression makes rooms look smaller and brings people closer together. It also minimizes facial features, making more flattering and realistic-looking images. The shallower depth of field separates the moment from the background, making it the foremost focus, while the comparative lack of distortion keeps the frame straight-lined and distraction-free.

Whether we're shooting events, commercials, or movies, there are a multitude of moods to portray. When choosing a lens for a particular scene, we need to ask ourselves, "How does this moment feel?" and "Which lens feels the same?"

With so many lenses available, it may seem difficult at the beginning to know instinctively how each will "feel" on an emotional level. However, there's a very efficient way to learn: by shooting with primes.

A prime lens has a single, fixed focal length, while a zoom has many, which you're free to choose with the twist of a hand. But the problem with zoom lenses is that you rarely know which focal length you are using exactly. If you're shooting with a 24-70mm, it's difficult to tell whether you're at 45mm or 60mm and this, in turn, makes it nearly impossible to discover the emotional qualities of each focal length. However, primes promise a focal length each time they're attached to your camera. They promise a "feeling," and by familiarizing ourselves with each lens's "feeling" we can, without a doubt, become better storytellers.

Shooting with prime lenses makes it imperative that we be able to anticipate things well. If the mood in a room were to change suddenly, our zoom lens would be ready for action with the turn of a dial. But primes aren't quite as convenient. In the same situation, a videographer would have to reach into a gear bag, grab a different lens, and make the switch, all the while missing significant moments. Using primes forces us to be more aware and present in our surroundings, which means that we can predict things skillfully and be ready with the right lens before something happens. It's this commitment to being truly present that results in closer relationships with our clients, and closer relationships lead to more meaningful and inspired imagery.

Framing Your Thoughts
Where is the subject? How much of the frame does it take up? What's the angle? What's in the background? How is a frame with negative space different from a centered closeup?

There are so many ways to frame a shot: long-sided, short-sided, centered, close, far away, shooting up, shooting down, eye level, using the rule of thirds, shooting through objects, and so on. Each of these facets can communicate something different, such as optimism, tension, curiosity, trust, comfort, intimacy, privacy, isolation, power, intimidation, weakness, connection, disconnection, anxiety, and balance.

In general, we strive to make our imagery interesting to look at. The more interesting the visuals, the more likely we are to grip the viewer with our story. But when making our imagery "cool," we must be aware of all the messages being conveyed by our techniques. On occasion, we may unintentionally send out the wrong vibe, simply because we focused our attention on making stylish imagery and forgot to consider what else it might be suggesting.

For example, it has become a popular trend to shoot through objects such as windows, or bushes. Arguably, this creates visual interest by providing context and texture. But it can also generate feelings of separation and uncertainty-feelings that may not actually fit the story. By nature, if a person were to watch a scene through a window or through the small spaces between branches, she may feel removed from the moment-like an outsider looking in. Does this particular piece of the narrative warrant such feelings? Consider the images in Figure 1 and Figure 2 as examples.

stillmotion

Figure 1. Shot through the same window as the bride peered through moments before walking down the aisle. Like an outsider looking in, she was anxious to become part of the action.

stillmotion

Figure 2. With no window in the foreground, the viewer feels less removed. Rather, with heads in the foreground we now feel like we're part of the audience, somewhere in the middle of the group.

With careful thought and evaluation, we can use composition to draw our viewers in, and make them feel more connected to the moment. The more our audience feels like they are a part of the story-as if they were actually there-the more invested in the characters they will be. We have the power to guide our viewers' emotions and to make them feel certain things, and it's our knowledge of composition that can be employed as a catalyst to make these feelings appear quicker and more intensely.

Compare the next two images as examples. In Figure 3, our subject is relatively small in the frame with a silhouetted view of the surroundings. Looking a little bit upwards on the horse, we see that he is running out of the frame. In this scene, equal importance was placed on the environment as the horse and rider, to reflect the significance this farm has on the rider's life. By shooting up on them slightly, we project feelings of confident energy, which adds boldness to this warm spirited frame. And by having the horse running out of the frame, we foster feelings of mystery and exploration, which signify the youthful curiosity the rider experiences every time she steps onto the farm, where there's just so much to take in. The viewer wonders, "Where are they going, and what are they about to see?

stillmotion

Figure 3. In this image, the subject and the environment have equal importance.

In Figure 4, by contrast, the subject, the couple, takes up the whole frame. Both of their faces are close to the thirds range, creating a balanced, comfortable image. Given that their expressions feel comfortable and safe, a supportive composition only propels those feelings further. Also, by shooting at eye-level, we create a more powerful and relatable connection between the viewer and the couple.

stillmotion

Figure 4. An eye-level shot connects the subjects and viewer.

As the authors of our story, we must actively examine the purpose behind our composition and be mindful of the impact each decision will have on our viewer. Whether we want to build suspense or convey happiness, the right composition is an invaluable tool when used in a relevant manner.

Lighting for Effect
First, let's get this out of the way: If you've got an on-camera light that follows your every move, it's time to get out your trusty sledgehammer and smash it to bits. Ok, that might be a little harsh. But let's think about what such a light does for you, or doesn't do for you.

Most videographers who are using an on-camera light are using it solely to increase exposure in dark situations. But light is about so much more than just intensity. It's a storytelling tool with many facets, many moods-and the "deer-in-the-headlights" feel that an on-camera light can engender in your subjects shouldn't be one of them (unless you're shooting a "frightened deer" scene of course).

With cameras being able to "see" better than the human eye in a dark room, intensity should be one of the last things to think about. It's direction, softness, temperature, and all the other qualities of light combined with intensity that truly influence the spirit of a shot.

Being able to identify a mood through lighting takes some practice. But there are a few questions we can be asking ourselves each time we walk into a room that will help us evaluate the light and ascertain whether changes should be made. Are the shadows soft? How big is the light source? How far away is it? Is there mixed lighting (different color temperatures mixing together)? Which angle is it coming from? Does the lighting match the feel of the environment or the moment?

An on-camera light is fixed. It illuminates the subject directly, creating an unflattering look. Its color is usually constant, and for convenience, it's normally small, which creates a harsher, more dramatic, and chiseled quality. Quite simply, it offers very little creative control and yields an image that is often inconsistent with the message.

Off-camera lights present many more options, such as direction that can be changed at a moment's notice, as well as distance and size, which can be adjusted to provide just the right amount of softness and intensity. Even color can be altered through gels or variable temperature LED lights. If a moment feels calm, inviting, and sentimental, the combination of lighting variables should be quite different from a stormy, gloomy, and serious one. Exploring light teaches us a new language that we can use to communicate messages from our own unique perspectives.

Defining the Spectrum
What's your color? Do you best suit a dark, desaturated purple, or perhaps a lively red? In the imaging field, there seems to be a paradigm, that yellow tones are warm, blue tones are cool, and that's the end of it. But with so many colors in the spectrum, how can we ignore the possibilities they present?

These possibilities can be explored both in the shooting process and in post. Through lighting and camera settings, we can create an ambiance in itself, or prepare our shots for more efficient and accurate color work at the editing station.

Some of the powerful in-camera color tools to manipulate first are white balance, white balance shift, and picture styles. White balance, measured in degrees Kelvin, controls the yellow and blue balance of an image. We can use this tool to achieve "proper" whites, or we can use it to reflect the moment being captured. Thinking this way from the get-go saves time during the editing stage, which is especially important when creating a same-day edit.

White balance shift allows you to dial in and out of particular colors such as magenta, green, blue, and red. This is particularly useful on a bright, sunny day, when the green of the grass is reflecting off a person's face. To minimize this distraction, you can add some magenta tones, thus decreasing the amount of green, and produce a better-balanced image. Conversely, adding green to a scene can convey an alternative or even nauseating feel, which also has its place in storytelling.

The picture styles menu option lets the artist tweak sharpness, contrast, saturation, and color tone-all settings that may differ depending on editing plans. If a third party is responsible for putting together the final piece, it's often beneficial to produce ready-to-go, punchier, and more saturated imagery with higher contrast. But if the edit is in your hands, it pays to have a slightly blander image from the start that retains more information, so you have plenty to work with at the computer.

During the editing process, you have several decisions to make. Will the coloring go beyond the primary stage of balancing exposure, white balance, contrast, and so forth? And if so, which colors should be added or removed to propel the story best?

Here are some issues to consider: How do you personally perceive colors? What is a happy color? What is a sad one? What is a lusty one? What is an angry one? Do the emotions you associate with different colors change when these tones are mixed with others? Indeed, combinations of colors are just as important as the individual colors themselves. For example, complementary hues (directly across each from other on the color wheel) have a stark contrast and can be used to promote feelings of angst or to draw the viewer's attention to a particular part of the frame (Figure 5). Conversely, analogous colors (directly side by side on the color wheel) tend to foster feelings of calm, harmony, and nature (Figure 6).

stillmotion

Figure 5. The complementary colors here, red and green, are intended to cause tension in the viewer, to mimic emotions that were felt during this riot.

stillmotion

Figure 6. The analogous colors in this frame—magenta, red, and orange—combine with the subject matter to evoke feelings of calm and comfort.

As with lenses, the first step to becoming familiar with the varied attributes of hues is to know which colors you are using, and to be able to control them. Doing color work from scratch may be more involved than using "actions" or "marketed color recipes," but it certainly will pave the road to more emotive imagery with some added know-how to boot.

Add it Up
As artists, we can't be satisfied with simply capturing a moment. We need to interpret it and convey it through the tools, both mental and physical, that we have cultivated. I presume that everyone reading this article understands English, but at the same time, each of us speaks it in a different style. Imaging, whether through cinematography or photography, is simply a different form of communication with word-like components, which can be combined in nearly infinite ways. And it's up to us to use these visual words wisely to tell the powerful stories that have been filtered through our remarkably unique eyes.

Amina Moreau (amina@stillmotion.ca) is co-founder, along with her husband, Patrick, of StillMotion, one of the world's most highly regarded photo/cinema studios. She also coordinates the still-image components of StillMotion's internationally renowned educational workshops and 1-on-1 training (www.stillmotionexperience.com).

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The Company Image: Corporations Embrace Social Media

In the first installment of The Company Image, I discussed how your skills as an event videographer can be applied to producing videos for businesses. I talked about the myriad opportunities to create short website videos for both large and small companies. Today, even a mom and pop store can post commercials online and have the same chance as the giant corporations that their videos could go viral.

When I was conducting research for my book, Corporate Video Production: Beyond the Board Room (And Out of the Bored Room), I visited the websites of the top companies in the country. Nearly every site had a link to the company's YouTube and Facebook pages. Internet market research firm eMarketer, Inc. reports an increase in shoppers making purchases after viewing product videos. The firm also says that "videos reduce shopping cart abandonment rates and diminish product return rates." Several companies post their TV commercials, but many firms also use social media to demonstrate their programs that benefit nonprofit organizations in their communities.

Social responsibility programs, in which a company finances a community venture, are popular among large corporations, and they use videos to document the projects. For example, Walmart's Community Action Network on YouTube displays videos that the company makes about its programs to improve neighborhoods. This helps the organization counter the negative publicity that sometimes accompanies the opening of a Walmart in a community. One of the YouTube videos features an emotional interview with a Chicago resident who wants a Walmart to open in her neighborhood and bring jobs for residents with it. Viewers watch her exclaim, "We all are praying for this Walmart." The video, which clocks in at 1:40, includes interview and b-roll footage about how a neighborhood with few jobs and little access to groceries could benefit from a Walmart.

McDonald's has a 4:17 video on its website that touts its "Road to Sustainability" program that includes recycling cooking oil and using reusable fiber packaging. The video consists of a simple montage with text and voiceover narration-a piece of cake for any wedding or event videographer. But the scriptwriter took time to carefully craft such statements as "sustainable agriculture production by addressing ethical, environmental, and economic challenges." A well-designed short video can reach viewers on an emotional level. Poetic writing, rhythmic camera work, and a compelling soundtrack create synergy
to grab the viewers' hearts and convert visitors to customers.

Liberty Mutual Insurance Co. is yet another corporation that created a YouTube channel to promote its community efforts. The channel is called Responsible Sports, and it features short clips from coaches who discuss the impact of sports on character building in children. Responsible Sports is the company's program dedicated to supporting volunteer coaches and parents. Each video is branded with Liberty Mutual's logo on the screen, and viewers see the coaches wearing shirts festooned with the company's brand.

Another area of opportunity is the production of how-to videos. Corporations, large and small, are posting short videos that provide information for do-it-yourselfers. Production values range from broadcast quality to teenager-with-iPhone quality. REI (Recreational Equipment, Inc.) has several low-budget videos that demonstrate how to operate its products. Want to learn how to use a trail GPS? Watch Ed at the Seattle store, simply framed in a medium shot, demonstrate the unit together with a compass. A few close-ups, dissolves, and some bulleted text complete this straightforward 4:52 video-a classic instructional video.

You can also learn how to cook with quinoa and other "super foods" from the corporate nutritionist for Wegmans Food Markets, Inc., a regional grocery store chain. The casually dressed presenter hosts such short videos as "Brain Food for Kids" and "Half-Plate Healthy." In addition to videos produced by the company, the website encourages viewers to share user-generated videos on any of the 60 sharing and bookmarking sites the company offers links to.

Here is a way to get your foot in the door with a consumer products company: Use the Overlay Video Editor from Overlay TV, Inc. (http://overlay.tv) to place clickable hot spots as layers on top of video you shoot. Customers will be able to click and shop directly from the product videos. Zappos.com, the online shoe dealer, did just that; website visitors click on a product and go directly to its landing page. There they find information on the shoe, watch video testimonials, and make their purchases. Overlay lets customers upload videos or record product reviews from their webcams. The system encourages users to post video links to their Facebook, Twitter, and other social media pages. They even have an online video chat tool.

You'll be a hero with your newfound corporate client when you demonstrate the additional social networking sites where customers share videos. Overlay has a More Options button that lets people (and corporations) post videos to such sites as LinkedIn, Myspace, StumbleUpon, Reddit, Blogmarks, Fark, and Technorati. To encourage users to post product videos on their own websites, some of the services have an embed or copy button that reveals the embed code and the link.

These social media tools work equally as well with large or small companies. Whether you're documenting the community support project for a major corporation, producing how-to videos for the local hardware store, or using interactive media to help brick-and-mortar stores to sell online, your skills in location video production and social media are welcome additions to businesses on the move.

Stu Sweetow  (sweetow at avconsultants.com) is the author of the recently published book Corporate Video Production. He runs Oakland, Calif.-based video production company Audio Visual Consultants. He taught video production at UC Berkeley Extension, was associate editor of Wedding and Event Videography, and was a contributing editor to Camcorder & Computer Video magazine.

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Litepanels Ships Sola 6 LED Fresnel

A Vitec Group brand, is now shipping their award-winning new Sola 6™ LED Fresnel light. The revolutionary daylight-balanced Sola 6 provides the controllability and light-shaping properties inherent in a Fresnel light, but utilizes just a fraction of the power of conventional fixtures.

Like all Litepanels fixtures, Sola 6 Fresnels feature instant dimming from 100% to 0 with no noticeable color shift. The Sola 6 offers beam control from 70° to 10°. Output is flicker free, and remains consistent even if voltage changes.

Employing Litepanels’ ultra-efficient LEDs, the Sola 6 draws about 1/6 the amount of power to provide the same illumination of a conventional 650W tungsten light, but in daylight output. They draw 90% less power than conventional tungsten lights, with very little heat generation. Additionally, these cool-to-the-touch lights substantially cut down on air conditioning requirements in studio applications. With energy savings like that, Sola 6 fixtures can help significantly reduce broadcasters’ carbon footprint

The Sola 6 offers familiar control via on fixture knobs to access mechanical focus and electronic dimming. They are also remote-controllable via integrated DMX interface and do not require an external ballasts.

Featuring a 6” Fresnel lens, the Litepanels Sola 6 draws 75 Watts yet produces output equivalent to a 650W tungsten unit, and weighs 9.10 lbs. (4.13kg). Optional accessories include: 8-leaf barndoors, 5-piece gel filter set, and more.

For more information on the Sola series of Fresnels and other Litepanels HD-friendly LED lighting systems, contact Litepanels, Inc., 16152 Saticoy Street, Van Nuys, CA 91406, Phone: 818/752-7009, Fax: 818/752-2437, Email: info@litepanels.com, http://www.litepanels.com

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Anton/Bauer Intros QR-HotSwap-AR Gold Mount for ARRI Alexa

Anton/Bauer®, a brand of The Vitec Group, and the world’s premier provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, continues to add to its offerings of superior Gold-Mount® solutions with the introduction of the QR-HotSwap-AR Gold Mount® for the ARRI ALEXA digital camera system.

Providing a secure snap-on approach to keep the battery in place from any position, the Gold Mount provides three solid mechanical connections that “lock” into place, providing secure contact for a steady stream of uninterrupted power, and self-cleaning gold-plated pins rated for high-current. The QR-HotSwap-AR allows for either two DIONIC HC or DIONIC HCX batteries for seamless hot swapping and longer run-times. Exclusive communication, available only with the QR-Hotswap-AR, shows the combined batteries’ remaining run-time via the InterActive® Viewfinder Fuel Gauge which allows for communication directly to the camera’s viewfinder.

“When shooting on location with the ARRI ALEXA, one of the most sought after cameras in all of digital cinema, the last thing Anton/Bauer’s Gold Mount users will have to worry about is a power failure because of a bad battery connection,” says Shin Minowa, vice president of marketing and business development. “The Anton/Bauer Gold Mount System is the most widely used battery mounting system in the industry and is available as factory standard equipment on many cameras from such manufacturers as Grass Valley, Hitachi, Ikegami, JVC and Canon.”

The Gold Mount provides an interchangeable battery system using a forward compatible approach originally developed by Anton/Bauer. This system allows for new cell chemistries as they are developed, allowing a battery introduced today to perform seamlessly on a current charger purchased 10 years ago, with only a simple firmware upgrade.

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with virtually every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight®, ElipZ®, ElightZ®, CINE VCLX and CINE VCLX/2. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit http://www.antonbauer.com.

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Apple Will Offer Mac OS X Lion for $29.99 Apple Store Download in July

Apple® today announced that Mac OS® X Lion, the eighth major release of the world’s most advanced operating system with more than 250 new features and 3,000 new developer APIs, will be available to customers in July as a download from the Mac® App Store™ for $29.99.

Some of the amazing features in Lion include: new Multi-Touch® gestures; system-wide support for full screen apps; Mission Control, an innovative view of everything running on your Mac; the Mac App Store, the best place to find and explore great software, built right into the OS; Launchpad, a new home for all your apps; and a completely redesigned Mail app.

“The Mac has outpaced the PC industry every quarter for five years running and with OS X Lion we plan to keep extending our lead,” said Philip Schiller, Apple’s senior vice president of Worldwide Product Marketing. “The best version of OS X yet, Lion is packed with innovative features such as new Multi-Touch gestures, system-wide support for full screen apps, and Mission Control for instantly accessing everything running on your Mac.”

New Multi-Touch gestures and fluid animations built into Lion let you interact directly with content on the screen for a more intuitive way to use your Mac. New gestures include momentum scrolling, tapping or pinching your fingers to zoom in on a web page or image, and swiping left or right to turn a page or switch between full screen apps. All Mac notebooks ship with Multi-Touch trackpads and desktop Macs can use Apple’s Magic Trackpad.

Full screen apps take advantage of the entire display and are perfect for reading email, surfing the web or browsing photos, especially on a MacBook Air® or MacBook® Pro. With a single click your app fills the display and you can swipe from one window to another, between full screen apps, or back to your Desktop, Dashboard or Spaces® without ever leaving full screen. iWork® and iLife® apps, as well as Safari®, iTunes®, Mail, FaceTime® and others, all take advantage of Lion’s system-wide support for full screen apps.

Mission Control combines Exposé®, full screen apps, Dashboard and Spaces into one unified experience for a bird’s eye view of every app and window running on your Mac. With a simple swipe, your desktop zooms out to display your open windows grouped by app, thumbnails of your full screen apps and your Dashboard, and allows you to instantly navigate anywhere with a tap.

The Mac App Store is built into Lion and is the best place to discover great new Mac apps, buy them with your iTunes account, download and install them. Apps automatically install directly to Launchpad, and with Lion’s release, the Mac App Store will be able to deliver smaller “delta” app updates and new apps that can take advantage of features like In-App Purchase and Push Notifications.

Launchpad makes it easier than ever to find and launch any app. With a single Multi-Touch gesture, all your Mac apps are displayed in a stunning full screen layout. You can organize apps in any order or into folders and swipe through unlimited pages of apps to find the one you want.

Lion includes a completely redesigned Mail app with an elegant widescreen layout. The new Conversations feature groups related messages into an easily scrollable timeline, intelligently hiding repeated text so the conversation is easy to follow, and retaining graphics and attachments as they were originally sent. An incredibly powerful new search feature allows you to refine your search and suggests matches by person, subject and label as you type. Mail includes built-in support for Microsoft Exchange 2010.

Additional new features in Lion include:

  • Resume, which conveniently brings your apps back exactly how you left them when you restart your Mac or quit and relaunch an app;
  • Auto Save, which automatically and continuously saves your documents as you work;
  • Versions, which automatically records the history of your document as you create it, and gives you an easy way to browse, revert and even copy and paste from previous versions; and
  • AirDrop, which finds nearby Macs and automatically sets up a peer-to-peer wireless connection to make transferring files quick and easy.


Pricing & Availability
Mac OS X Lion will be available in July as an upgrade to Mac OS X version 10.6 Snow Leopard® from the Mac App Store for $29.99 (US). Lion will be the easiest OS X upgrade and at about 4GB, it is the size of an HD movie from the iTunes Store®. Mac OS X Lion Server requires Lion and will be available in July from the Mac App Store for $49.99 (US).

Lion requires an Intel-based Mac with a Core 2 Duo, i3, i5, i7 or Xeon processor and 2GB of RAM. The Lion upgrade can be installed on all your authorized personal Macs.

The Mac OS X Lion Up-To-Date upgrade is available at no additional charge via the Mac App Store to all customers who purchased a qualifying new Mac system from Apple or an Apple Authorized Reseller on or after June 6, 2011. Users must request their Up-To-Date upgrade within 30 days of purchase of their Mac computer. Customers who purchase a qualifying Mac between June 6, 2011 and the date when Lion is available in the Mac App Store will have 30 days from Lion’s official release date to make a request.

Apple designs Macs, the best personal computers in the world, along with OS X, iLife, iWork and professional software. Apple leads the digital music revolution with its iPods and iTunes online store. Apple has reinvented the mobile phone with its revolutionary iPhone and App Store, and has recently introduced iPad 2 which is defining the future of mobile media and computing devices.

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