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October 31, 2011

Table of Contents

Fresh Blood: The Second Coming of Trash the Dress
Keeping Up With Jones: Stop Editing Now!
The Company Image: The Role of the Video Producer
K-Tek Intros 3 New Windscreens for Small and Low-Profile Mics
New GoPro HD HERO 2 Features 11MP Sensor, 1080p HD Video, WiFi Remote Control, and Live Streaming
DaVinci Resolve 8.1 Now Available from Blackmagic Design

Fresh Blood: The Second Coming of Trash the Dress

Just in time for Halloween, Dustin Blake of Atlanta-based indy Productions, a 2010 EventDV 25 honoree, has resurrected the Trash the Dress (TTD) movement with a degree of sexiness hitherto unseen—and this time, he's added an element of the macabre.

Trash the Dress was all the rage in wedding videography circles in 2007-2008, a goth/grunge experiment grown out of the anti-bridal photography movement and adapted to moving pictures by a surprising number of enterprising event videographers (more on that later). But for most it was more a marketing move than a movement, an attempt to glom onto a passing fad that bore, at best, passing relevance to the prevailing trends in event video at the time. The TTD concept was both convoluted and stridently wasteful: to destroy the purest symbol of wedding elegance with imaginatively dramatic visuals, either as a way of undercutting the notion of wedding elegance itself or (maybe) as a twisted way for a bride to underscore her wedding vows: "I'm in it for the long haul—I won't need this anymore." By and large, the approach was to sully that elegant dress by taking it to some unorthodox location and exposing it to sand, surf, dirt, rust, or some combination thereof.

But most wedding videographers weren't really ready to let go of elegance at the time, and although there was certainly an incipient generation who saw things differently, tentative forays into TTD-land weren't limited to the young and adventurous. In retrospect, the wedding video industry's temporary dalliance with Trash the Dress was probably a harbinger of several things to come: absorbing nontraditional takes on the look and vibe of contemporary weddings into the videos that document them; embracing new points of artistic intersection between photographers and videographers who may have done little more than jostle for position in the past; attempting a photography-influenced wedding video style where the shot drives the story, rather than the other way around; and foreshadowing the evolution of wedding video into wedding film.

If the Trash the Dress movement of the previous decade was a starting point for the event filmmaking heyday that arrived when video-capable DSLRs went mainstream in 2009, it was a false start. And it wasn't just because would-be TTD pioneers didn't have the right cameras. Most of them just didn't have a vision for it.

Dustin Blake, IndyProductions.net
Behind-the-scenes images by Allison Reisz Photography

Enter the indyBridal Extreme

Blake's indyBridal Extreme films, as he calls the unique take on TTD that he has been producing these past few years, take the bride beyond the beach—and out of her gown. His latest, released on Halloween day, brings her to a backwoods barn in disrepair. The story that plays out is one part bridal elegance, one part slasher film, and one part skin flick.

The theme evolved after Blake asked his Facebook fans how they would next like to see a dress trashed. Always in search of new elements with which to destroy a bride's gown, Blake promised to give the people what they wanted, and blood was the clear winner in his multiple-choice poll.

Facebook was also where he found his clients, by running an ad seeking a couple in the market for a TTD video (and willing to pay a premium for it). Facebook allows advertisers to target eerily specific criteria; young and engaged were just a few of Blake's. Blake chose a raven-haired beauty and her professional model fiancé to star. The couple represented three firsts for indy Productions: an all under-21 cast, a groom taking part in the trashing, and (ever-so-brief) nudity.

Dustin Blake, IndyProductions.net

TTD films have always told a story to explain (or at least try to) how a bride arrived at the location (a junkyard, a lake bed, what have you) and at the conclusion that she should wreck her wedding gown in some creative way.

For this film, the story goes like this: A bride (really a decoy) loses patience when her fiancé is a no-show at their rehearsal. An interloper soon appears, and a brief catfight ensues. The attacker (actually, the real bride) pushes her down, snatches the dress from her, and flees to a barn. There, while slipping on the gown, she is met by the blood-thirsty, white-eyed groom. A sultry scene unfolds, leaving viewers, if not blushing, then sweating and peeking through their fingers.

Dustin Blake, IndyProductions.net

The final scene begins with an alarm clock ringing and reveals the groom (minus the scary white contacts) waking the real bride with a heart-melting smile on the morning of their wedding day. It was all a dream—a twisted, titillating dream.

TTD Redux
Blake's indyBridal Extreme films have clearly graduated from the once G-rated TTD videos of the mid-2000s. Las Vegas photographer John Michael Cooper of AltF coined the phrase "trash the dress" in 2001. The concept, also known as "fearless bridal" or "rock the frock," was an outgrowth of a larger "anti-bridal" movement gaining steam at the time.

Unlike the photographers who adopted a watered-down version of TTD ("slightly smudging the dress?"), Cooper took some of his TTDs to unforgettable extremes—setting dresses on fire, for example.

Videographers such as Darrell Aubert, Chris P. Jones, Patrick Moreau, and others took notice in the mid-2000s and began translating the idea to video. They shot brides wearing pristine gowns juxtaposed with grungy settings—abandoned buildings, swamps, and so on (you can read about an early TTD collaboration shoot involving Cooper, Aubert, Jones, and Rob Neal in EventDV's October 2007 issue: http://bit.ly/ttd-2007).

The point of it, many claimed, went beyond "subverting traditional notions of elegance and sentimentality," as Stephen Nathans-Kelly wrote in the article. Trashing her dress was a bride's way of declaring to the world that her commitment was solid. It also presented the bride with a lively alternative to boxing up the dress, mothballs and all, with limp hopes that her daughter would someday walk down the aisle in it. An ode to her gown, you could say. The act of it was also cathartic, a celebration of the end of the wedding-planning and wedding-day stress.

Shed the Dress?
After the initial novelty of TTD wore off, the trend nearly faded to black—perhaps because of the reigning romantic, elegant wedding video mentality at the time. Was the industry unprepared to ditch that in favor of something more gritty? An even likelier explanation for TTD's demise is the fact that the type of edgier, shot-driven wedding films TTD presaged didn't quite come into their own until the DSLR era.

Blake was just the filmmaker to revive, and maybe reinvent, TTD, with his self-described "maverick-style wedding cinema for those that like breaking the rules."

Taking pride in his infusion of sexuality into his wedding videos, Blake makes no apologies. "It works for us!" Salty wedding films became his niche after one preceremony bridal prep shoot: As the bride slipped out of her clothes, the photographer, a female, turned away out of respect. Blake just kept rolling tape.

"This knock-down, drag-out gorgeous girl was changing right in front of me. I was shooting, and it was hot. I thought, ‘What's wrong with that?'" Blake remembers. "I didn't show much. But when I showed her the playback and told her I'd like to use it she said, ‘Go for it!'"

Soon Blake booked the wedding of the Detroit Tigers' Nick Trzesniak and his wife, Alanna. She specifically requested the "butt shot" from the aforementioned bridal prep. "So we shot her changing. We did it so many times, pulling her dress up, taking it off, pulling it up," he says laughing.

A flood of women started requesting that butt shot, including Kathleen Reynolds, wife of then-Arizona Diamondbacks infielder Mark Reynolds. Blake saw quickly that "people are digging this. Then we got into showing more skin."

Lest you assume that eager grooms are booking these appointments, know that the brides are the ones lining up to have their 20- and 30-something physiques recorded for posterity.

A Different Breed of Bride
Before long, Blake was throwing his hat in the (mostly empty) TTD ring. He did so after being turned on to the work of CinematicBride's Joshua Smith, who was doing TTD videos at the time. Calling Smith his inspiration, Blake remembers thinking, "This stuff is so awesome." But he knew he wanted to take it to a new level, to add his signature amorous style. He showed a bride one of Smith's TTD videos and said, "Let's do a video like this. But let's take some clothes off."

Part of his vision stemmed from shooting weddings in which there were women present "who looked hotter than the bride," he says. "I got tired of seeing it. I thought, we've got to start making videos in which the bride is just so freakin' hot. She's the bride! She needs to be the hottest thing at the wedding." Not nude, he insists. "If you show nudity, it's not sexy anymore."

Blake's first TTD films didn't reach far beyond the standard-issue TTD of earlier years. But soon his brides were doing more than getting their feet wet—literally—at the beach. They were having their gowns torn off their bodies and destroyed, ripped, "where you can't use it again."

With each TTD he would add a new element to destroy the gown, as well as a story that the bride could relate to. Each of his indyBridal Extremes spins a fictional story depicting the bride finding her dress, slipping into it, and commencing to trash it—all while revealing her stunning curves to the camera.

You might be blushing, but the brides who participate don't do much of that. "It's a different breed" of bride, Blake says, calling them the "‘Hey, look at me!' brides." "These girls"—who, he says, make up 14% of his clientele—"want to do these videos."

He's even had women who have seen his work online drive from states away, such as from Virginia, to star in their own indyBridal Extreme. Some of them aren't even getting married. "They just like the sex appeal of it." For many of them, it's about preserving the way they look today. "You will never look that good again," Blake says gravely. "Probably," he adds just in time.

Dustin Blake, IndyProductions.net

Not for Everyone
If the idea of a member of the opposite sex paying you to film them undressing sounds enticing, be warned that not everyone is cut out for this. "You have to be sexy yourself. You have to feel it," Blake says. "Everything is kind of sexual with me, whether I'm shooting a girl or a guy or details." Once your clients see that you're comfortable in your own skin, "they're cool with being sexy in front of you without it being weird." Plus, the bride always brings along a close girlfriend for moral support.

It's kind of hard to take one of Blake's last comments seriously—"It's not all about sex," he says, somewhat pleadingly, because it has worked so well for him. And while he recognizes that some might consider his niche taboo, he knows there's a group of people who don't. "There's a market for it, and it's how I make my living."

That market includes a same-sex couple, for example, who recently approached Blake with the idea of doing a "girl-on-girl" indyBridal Extreme. Indeed, he says, "It's not just for guys."

What's next for Dustin Blake? With winter around the corner, snow is next on his list of elements. Blake is also developing ideas for a TTD in a candy shop (think sticky, gooey, and sweet) and in a roller rink playing bubblegum pop (roller derby, anyone?).

Reflecting on where he is now, Blake is equally grateful for the visionaries who cultivated the TTD phenomenon as he is for the creative types eager to push the envelope with him. "I didn't invent TTD," Dustin says. But he did what many of the genre's pioneers wouldn't or couldn't: take it to its natural (or au naturel) extreme.

Liz Merfeld (www.lizmerfeld.com) is a freelance writer based in Madison, Wis.

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Keeping Up With Jones: Stop Editing Now!

When I first came to you 12 issues ago, I asked you to imagine your life without the burden of backlog. How would you spend your newfound freedom? What hobby would you rekindle? Where would you travel? How much better would you sleep? I trust that you've written down your vision and that it continues to motivate you. While you're practicing the habits I've shared and while you are feeling the weight of your backlog lighten, you still must make one additional change to your business model to keep backlog from returning with a vengeance. You've come this far, so it's time to finish off backlog once and for all. Are you ready? OK, here we go. Here's what you need do ... stop editing.

"But Jones," you say, "how do I reduce my stack of projects by not editing?"

Allow me to clarify. I want you to stop editing. Instead, I want you to train others to do the editing while you structure and sharpen all other aspects of your business. I want you to develop an editing vanguard that protects the front lines against the enemies of business freedom. I want you to be able to trust that editing transpires even when you aren't in front of the station.

Sounds good, doesn't it? Or does it sound somewhat unsettling? There are four reasons why creatives tend to recoil when I make this suggestion.
The first reason is intrinsic. We started this business so that we could express ourselves creatively, and the editing process is our creative outlet. In giving up editing, we fear that we're relinquishing the stimulating part of self-employment and that we're relegating ourselves to the mundane tasks of operating a business. I understand the feeling; however, I'm sobered by the reality that editing all by one's self will always, ultimately, result in a soul-crushing backlog.

In order to retain the invigoration that comes from creative expression, you shouldn't give up editing cold turkey. Your long-term goal, though, must be to reduce your time in the editing bay to 25% or less of your workday. It may sound daunting to release this much control over your product, but you're likely to find that you will take more pleasure in editing when you aren't 100% responsible for it.

Secondly, if our project queue is under control and if we are making our clients happy by delivering in a reasonable amount of time, then why not leave well enough alone? Why should we try to fix something that ain't broke?

While our system may not be broken yet, there are fissures beginning to form in the foundation. For example, if you are the only editor, what happens when you have a family emergency? What happens when your computer breaks down? What happens when you fall ill? I'll tell you what happens: You won't get any editing done. You'll begin to deliver later than guaranteed, and your clients won't be as excited about their feature films. As backlog grows, referrals wane. The only way to ensure long-term consistency in delivery is to delegate the editing so that it doesn't rest solely on you.

Thirdly, we may believe that no one can edit quite like we do. We may be right; however, there are plenty of folks who can edit almost as well as we do.

As much as our signature style may ooze with unique artistry, it is a reproducible science 98% of the time. We can break down most of our storytelling into step-by-step instructions and teach it to others. That does not diminish what we create, nor does it deny our talent. Instead, we should think of our brilliance as a collective consciousness, a unifying force not of our creation useful for cohering a collective of craftspeople. It is not ours to own-it's a gift to be shared, and in sharing this gift, we're freeing ourselves to explore our abilities even more deeply.

Finally, we fear training others because there is the risk that we are developing our future competition. For some of you, this has been a stark reality. If, then, the thought of training an editor produces paralyzing anxiety and prevents you from moving forward, ask yourself the following questions: When you train these editors, do you also teach them how to run a business? Do they have connections to the vendors with whom you've built and nurtured relationships over the past decade? Do they have a referral base as strong as yours from satisfying past clients?

Realistically, the only skill they have is editing video, and you know that there is so much more to running a business than crafting clips together in an NLE. If you're taking care of your business and serving your clients, then you're going to remain light-years ahead of any defecting counterparts.

If you are not yet convinced that you need to build an editing team, then consider the alternative: You will be sitting on your rump performing 100% of every edit on every project from now until the end of your business life. Was this what you had in mind when you started your studio?

Are you going to give power to your fears and insecurities, submitting to their destructive demands, or are you going to stare down that which intimidates you to get what you want out of life? Are you willing to settle for the status quo, or are you ready to conquer your deficiencies? If you are truly eager to boot backlog out the door once and for all, then demonstrate it in this manner. Train an editor ... and stop editing now!

Chris P. Jones (jones at masonjarfilms.com), an Austin, Texas-based EventDV 25 All-Star, has been shooting weddings for nearly a decade and is a co-founder of the wedding filmmaking educational gathering IN[FOCUS].

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The Company Image: The Role of the Video Producer

if you plan to produce corporate videos, it's a good idea to become comfortable in your role. Most likely, you'll serve as both producer and director, and you may even be the camera operator and editor. This may sound like the typical role of a "videographer," but you'll want to do whatever you can to separate your wedding work from your corporate productions, and replacing the title "videographer" with "video producer" is a good way to start.

As a corporate producer, you probably have more control of the filming. Unlike weddings, each company's video will be vastly different from others you shoot. Some will involve actors, either pros or employees; some will be talking-head shoots where you simply aim your camera at a lecturer and insert his or her slides during editing. Unlike weddings, expect your client to join you in the edit suite and plan on plenty of graphics and plenty of changes.

Creating the Treatment
As a video producer, you'll be responsible for developing a script, or at least helping the client write a script. Prior to writing the script, it's a good idea to get your proposal or outline approved by the client. The industry calls that document a "treatment."

In most cases, a treatment is written in paragraph form. It spells out your ideas (or your client's ideas) in written format in the sequence that the script will follow. The treatment describes all the visual elements and will help get you and your client on the same page (literally) before shooting begins, which most likely will result in fewer changes later on. It's much easier to write subsequent drafts of a treatment than a script.

Developing the Script
When the treatment is approved and it comes time to develop the script, consider hiring a professional scriptwriter, if you have a large enough budget. Unlike actors or production coordinators, your scriptwriters need not live in your city; they can send you script drafts via email, and you can provide them with all the support materials that way too. Choose a scriptwriter who has corporate video experience, rather than a technical writer or a fiction writer. While you may be tempted to hire a feature film writer, you may be disappointed with the process unless that person has experience with documentary or educational film scriptwriting.

Your scriptwriter, or you, will develop the concepts and script ideas with someone in the communication, marketing, or public relations department of your corporate client. This person may be the one to actually write the script, but make sure the two of you work together on this stage in the process.

Your video skills can add the creative touch that can move a corporate production from boring to breathtaking. In some cases, in-house writers will give you a document they call a "script" that is simply the audio portion of a script without the visuals. That's where your visualizing skills come in handy. Your challenge will be to find scenes at the client's office or plant that you can film to illustrate what the text of the script says.

Don't hesitate to offer suggestions on entirely different concepts to communicate the scriptwriter's ideas. For example, a brief dramatization with actors
or a news-style approach could add life to an otherwise dull script.

Choosing the Talent
Unlike a wedding, corporate videos frequently involve actors, or at least employees appearing on camera. You may need to hire professional talent; if that
is the case, find out if the company for which you are producing the video is a union shop. If so, go to SAG or AFTRA, the two national talent unions, to find your actors. Check with the local stagehands union (sometimes IATSE) to fill crew positions.

If the company is not unionized, you can probably find talent by placing an ad or through a local theater group. Be sure to get video clips of the proposed actors and send them to your client so they can select the look they want to represent their company.

You may find yourself taking on the task of directing nonprofessional talent in the form of employees at the company for which you are producing the video. Hopefully, they will need only to perform their own job roles on camera, rather than act out a dramatic scene.

When my company produced a call center training video for Clorox Co. several years ago, employees took on the roles of the customer service representative and of the customer calling in. The simulated phone conversations were brief and simple, which made the production go much more smoothly than it might have otherwise. On the other hand, my first freelance gig was a video for a hospital (my former employer). When the doctor, who was my client, wanted to be the on-camera spokesperson, I should have said no. I wrote the script, he memorized it, and he came off stiff and unrealistic.

Coordinating Logistics
If your budget allows, you may be able to hire an assistant for yourself in the form of a production coordinator. The production coordinator can schedule filming dates, arrange location logistics, take care of union issues, and perform myriad other tasks so you can focus on being creative. While professional production coordinators, who work in television and feature films, may not wish to work with your minimal budget, others will welcome the work. A good project manager or office organizer may be able to take on this role too.

A well-organized person can handle such tasks as ordering meals, arranging for releases to be signed, finding locations for vehicle loading and parking, and making arrangements with security. A good coordinator is nimble enough to handle any contingencies that may come up during the shooting days. Depending on the budget, you may have to take that role on yourself.

Managing Postproduction
The corporate video producer may need to cozy up to the IT staff in order to obtain adequate bandwidth for streaming video over the company's network. With so many other departments competing for the limited network resource, IT may require you to compress your final video down to a level you may not like.

Ironically, video quality over corporate networks can be lower than video distributed via your own website or over YouTube.

It's best if you can hire an editor to cut the video, and you can supervise postproduction yourself. Unfortunately, some of your client's staff members may want to sit in the edit suite or even bring a colleague or two. That's where they think "the magic happens," and they may want the thrill of being present during this process. If possible, early on, explain that you will be sending proofs as you proceed with the edit, and they will be able to view them from the comfort of their own offices where they can provide you with direction for changes.

Another consideration during postproduction is that you may be using a workstation networked to a server. Your video files could be linked to other departments' assets such as text files, PowerPoint slides, and databases. It's important to create a system for naming and organizing your files so you can access them quickly.

The Corporate Video Producer's Checklist
Here is a checklist that can help you cover all your bases when you take on the challenging role of corporate video producer:

1. Locate the corporate decision maker.
2. Identify the need or problem to be solved.
3. Write a proposal, including budget.
4. Secure finances.
5. Set up planning meetings, a focus group, or a brainstorming session.
6. Develop and obtain approvals for the concept, treatment, and script.
7. Hire your cast and crew.
8. Arrange the shooting location and secure use
of equipment.
9. Obtain permits and permissions.
10. Schedule and perform the shoot.
11. Log your footage and create an edit decision list (EDL).
12. Supervise postproduction.
13. Obtain management's approval of video.
14. Finalize the video, encode it, and distribute it.
15. Evaluate the video.

As the video producer, it's your responsibility to manage the video production from script development through postproduction and distribution. Be prepared
to meet with the communication staff members of the company and maybe even the CEO. You'll supervise the camera crew and talent, and you'll be responsible for the logistics of location filming. Your creative eye, your encouraging coaching abilities, and your strong organizing skills can help your team craft a video that will help the company realize its goals, whether it is selling more widgets or preventing employee accidents. Your video productions may outlive you, and they can be your contribution to the continued success of the organization.

Stuart 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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K-Tek Intros 3 New Windscreens for Small and Low-Profile Mics

Known for popular boom poles, shock mounts and Norbert camcorder accessory mounting system, K-Tek offers three new windscreens. Designed for small/low-profile microphones, these US-made products, are effective solutions for wind noise reduction and microphone protection at affordable prices.

K-Tek’s unique design combines a fleece or faux fur exterior that breaks up the wind with a tightly woven fabric backing for an extra layer of protection.

The new KTMM is a small lavaliere fleece windscreen which is the ideal complement for microphones such as the Sanken COS-11, as well as Countryman B3 and B6.

The new KTFUZ, known as the “Fuzzball” is a small faux fur windcover, available in black or gray, that fits most lavaliere microphones.

The KTMWSC, known as “the Mouse”, is specifically designed for the popular Sanken CUB-01 microphone. Made of high quality faux fur with an acoustically transparent fabric lining, it provides a small pull tab which serves double duty to ease installation as well as to help with designating the orientation of the pickup pattern of the mic. “The Mouse” maintains a small space of air between the actual microphone and the inside lining of the windscreen for added wind protection.

The new K-Tek windscreens are now shipping. For further information, contact: K-Tek, 1384-F Poinsettia Ave., Vista, CA 92081; Ph. 760-727-0593; Fax 760-727-0693; http://www.ktekbooms.com

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New GoPro HD HERO 2 Features 11MP Sensor, 1080p HD Video, WiFi Remote Control, and Live Streaming

GoPro today announced the release of its new HD HERO2® camera. Twice as powerful as GoPro's original HD HERO camera, the HD HERO2 enables consumers and professionals to capture and broadcast their lives most exciting moments in professional quality 1080p HD video and 11 megapixel photos. The new HD HERO2 is now available at GoPro.com, specialty retailers around the world, and at Best Buy for MSRP $299.99.

Arguably the most versatile camera in the world thanks to its innovative mounting system, renowned durability and small form factor, the HD HERO2 surpasses its predecessor with several technology upgrades. The HD HERO2's new processor delivers twice the processing power, taking full advantage of a new high performance 11 megapixel sensor that delivers more than twice the image detail along with professional low light performance. A totally redesigned wide-angle lens was required to take full advantage of the HD HERO2's increased image-processing, resulting in a lens that’s twice as sharp as the previous model. And with the arrival of GoPro's new Wi-Fi BacPac™ and Wi-Fi Remote products slated for release this winter, the HD HERO2 will enable video remote control via the Wi-Fi Remote, smartphones and devices, tablets and computers as well as enabling live GoPro video broadcast from anywhere there is Wi-Fi or a mobile hotspot.

Famous for its globally best-selling HD HERO line of wearable and gear mountable cameras, GoPro spared no expense developing the HD HERO2.

“GoPro created a new category of camera with the HD HERO back in 2009, and it’s gone on to become one of the best selling video cameras in the world,” says Nicholas Woodman, GoPro’s founder and CEO. “With these big shoes to fill, we invested massively in engineering the HD HERO2 to be one of the greatest, most versatile cameras of all time. We think we’ve achieved our goal and we’re very excited to see the content our customers around the world capture and share with their powerful new GoPros.”

2x as Powerful in Every Way:
The HD HERO2 benefits from a complete redesign that results in dramatically enhanced image quality and ease-of-use.

List of HD HERO2 Feature Enhancements:

  • Professional 11MP Sensor
  • 2x Faster Image Processor
  • 2X Sharper Glass Lens
  • Professional Low Light Performance
  • Full 170º, Medium 127º, Narrow 90º FOV in 1080p and 720p Video
  • 120 fps WVGA, 60 fps 720p, 48 fps 960p, 30 fps 1080p Video
  • Full 170º and Medium 127º FOV Photos
  • 10 11MP Photos Per Second Burst
  • 1 11MP Photo Every 0.5 Sec Timelapse Mode
  • 3.5mm External Stereo Microphone Input
  • Simple Language-based User Interface
  • Compatible with Wi-Fi BacPac™ and Wi-Fi Remote™
    • Long Range Remote Control of up to 50 GoPro Cameras per Wifi Remote
    • Wi-Fi Video/Photo Preview, Playback and Control via GoPro App
    • Live Streaming Video and Photos to the Web

Visit http://gopro.com/hd-hero2-cameras/ for more information on the HD HERO2, Wi-Fi BacPac and Wi-Fi Remote products.

Upgraded Professional Photo Quality and Features
The HD HERO2’s photo capture performance has also been significantly upgraded. In addition to much improved low light performance, the HD HERO2 can capture up to ten 11 megapixel photos in a one second burst mode as well as automatic time-lapse photos with quick .5 second timing between photos. This dramatically increases the success-rate when attempting to capture magazine cover quality photos during fast action sports and activities.

Simplified User Interface
GoPro also placed a priority on redesigning the HD HERO2’s user interface for dead simple ease-of-use. The HD HERO2 features a totally new, straightforward language-based user interface that eliminates the need for instructions.

“The HD HERO2 is much, much easier to use than the original HD HERO. If you know how to use a traditional camera, you can use the HD HERO2 straight out of the box without instructions. This makes the HD HERO2 very powerful as an every day, easy to use consumer camera while retaining all of the features, modes and performance that has made GoPro the best selling small form factor HD camera to Hollywood,” said GoPro’s Director of Product Definition, Rudy Samuels.

Specialized Right Down to the Packaging
The HD HERO2 sells in three bundled-accessory configurations, each containing the necessary mounts for particular genres of use or activity. The HD HERO2 is backwards compatible with all existing GoPro mounts and accessories.

HD HERO2: Outdoor Edition - $299.99
HD HERO2: Motorsports Edition - $299.99
HD HERO2: Surf Edition - $299.99
The original 1080p HD HERO camera is now available for MSRP $199.99 - $239.99 (USD) (previously $259.99 - $299.99) through GoPro.com and GoPro’s worldwide authorized dealer network. The Wi-Fi BacPac and Wi-Fi Remote are also compatible with the original HD HERO camera, but functionality is limited to remote control only. Video and photo streaming is not supported.

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DaVinci Resolve 8.1 Now Available from Blackmagic Design

Blackmagic Design today announced DaVinci Resolve 8.1, an exciting new software update with powerful features, is now available. This update is available to all DaVinci Resolve customers free of charge and can be downloaded from the Blackmagic Design web site.

The new Resolve 8.1 software update includes support for Apple Final Cut Pro X XML round trip, new layer node composite effects, ACES colorspace support, compatibility with Avid AAF for round trip with Avid Media Composer™, Final Cut Pro 7 clip size and position support, new copy commands for grades, upgraded EDL features, support for UltraStudio 3D for Thunderbolt™ and compatibility with the 2011 MacBook Pro 15” computer.

With this new update, DaVinci Resolve can now import and export Final Cut Pro X timelines using the new Final Cut Pro rich XML file format. When working in Final Cut Pro X, customers will get full timeline round trip where projects can be moved between Final Cut Pro X and DaVinci Resolve,retaining the multi track timeline with frame accurate cuts, dissolves and even speed changes. DaVinci Resolve will also use rich XML from Final Cut Pro X to link to original camera footage. DaVinci Resolve supports full media management for Final Cut Pro X projects including additional source clip folders and alternate image source when conforming edits in Resolve.

Because DaVinci Resolve supports grading of high resolution and bit depth files, edits can be exported out of Final Cut Pro for finishing in the highest quality. An alternative workflow is to use DaVinci Resolve 8.1 to manage extremely high resolution raw image formats such as RED, ARRI, CinemaDNG and DNxHD and then to grade and render to ProRes or uncompressed media for Final Cut Pro X.

DaVinci Resolve 8.1 now includes new layer node composite effects which offer colorists even greater creative grading with add, subtract, difference, multiply, screen, overlay, darker and lighten effects. Colorists will be able to use these new composite effects to create extremely complex and intricate grades with limitless power.

Keeping pace with DaVinci’s heritage in the high end feature film industry, DaVinci Resolve 8.1 now includes ACES colorspace support. ACES and IIF is a new colorspace and file format promoted by the Academy of Motion Picture Arts and Sciences technology committee to provide a universal and open image interchange and processing format. The ACES IIF file format is fully supported, and includes a variety of IDTs and ODTs as well as support for 3D shaper LUTs. DaVinci Resolve 8.1 allows colorists to work in this format seamlessly, and even the free of charge DaVinci Resolve Lite includes ACES colorspace, so upcoming videographers will have access to the latest Hollywood technology.

To improve compatibility with customers using Avid Media Composer, DaVinci Resolve 8.1 now includes improved support for Avid AAF import/export for roundtrip editing to Resolve and back to Avid Media Composer. This new AAF support includes effects such as dip to color, edge and center wipe with border, clock and venetian blind wipe and also cross, oval and diamond iris wipe, overlay composite and more. Also includes support for Avid sizing with (PTZR) pan, tilt, zoom and rotate.

Additional support is included for Final Cut Pro 7 round trip with clip by clip selectable import of image sizing data now possible. Import sizing and position data for all or selected clips is available to allow renders using the extremely high quality DaVinci Resolve image resizing engine.

New cut, copy and paste operations for editing and node metadata including dynamics have been added to DaVinci Resolve 8.1, allowing much easier and dramatically faster editing of clips in the timeline and copying grades between nodes. DaVinci Resolve 8.1 also includes new conform features including the abilities to export missing clips EDL and import new EDL to a track. This simplifies finding and replacing missing clips in long form projects, and is great for changing VFX shots. This DaVinci Resolve update is now even faster to use with an exciting new 'hover over node' grading status display to reveal lists of changed grades within the node.

DaVinci Resolve 8.1 increases support for hardware, including full compatibility with the Apple Early 2011 MacBook Pro 15” with 1680x1050 display, as well as the new UltraStudio 3D for Thunderbolt technology based computers. Support for UltraStudio 3D allows video monitoring and deck I/O from the latest iMac and MacBook Pro computers that support Thunderbolt™ technology.

Other new features included in DaVinci Resolve 8.1 includes support for clip by clip scaled or unscaled data range color space conversions, support for clip by clip colorspace selection in case a source clip has been incorrectly encoded, renders now support video or data levels and support for HDR source icons in the timeline thumbnail for RED HDRx clips.

Availability and Price
DaVinci Resolve 8.1 is available now as a free download for all current DaVinci Resolve customers.

http://www.blackmagic-design.com.

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