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SONY
ALPHA A7
Reviewed

JULY 2014 YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO


5 Important Aspects of Any Lighting Setup page 64
The Trickiest Lighting Setups: Demystified
videomaker.com/SeeTheLight
SMART WAYS TO
PROFIT
MAXIMIZE
DISTRIBUTION POST-PRODUCTION WORKFLOW ACQUISITION ASSET PROTECTION
PLUS
326 July 14 Cover2.indd 1 5/20/2014 11:42:30 AM
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Journey
to the big
screen.
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www.litepanels.com/astra
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03LP001_Astra_Videomaker_FP_2/14.indd 1 5/15/14 12:22 PM
FullPageAD_NEWTemplate.indd 48 5/15/2014 4:24:40 PM


VI DEOMAKER >>> J ULY 201 4
1
22
28
Features
Columns
2
40
48
52
56
60
Reviews
Sony Alpha a7
MILC
by Dan Bruns
Azden WDL-PRO
Wireless Lavalier Mic System
by Mark Holder
Corel VideoStudio Pro X7
Editing Software
by Doug Dixon
HP Z1 G2
Workstation
by Brian Teal
Steadicam Curve
GoPro Stabilizer
by Mark Holder
6
10
13
17
19

34
64
Next Month
Web Video
Turn Your Tablet into a Teleprompter
Build Your Own Sound Booth
Grow Through Collaboration
Building a YouTube Studio at Home
On Sale July 29, 2014
Contents
Volume 29 Number 01
JULY 2014
Viewfinder
Entrepreneurial Advice
by Matthew York
Basic Training
When to Work for Free
by Kyle Cassidy
Distribution
Boost Your Distribution Bottom Line
by Dave Sniadak
Editing
Encoding and Transcoding
by Chris Ace Gates
Profit Making
Stock Footage and Templates
by Jordan Maison
Audio
The Perfect Audio Kit
by Hal Robertson
Protecting Your Assets
Not having backups of your digital assets is asking for trouble,
and will cost you time and money should any assets be lost due
to a hard drive failure.
by Marshal Rosenthal
Five Important Aspects of Any Lighting
Setup
Its much more important to consider the lighting conditions of
your scene than the settings on your camera.
by Chuck Peters
An Insiders Look at NAB
The 2014 NAB Show in Las Vegas offered attendees great insight
into upcoming trends in content creation and distribution. Heres a
roundup of all the trends and hot technology from NAB Show 2014.
by Odin Lindblom
Best of NAB Awards
New camera manufacturers bring change to the cinema landscape,
as do gimbals and the ever-growing camera support products. NAB
Show 2014 showcased them, now here are the prime selections.
by Jackson Wong
www.videomaker.com

Subscribe
Departments
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58
Whats On Videomaker.com
New Gear
Ad Index
Subscribe to Videomaker and save up to 76%
off the newsstand price!
Try an issue risk free at: videomaker.com/subscription
On the Cover
Sony Alpha a7
34 60 6 22 52
326_TOC.indd 1 5/22/2014 9:52:17 AM
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VI DEOMAKER >>> J ULY 201 4
2
Entrepreneurial Advice
When I started Videomaker, Inc. in
1985 I wasnt really aware of what
was required to achieve success.
Ignorance was bliss at age 29. I loved
the concept of entrepreneurship but I
did not really understand the meaning
to be: one who assumes the risk and
responsibility of a business.
The rst two years were very dif-
cult. I learned that there were multiple
levels below hopeless (or at least what
I thought that word meant). I owed
so much money to creditors and had
too few reliable revenue streams that I
thought for sure that the venture was
doomed, so one night I quit. The next
morning I decided to go back anyway
and keep working until I was physi-
cally prevented from continuing to try
to succeed through eviction or the
printing companys refusal to take my
next project. Eventually I met success
with the rst order of business, which
is sustainability.
The brutal reality is that most new
businesses fail. Very few businesses
are launched with sufcient cash ow
for operations, so venture capital is
required to allow for enough runway
until revenues are sufcient to meet
expenses. Initially I was not focused
on the most important actions, so one
of my investors gave me three key
pieces of advice. Sell, sell, sell.
In the book Good to Great, Jim Col-
lins writes, ... to build a successful or-
ganization and team you must get the
right people on the bus. He claims
that great companies and organiza-
tions not only follow this, but also put
people in the right seats. The unique
challenge with a start up is that you
have too few seats (until theres suf-
cient cash ow), so early employees
are doing two or three jobs, working
long hours, jumping from one urgent
matter to another crisis all day and
into the evening. Early-stage compa-
nies will change, pivot and serpentine
so many times that it confuses even
the most nimble team members. If
PRI NTED I N USA
Videomaker (ISSN 0889-4973) is published monthly by Videomaker, Inc., P.O. Box 4591,
Chico, CA 95927. 2014 Videomaker, Inc. All rights reserved. Reproduction of this
publication in whole or in part without written consent of the publisher is prohibited. The
Videomaker name is a registered trademark, property of Videomaker, Inc. Editorial solici-
tations welcomed; publisher assumes no responsibility for return of unsolicited material.
Editorial-related photos and artwork received unsolicited become property of Video-
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CA 95927. CANADA POSTMASTER: Please send Canadian address changes to: IDS, P.O.
Box 122, Niagara Falls, Ontario L2E 6S8.
Videomaker makes no representation or warranty, express or implied, with respect to
the completeness, accuracy or utility of these materials or any information or opinion
contained herein. Any use or reliance on the information or opinion is at the risk of
the user, and Videomaker shall not be liable for any damage or injury incurred by any
person arising out of the completeness, accuracy or utility of any information or opinion
contained in these materials. These materials are not to be construed as an endorse-
ment of any product or company, nor as the adoption or promulgation of any guidelines,
standards or recommendations.
the early staff is not resilient to the
multiple iterations of the edgling en-
terprise, the venture is bound to fail.
In the video business specically,
the investment in equipment is in-
credibly complex. Often equipment is
outdated within a few short years (or
even months). You have to consider
the merits of renting vs. buying. For-
tunately, equipment is very affordable
these days. You have to know when
to sell equipment on the used market
before its value sinks too low.
It is very tempting to get overly fo-
cused upon the equipment, which can
take your eye off the ball of selling
your services. The creative process of
producing video can distract you from
selling. Its so easy to spend more
hours editing to get things just right,
when you really need to perfect rela-
tionships with your best customers or
cultivate tomorrows customers.
The keys to success include char-
acter traits like grit (tenacity) and forti-
tude (courage in adversity.) Starting a
new business will be one of the most
difcult things youll ever do, but it
can also be the most rewarding.
VIEWFINDER
b y Ma t t h e w Yo r k
subscription information
Videomaker Subscription Fulfillment
P.O. Box 3780, Chico, CA 95927
telephone: (800) 284-3226
e-mail: customerservice@videomaker.com
address
P.O. Box 4591, Chico, CA 95927
telephone: (530) 891-8410 fax: (530) 891-8443
Videomaker empowers people to make video in a way
that inspires, encourages and equips for success. We
do this by building a community of readers, web visitors,
viewers, attendees and marketers.
MatthewYork is Videomaker's Publisher/Editor.
publisher/editor
associate publisher
director of content
associate editor
associate editor
art director/photographer
contributing editors
director of advertising
advertising representative
telephone (530) 891-8410
account executive
director of
business development
marketing
marketing coordinator
web analyst

information systems
IT assistant
web developer
director of finance
accountant
customer service
/fulfillment coordinator
Matthew York
Patrice York
Mike Wilhelm
Greg Olson
Jackson Wong
Susan Schmierer
Kyle Cassidy
Chris Ace Gates
Mark Holder
Terry ORourke
Hal Robertson
Isaac York
Olin Smith
Terra Yurkovic
Joseph Ayres
Jordan Claverie
Seth Hendrick
Jill Lutge
Stephen Awe
Jessica Anderson
Tiffany Harness
For comments, email: editor@videomaker.com, use article
#17010 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17010
326_C1 Viewfinder.indd 2 5/20/2014 9:09:11 AM
Blackmagic URSA is the worlds rst high end digital lmcamera designed to
revolutionize workow on set. Built to handle the ergonomics of large lmcrews
as well as single person use, URSA has everything built in, including a massive
10 inch fold out on set monitor, large user upgradeable Super 35 global shutter
4K image sensor, 12G-SDI and internal dual RAWand ProRes recorders.
Super 35 Size Sensor
URSA is a true professional digital lmcamera with a
4K sensor, global shutter and an incredible 12 stops
of dynamic range. The wide dynamic range blows
away regular video cameras or even high end broadcast cameras,
so you get dramatically better images that look like true digital lm.
The extra large Super 35 size allows for creative shallow depth of eld
shooting plus RAWand ProRes means you get incredible quality!
Dual Recorders
Blackmagic URSA features dual recorders so you never need
to stop recording to change media. Thats critical if you are
shooting an historical event, important interview or where you
just cannot stop shooting! Simply load an empty CFast card into the second
recorder and when the current card is full, the recording will continue onto the
second card, allowing you to change out the full card and keep shooting!
Learn more today www.blackmagicdesign.com
Introducing Blackmagic URSA, the worlds rst user
upgradeable 4K digital lm camera!
User Upgradeable Sensor
Blackmagic URSA features a modular camera turret that can
be removed by unscrewing 4 simple bolts! The camera turret
includes the sensor, lens mount and lens control connections
and can be upgraded in the future when new types of sensors are developed.
This means your next camera will be a fraction of the cost of buying a whole
new camera! Choose professional PL mount, popular EF mount and more!
Built in On Set Monitoring!
Say goodbye to bulky on set monitors because
you get a massive fold out 10 inch screen built
into Blackmagic URSA, making it the worlds
biggest viewnder! The screen is super bright and features an ultra
wide viewing angle. URSA also includes two extra 5 touch screens on
both sides of the camera showing settings such as format, frame rate,
shutter angle plus scopes for checking levels, audio and focus!
Blackmagic URSA PL Blackmagic URSA EF
$
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Easy to access standard broadcast
connections, no customcables
Built in audio meters
with level control
HD-SDI video out and 12V
power for monitoring
Mounting points for V-Lock
or Anton Bauer battery
mounting plates
Compatible with quick
release tripod base plates
XLR connectors with phantompower
for professional external microphones
Adjust camera settings and
monitoring tools with advanced
touchscreen controls
Removable handle with
multiple mounting points
Built in rail mounts for large
lenses, matte boxes and more
Unique user upgradeable
sensor and lens mount turret
Push button menu selection
for focus, iris and more
FullPageAD_NEWTemplate.indd 48 5/16/2014 8:17:55 AM
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VI DEOMAKER >>> J ULY 201 4
4
Go Mobile
Reading on the go? Find Videomaker on your iPhone and iPad along with apps
that help video producers on location. Go to www.videomaker.com/r/676.
QUESTION:
Wes.Beiko: So currently I shoot with a
T2i and occasionally my dads 60D. I
mainly shoot stuff for lm festivals and
a lot of freelance videography (sporting
events, interviews and some product
shoots) ...
Here are a few [cameras] I have
thought about getting.
Blackmagic Pocket Cinema Camera
(With A EF to M43 step-down ring) So a
grand total of around $1,050.
Another option a bit over budget is
the JVC GY-HM70U HD. If its good I
would be good with spending the bit of
extra money for it.
Any suggestions? Another option to
would be to purchase a cage system
for my camera but then again Im not to
sure if I want to do this.
REPLY:
brunerww: Like you, I started out with a
T2i, but I have since moved on to both
the Blackmagic Pocket Cinema Camera
(BMPCC) and the GH3. I can tell you
from rst hand experience that the GH3
is much more like a camcorder than
either the T2i or the BMPCC. In addition,
it will give you the nice, large-sensor
cinematic shallow depth-of-eld look
youve become accustomed to from
your T2i (something the small-sensor on
cameras like the JVC GY-HM70U and
the similar Panasonic AG-AC8 cannot
deliver).
http://www.videomaker.com/r/765
Blackmagic 4K Video Review
Last month we published our Blackmagic Product
Camera 4K review. Now get a full rundown of the
Blackmagic Production Camera 4K features, and
check out test footage that showcases the cameras
abilities. Tests include sharpness, dynamic range,
low light, rolling shutter, color and chromakey.
www.videomaker.com/article/17099
July 2014
Whats on Videomaker.com
Talk to us online!
Love Videomaker? Tell the world! Share your videos, nd extra content, talk to us! We want to know who you are.
Find us on Facebook
facebook.com/VideomakerOnline
Follow us on Twitter
twitter.com/videomaker
Catch us on YouTube
youtube.com/videomaker
Add us on Google+
videomaker.com/GooglePlus
....
NAB 2014: Sony Alpha a7S
Videomaker editors report from the oor of NAB
Show 2014 and get the dirt on this small, mirrorless
camera with big promises, straight from the horses
mouth.
www.videomaker.com/r/766
Parrot Drone
Controlled with
Oculus Rift
Aerial videography is no
longer restricted to the
helicopter ying crowd.
Even more exciting is that
aerial drone videography
is moving beyond tech
DIYers and starting to
show up in the main-
stream. Parrot, the maker
of popular aerial drones
such as the AR.Drone,
have announced the Par-
rot Bebop Drone.
www.videomaker.
com/r/767
What should I charge?
Use Videomakers Video Rate Calculator to
nd your ideal freelance rate. This free tool will
help keep your prices competitive while ensur-
ing enough revenue to sustain your business.
www.videomaker.com/VRC
The iPhone is Now
2K Capable
The Ultrakam Pro app ac-
complishes 2K resolution by
capturing images from the
iPhone 5s still image feed,
allowing more of the camera
sensor to be used than in an
HD video feed.
http://www.videomaker.
com/r/768
326 D12 What's On.indd 4 5/20/2014 4:32:07 PM
VI DEOMAKER >>> J ULY 201 4
5

NEW GEAR
Kessler Crane CineDrive System
The CineDrive by Kessler Crane provides shooters with
an extreme amount of precision over their motion control
shots. Consisting of several elements, the CineDrive
allows for programmable pan, tilt, slides, focus, iris and
zooms. For the most professional of product shots, there
is even an optional module that allows for control of a
turntable that sits independent of the camera.
CineDrive is designed to suit the needs of anyone that
requires motion control, regardless of whether its for
slow moves, time-lapse shots, real-time, or even fast
moves for overcranked slow-motion shots.
The elements that make up the CineDrive system can
be purchased piecemeal or in bundles. The bundles range
from a $2,200 single-axis system that includes the brain,
It's going to be a great year.
The folks at AJA are feeling a little bit of Blackmagic-style
with their new product offering, a camera called CION. CION
comes from a hardware company, and is their rst camera.
AJA joins a pretty exclusive crowd of such manufactur-
ers. The CION looks to be quite a camera all on it's own,
recording directly to ProRes 222 and 444 or outputting AJA
Raw 4K at 120fps. These capabilities are just the beginning
since it can shoot at 4K, UHD (3840x2160), 2K and HD
with 12-bit 4:4:4 color sampling. Those are some pretty
mean numbers to put up and should lead to exceptional
image quality.
The interface is said to be uncomplicated, time will tell
about the learning curve for the CION, hopefully sped up
by the custom menus via a network cable. Externally, CION
comes with a removable shoulder mount and steel rosettes
for alternative mounting options. CION is a multi-year
developed product and should combine very well with AJA's
hardware, but it has cheese plates on top and bottom to help
add third party products as well.
Some specs to know: the CMOS sensor is 4K APS-C size
with a global shutter (meaning no problems associated with
a rolling shutter) capable of 12-stops of dynamic range. CION
records to AJA Pak SSDs, transfers via Thunderbolt, and has
a PL mount. Among the connections are four 3G-HD-SDI
outputs, HDMI, two XLR mic inputs, a 1/8-inch headphone jack
and a P-Tap connector for third-party batteries. Lastly there's
an optical low pass lter and IR cut lter to reduce moir. CION
is expected to be available this summer for $9,000.
control box and single motor, on up to a $7,000 three-axis
system with all the elements required for programmable pan/
tilt/slide moves (including the 5-foot slider).
AJA CION
326 D5 New Gear.indd 5 5/20/2014 4:35:56 PM
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VI DEOMAKER >>> J ULY 201 4
6
REVIEWS
b y Da n Br u n s
$1,700 (body only)
Big Features in a
Small Design
Sony
Alpha a7
MILC
Sony Electronics Inc.
www.sony.com
STRENGTHS
Small and lightweight
Tilting LCD screen
Sharp OLED EVF
WEAKNESSES
Have to purchase add-ons such as
internal time-lapse
No external charger for battery
Poor battery life
T
hey say necessity is the mother
of invention, and Sonys Alpha a7
mirrorless interchangeable lens cam-
era (MILC) is living proof of that. For
years, photographers and DSLR cin-
ematographers have requested smaller
and more capable cameras for digital
imaging, which have met varying de-
grees of success. Now with Sonys a7,
it seems as if they nally have what
they want: a fully capable, full-frame
sensor camera that can mount profes-
sional lenses and still weigh in at less
than a pound.
Packing More into Less
Interestingly enough, one of the best
features of the standard DSLR design
also doubles as one of its biggest
drawbacks: size. The a7 is no excep-
tion to this. As such, we found the size
and limited depth of the hand grips to
be comfortable, but less than ideal for
shooters with larger hands. We also
found the weight of the camera often
made it difcult to keep the camera
steady with the optical image stabi-
lizer turned off.
When it comes to digital imag-
ing, small isnt always a bad thing.
Especially when you stop to consider
how much Sony was able to pack into
this powerful little bundle. We found
one of the best features to be the three
dials on the top and back of the a7 for
controlling exposure. There is a top
front dial that adjusts your aperture,
a top back dial that allows you to
change your shutter speed, and a
back dial which gives you control over
ISO. This means that unlike Canon
and Nikon, all of the major exposure
controls on the a7 can be adjusted
conveniently by independent dials
found on the camera itself. The form
factor makes this a surprising bonus
given the lack of real estate on this
MILCs body. Even more surprising is
that Sony also managed to t a 3-inch
tiltable TFT LCD screen on the back
of the camera. Though the screen
doesnt have a full 180-degree range
of motion, it does have enough tilt to
allow cinematographers to shoot the
kind of low and high angle shots that
arent possible with many cameras on
the market today.
We were surprised to nd that our
favorite feature on the camera turned
out to be the three customizable but-
tons on the back and top of the a7.
These user-dened buttons can be
assigned to do virtually anything that
the cameras internal menu offers
from changing the quality of your
photographs to toggling the color of
the focus peaking from yellow to blue.
We found that these buttons seri-
ously cut down on the typical time we
would spend thumbing through the
menu system on other cameras.
Though the a7 body is as small
Left side ports
326 C5 Sony A7.indd 6 5/20/2014 4:34:04 PM FullPageAD_NEWTemplate.indd 48 5/22/2014 11:05:28 AM
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VI DEOMAKER >>> J ULY 201 4
8
Sensor Size: Exmor CMOS (35.8mm x
23.9mm)
Pixel Resolution: 24.7MP
Lens Mount: Sony E-Mount Full Frame
ISO Range: 200-25,600
Color Temperature Range:
2500K-9900K
Recording Media: SD/SDHC/SDXC,
Memory Stick PRO Duo/PRO-HG Duo/
XC-HG Duo
Audio In: 1/8" TRS
Audio Out: 1/8"
Video Out: Micro HDMI, A/V Composite
Other Interface: Multi-Interface Shoe,
Micro-USB 2.0
LCD Type: 3.0" TFT LCD, tiltable
Battery Type: InfoLITHIUM 7.2V
Battery Capacity: 1080mAh
Video Resolutions: 1920x1080 (60p,
60i, 24p), 1440x1080 (30p), 640x480
(30p)
Video Formats: AVCHD, MPEG4
micro USB port and wait several hours
before the battery was fully charged.
However, Sony does offer both an
external battery charger for the a7 and
a battery grip which many cinematog-
raphers will need.
Its Whats on the Inside That
Counts
Having a lot of external controls is
great, but as everyone knows its the
digital imaging inside that counts.
Thats why its one of the biggest
draws of the a7 and its full-frame
sensor. This sensor makes it easier
for cinematographers to shoot with
the kind of shallow depth of eld that
most Hollywood lms enjoy. In addi-
tion, the wider spacing of the photo-
diodes on a full-frame sensor often
result in fewer mistakes making low
light shooting much less noisy. Sony
also improved its BIONZ X processor
allowing cinematographers to shoot
video at 1080p up to 60 frames per
second. However to do this, the a7
relies on the efciency of the AVCHD
codec. Though it is nice to be able to
record in the widely supported AVCHD
codec, we would have loved to see
Sony include an intra-frame codec
option to make editing easier on our
computers processor.
A Praise-Worthy Performance
There are certainly a lot of features to
like about the a7, but great features
Sony Alpha a7
REVIEWS
up for this short-
coming.
The Wi-Fi
feature on the a7
pairs with Sonys
PlayMemories
application on
your computer
or mobile device.
The application is
restricted to MP4s
and JPEGs, and al-
lows you to change
the exposure, im-
age size, and focus
remotely without
even touching the
camera. In addition, the PlayMemories
application also includes new features
for the cameras rmware, such as a
useful time-lapse function and a color
grading application. We did feel that it
was a bit awkward to have to purchase
these functions from the PlayMemories
application, but we found the features
to be more than worth the purchase
price.
Even more impressive is what
Sony managed to do with the elec-
tronic viewnder. Not only does it sit
comfortably on the eye, but it also
includes a whopping 2.4 million
dot OLED display. With that kind of
quality, we found that the EVF was
almost as sharp as seeing the image
in real life. The times we noticed any
pixels were when viewing smaller text
through the EVF. Otherwise, the image
was clear and bright, no matter what
subject we were shooting.
Like many of the top cameras on the
market today, the a7s battery resides
in the right hand grip. However, unlike
many of the top cameras, the small
size of Sonys a7 camera body means
that it was designed with a rather
small 1080mAh battery. This results in
a short battery life for the camera. In
fact, we often found ourselves chang-
ing out the battery within a couple of
hours of shooting. This, compounded
with a lack of a battery charger, meant
that we found ourselves having to plug
the a7 into our computer through the
as some point-and-shoot cameras,
Sony still found a way to include all
of the inputs and outputs that any
cinematographer would expect while
looking for quality digital imaging
in a professional DSLR. The a7 has
a micro-USB port for charging and
transferring footage, a micro HDMI
port for viewing and sending images
to external monitors, an 1/8-inch
TRS input for external microphones
and an 1/8-inch headphone output
to ensure that your audio recording
sounds great. That being said, in a
world of high-speed connections, we
found it strange that Sony decided
to use a USB 2.0 port rather than the
much faster USB 3.0 standard, which
would have sped up media transfers
and rmware updates considerably.
Even so, the fact that the a7 can also
transfer images to a phone, tablet or
computer over Wi-Fi more than made
Tilting LCD TECH SPECS
The worlds best-selling, most award-winning line
of CD/DVD and Blu-ray Disc
TM
Publishers.
2014 Primera Technology, Inc. Primera and Bravo are registered trademarks of Primera Technology, Inc. All other trademarks are the property of their respective companies. Content used in sample outputs is fctitious.
Call 1-800-797-2772 (USA or Canada) or 763-475-6676 for more information and a FREE
sample disc. Email to sales@primera.com or visit us online at www.primera.com.
From entry-level disc duplicators like the Bravo SE

Disc Publisher to our mid-range Bravo 4100-Series Disc Publishers


to the heavy duty rack mount XRP systems and printers, Primera has the broadest range of automated CD/DVD/BD
duplication and printing products available today.
Already own a Bravo? Ask about
our Upgrade Program!
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326 C5 Sony A7.indd 8 5/20/2014 4:34:20 PM

SUMMARY
Sony has finally made an MILC that
cinematographers want: a fully capa-
ble, full-frame sensor camera that
can mount professional lenses and
still weigh in at less than a pound.
Dan Bruns is an award-winning cinematographer and
editor, who has worked in video production for 10 years.
For comments, email: editor@videomaker.com, use article
#17098 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17098
Sony Alpha a7
REVIEWS
dont always mean great video. We
shot a number of challenging scenes
with the a7 to see what it was made of.
First off, we absolutely fell in love
with the multitude of visual helpers
that Sony provided. The MILC comes
with visual audio meters to monitor
the volume level of audio, peaking
and image zoom to help determine
absolute focus, zebra patterns to nd
out which areas of the image are
over-exposed or in low-light and a
histogram to tell whether or not there
is enough contrast. Considering that it
often takes a hack to get these features
in popular cameras today, its easy to
see why we are happy to have them
already included.
Overall, we were impressed with
the video that the a7 produced. It
was able to capture a lot of detail,
even when shooting scenes with lots
of contrast. Also, the optical im-
age stabilization works quite well,
making our handheld shots look as
if theyd been shot on a tripod. That
being said, we were less than im-
pressed by the a7s ability to shoot
in low-light situations. We found that
noise was clearly visible at 800 ISO
and above, which made it difcult to
shoot in anything but ideal lighting
situations. Low-light problems aside,
we were still very pleased at how
easy it was to shoot with the a7. The
video came out sharp and the visual
indicators helped us make sure that
each image came out looking the
way we had envisioned.
Summary
By making the worlds lightest and
smallest camera with a full-frame
sensor and keeping all of the features
of DSLRs for good digital imaging,
Sony seems to have nally found its
niche in the crowded camera market.
Though there is still some room for
improvement with its low-light and
battery performance, the bevy of fea-
tures that the a7 includes makes this
camera worth every penny.
The worlds best-selling, most award-winning line
of CD/DVD and Blu-ray Disc
TM
Publishers.
2014 Primera Technology, Inc. Primera and Bravo are registered trademarks of Primera Technology, Inc. All other trademarks are the property of their respective companies. Content used in sample outputs is fctitious.
Call 1-800-797-2772 (USA or Canada) or 763-475-6676 for more information and a FREE
sample disc. Email to sales@primera.com or visit us online at www.primera.com.
From entry-level disc duplicators like the Bravo SE

Disc Publisher to our mid-range Bravo 4100-Series Disc Publishers


to the heavy duty rack mount XRP systems and printers, Primera has the broadest range of automated CD/DVD/BD
duplication and printing products available today.
Already own a Bravo? Ask about
our Upgrade Program!
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326 C5 Sony A7.indd 9 5/20/2014 4:34:31 PM
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VI DEOMAKER >>> J ULY 201 4
10
REVIEWS
b y Ma r k Ho l d e r
$575
Sounds Good To Me
Azden
WDL-PRO
Wireless
Microphone
System
Azden Corporation
www.azden.com
STRENGTHS
Costs less than UHF systems
Clear, quality audio
Small, lightweight form factor
WEAKNESSES
Increased interference potential due
to VHF frequencies
Only two available frequencies
Belt clip is a possible breaking point
H
ave you ever thought about and
longed for the versatility, mobil-
ity and convenience of having a cam-
era mountable wireless microphone
system? Have you gone so far as to
search online for various systems,
to drool over all their wonderful
features, only to choke, when you
noticed the price? Well, youre not
alone. Wireless systems are won-
derful, convenient and sometimes,
depending on what you are shooting,
downright necessary. But spending
as much or more on such a system
as you did for the camera you will be
mounting it to can be tough to swal-
low hence the choking.
Azdens WDL-PRO wireless system
brings together a combination of
factors designed to deliver a quality
wireless solution at a price palatable
to your wallet.

Components
Azden has a number of wireless
receiver/transmitter combinations
with varying features and pric-
ing. The WDL-PRO comes with the
WR32-PRO 2-channel receiver,
two WM-PRO belt pack transmit-
ters and two EX-503 clip-on lavalier
mics with foam windscreens. Also
included is an earphone for monitor-
ing audio input and a stereo mini
cable for connecting the receiver to
your cameras external microphone
jack. An optional stereo mini to dual
XLR cable would let you connect the
system to standard XLR inputs.

Build Notes
Both the transmitters and the re-
ceiver are constructed of lightweight
plastic material, a real plus when
mounted on a handheld camera
or clipped to a belt. The receiver
features dual telescoping antennas
to enable simultaneous reception
of two microphones, which is an
ideal setup for weddings, for which
you would typically mic both the
ofciate and the groom. On the
front panel between the antennas
are an 1/8-inch mic out port and
headphone jack along with two LED
indicators that light up when their
corresponding frequency is switched
on. The F1 and F2 on/off frequency
switches are on the right side of the
receiver. The shoe mount on the bot-
tom attaches the unit to the camera
but be careful when tightening as
the mount is made entirely of plas-
tic. A slide-off panel on top reveals
the battery compartment, which
uses two AA batteries.
Azden WDL-PRO receiver output
C
a
m
e
r
a
n
o
t in
c
lu
d
e
d
326 C5 Azden WDL-PRO.indd 10 5/20/2014 4:30:42 PM
CUPESMAR-13-075_B.indd
10-24-2013 1:39 PM Lauren Moise / Lauren Moise
1
Job
Client
Media Type
Live
Trim
Bleed
Pubs
CUPESMAR-13-075_B
Canon
Print
7 x 9.75
7.75 x 10.5
8 x 10.75
VIDEO MAKER
Job info
Due at 10/25
Issue: Dec
Notes
Art Director
Copywriter
Account Mgr
Studio Artist
Proofreader
Nick Deyring
None
Jared Goldwasser
Lauren Moise
None
Approvals
Fonts
Proxima Nova (Bold, Regular, Light, Light Italic,
Bold Italic)
Images
XA20_3.jpg (RGB; 428 ppi; 70.09%), Canon_
KO.eps (30.09%)
Inks
Cyan, Magenta, Yellow, Black
Fonts & Images
Saved at None from nyc01lmoise by Printed At
2013CanonU.S.A., Inc. All rights reserved. CanonandDIGICareregisteredtrademarks of theCanonInc. intheUnitedStates andmay alsoberegisteredtrademarks inother countries.
Wi-Fi is a registeredtrademark of theWi-Fi Alliance. All other product andbrandnames aretrademarks or servicemarks of their respectiveowners.
Dual SD Card Slots with simultaneous
HD- and Web-version dual recording
35Mbps MP4
Built-in dual-band 5 GHz
and 2.4 GHz Wi-Fi
Introducing the XA20, Canons full-featured, Wi-Fi compatible, compact professional camcorder
designed to seamlessly t your HD workow.
Our new full HD 1920x1080 HD CMOS Imaging Sensor with high-sensitivity and wide dynamic range
ofers up to 35Mbps MP4 and AVCHD recording capability, simultaneous HD- and Web-version dual
recording, and slow- and fast-motion recording.
A Canon 20x High Denition Optical Zoom Lens with Intelligent Optical Image Stabilization enables you
to capture precise and sharp video, while two phantom-powered XLR Audio Inputs with Manual Gain
Control deliver accurate sound.
With built-in dual-band 5 GHz and 2.4 GHz Wi-Fi, the XA20 gives you reliable signal transport. You can
also manage settings and operations remotely with its wireless control capabilities.
Find out more at pro.usa.canon.com/XA20
20X Optical Zoom Lens with Intelligent
Optical Image Stabilization
Cost-efective shooting solution
S:7
S
:9
.7
5

T:7.75
T
:1
0
.5

B:8
B
:1
0
.7
5

221410_01b_CUPESMAR-13-075_B.indd 1 10/24/13 6:42 PM


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VI DEOMAKER >>> J ULY 201 4
12
TECH SPECS
Pickup Pattern: omnidirectional
Powered: no
Connection Type: 1/8-inch stereo
Battery Type: 9V and AA
Frequency: F1 - 169.445MHz; F2 -
170.245MHz
Impedance: 300 Ohms
Sensitivity: 2V at S/N 40dB
WM-PRO TRANSMITTERS
Transmission Frequency: F1 -
169.445MHz; F2 - 170.245MHz
Modulation System: FM modulation
Battery: 9V
Power Consumption: 30mA
Dimensions (HxWxD): 3.4" x 2.4" x
0.9" (86mm x 60mm x 21.5mm)
SUMMARY
If you are looking for a budget-
minded wireless solution to your
DSLR or camcorder audio woes, the
Azden WDL-PRO wireless microphone
system is worth a listen.
Contributing Editor Mark Holder is a video producer and
trainer.
to the question of which mic to buy, it
can only be answered correctly after
carefully assessing the environment
you will be using the system in, and
your budget.
The WDL-PROs two chan-
nels operate at 169.445MHz and
170.245MHz, both in the VHF range.
We found that it performed quite
well indoors, with clear reception,
even through a couple of doors and
a distance of about 40 feet. Out-
side, with a clear line-of-sight, we
were able to move about 100-120
feet from the microphone before
the signal began to break up, with
complete dropout occurring at about
150 feet.
The EX-503 mics produce a small
amount of hiss, which can easily
be removed with audio software or
masked with a music bed. We also
found that if the transmitters are close
to the receiver, proximity interfer-
ence becomes a problem, emitting a
distinct squelchy sound. Moving the
transmitters about 10 feet or further
from the receiver eliminated the
problem altogether. Overall, we were
pleased with the quality and perfor-
mance of this wireless system.
If you desire a quality wireless lava-
lier microphone system, have minimal
radio interference worries and are
budget-conscious, then the WDL-PRO
wireless system from Azden may be
the right choice for you.
Azden WDL-PRO
REVIEWS
Wireless mic systems come in two
avors: UHF and VHF. The answer
to the question, Which system
should I buy, as with most video
production related questions is, It
depends. Frustrating, isnt it? You
have to rst understand the features
and limitations of each as well as
your own particular requirements.
Only then can you make the right
decision.
UHF operates at higher frequency
levels than VHF, has access to a wider
range of available frequencies and
consequently less chance of interfer-
ence from other signal sources. Not
surprisingly, UHF systems carry a
higher price tag due to increased man-
ufacturing costs and quality assurance
measures. VHF systems are more
affordable, with the trade-off that you
run the risk of increased interference
from electrical devices and other radio
frequency equipment. Quality results
can be obtained using a VHF system in
a low interference environment. Back
The transmitters are powered by a
single 9V battery accessed through
a hinged door on the side. On top is
the 1/8-inch microphone jack, power
on/off and frequency selector switch
and the power on indicator light.
The belt clip is a thin plastic tab on
the back, which slips over a belt or
waistband. Use care, however, when
attaching and detaching the unit, as
it feels as though it could break if
not used carefully.

Performance
Wireless setups are great for many
reasons: no cables to tangle or trip
over and increased mobility to start.
Lavalier mics, or simply, lavs, are
commonly used for interviews and
weddings because they are small,
inconspicuous, can easily be hidden
altogether and record good quality
sound. Marry the two and your wire-
less lav set up can cover just about
any audio capture scenario you may
encounter.
For comments, email: editor@videomaker.com, use article
#17097 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17097
Weight (including battery): 0.2lb (98g)
Microphone: Electric Condenser

WR32-PRO RECEIVER
Reception Frequency:
F1.169.445MHz; F2.170.245MHz;
double superheterrodyne system
Battery: 1.5AA (2, not included)
Power Consumption: 100mA
Monitor Output: 0.7V
Microphone Output: 25mV
Impedance: 300 ohms
Dimensions (HxWxD): 2.5" x 3.9" x
1.1" (63mm x 98mm x 28.5mm)
Weight (including battery): 0.4lb
(171g)
326 C5 Azden WDL-PRO.indd 12 5/20/2014 4:30:55 PM

VI DEOMAKER >>> J ULY 201 4
13
REVIEW S
b y Do u g Di x o n
$80 ($100 for Ultimate version)
Trial Version: 30-day, fully functional;
32-bit or 64-bit Windows
Straightforward Editing
Corel VideoStudio
Pro X7
Corel Corporation
www.videostudiopro.com
STRENGTHS
Both 64-bit and 32-bit versions
FastFlick easy editing mode
Streamlined and refreshed interface
WEAKNESSES
Basic color adjustments
Audio filtering limited to music and
voice tracks
C
orel released the VideoStudio Pro
X7 video editor, which features
full 64-bit performance, especially for
multi-track and 4K projects, a variety
of tweaks, plus FastFlick for an easier
video editing experience.
The trend today in intermedi-
ate video editing is toward suites of
tools, especially in the absence of
breakthrough developments in new
video formats or technologies. For
example, the recent CyberLink Pow-
erDirector Suite combines sophis-
ticated video editing with separate
photo, audio and color correction
applications and Adobes Premiere
and Photoshop Elements combines
the image and video editors with a
separate Organizer tool with auto-
mated media analysis.
In contrast, Corel has kept VideoStu-
dio Pro X7 as a simple stand-alone
video editing tool, focused on its core
audience. From novice consumers
that need quick and easy editing to
create nice-looking results, to mul-
timedia enthusiasts that may have
multiple cameras and want creative
exibility. VideoStudio Pro X7 also
targets additional markets with some
of its more distinctive features, includ-
ing action videographers, who can use
image correction and slow-motion or
time-lapse effects. Educators, who can
take advantage of screen capture, stop
motion and chromakey.
The base VideoStudio Pro X7 video
editor is attractively priced at $80.
This is the full version, available both
in 64-bit and still in 32-bit versions.
Corel also offers the VideoStudio Ulti-
mate X7 bundle for $100, which adds
seven 64-bit special effects packs,
from NewBlue for color correction
and effects, proDAD for animations,
effects and stabilization and Boris
Grafti for titles and effects.
FastFlick
326 C5 Corel VideoStudio Pro.indd 13 5/20/2014 9:12:57 AM page 13 page 12
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VI DEOMAKER >>> J ULY 201 4
14
MINIMUM SYSTEM REQUIREMENTS
OS: Windows 8/7/Vista/XP, with latest
service packs installed (32 or 64-bit
editions)
CPU: Intel Core Duo 1.83GHz, AMD
Dual-Core 2.0GHz (Intel Core i5 or AMD
Phenomo II X6 recommended )
RAM: 2GB RAM (4GB or higher and 1GB
of VRAM + higher recommended)
Storage Space: 3GB
Third-party Plug-in Support: Yes
Requires Internet Connection: for
accessing online features and video
tutorials. May be required to verify the
serial number during installation.
RECOMMENDED SYSTEM REQUIRE-
MENTS FOR EDITING
R3D and HD Video: Intel Core i7 or
AMD Phenom II X8 processors, Windows
7 or Windows 8 64-bit operating sys-
tems, and 4 GB of RAM or higher.
SUMMARY
title editor. Deeper options are avail-
able in the right-click menu, including
multi-trim and variable speed.
For more sophisticated video edit-
ing, you can customize your work
from the options panel, which slides
out into the Library panel, or can be
accessed by double-clicking on an
element in the timeline. With overlay
effects lters, you can add multiple
lters and tweak them individually.
Some of the video lters help you
apply masks and chromakeys, align
to the frame, control motion and
fades, and adjust lter options with
keyframes.
The new 64-bit engine can leverage
the latest processors and additional
memory to provide signicant perfor-
mance gains. Corel shows via com-
parison that VideoStudio Pro X7 beats
VideoStudio Pro X6 by rendering up
to 68 percent faster for HD multitrack
projects with hardware acceleration,
up to 153 percent for 4K projects, and
up to 854 percent with smart render-
ing. The smart render process only
checks for the changed regions of the
video, not bad for second drafts or
revisions of a project.

Enhancements
Beyond the 64-bit internals, Corel
has focused VideoStudio Pro X7 on
providing easier editing and creative
effects. FastFlick is one example of
this, along with a cleaner look for the
interface and a complete refresh and
expansion of the included content li-
brary. The fresh templates, transitions,
effect lters, and graphics keep things
easy and allow for creativity, plus the
Ultimate version with the 64-bit ef-
fects pack, adds more effects.
The VideoStudio Pro X7 release
provides more customization options,
including saving lters as favor-
ites and custom proles for batch
conversion. For import and export,
it provides more project formats for
HD editing including MPEG-4 and
AVCHD. The sharing options for on-
FastFlick uses a three-step process.
Youll rst choose a template, then
import photos and video, and nally,
save the resulting video. If you have
the time and interest, you also can
customize the template design, in-
cluding editing text overlays, enabling
smart panning within the photos, and
adjusting the background music and
matching the music to the video or
vice versa.
Then save the resulting video,
direct to Web sharing sites, or as a
le on your computer. Plus you can
export your creation as a project into
the main application, so you can use
FastFlick to quickly do the hard work
of creating the ow of the video, and
then further customize and enhance
the result in the VideoStudio Pro X7
editor. Saving steps in the editing
process is always welcome, but youll
want to consistently check the work
of your computer.

Workspace
VideoStudio Pro X7 itself has a tradi-
tional and unobtrusive design, with
the major video editing panels and
associated controls easily at hand.
There are three tabs, for the Capture,
Edit, and Share workspaces. The Edit
tab has the expected Preview win-
dow, multi-track timeline (or optional
storyboard view), and Library panel
for access to media, plus templates,
transitions, titles, graphics, effects and
lters, and paths.
For straightforward editing, the
most-used editing tools are directly
available as button icons on the inter-
face, along with assists including the
sound mixer, motion tracker, and sub-

FastFlick
The core VideoStudio Pro X7 product
includes the main application, plus
two additional tools: FastFlick for
template-based videos and screen
capture for recording demonstra-
tions and tutorials. The product also
includes built-in NewBlueFX effects
and SmartSound for soundtrack
generation.
FastFlick is new in X7, provided as
a stand-alone tool, available either
from the desktop or within the main
application. The idea is to quickly
turn a collection of photos and videos
into a fun production, complete with
photos and videos animated against
background designs, with foreground
graphics and music to t with a holi-
day or other theme.
TECH SPECS
...includes built-in NewBlue-
FX effects and SmartSound
for soundtrack generation.
Corel VideoStudio Pro X7
REVIEWS
326 C5 Corel VideoStudio Pro.indd 14 5/20/2014 9:13:11 AM
YOUR JAW WILL DROP.
THE ONLY QUESTION IS IF ITS FROM
LOOKS OR PERFORMANCE.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and other countries. 2014 G-Technology, a division of HGST, Inc. All rights reserved.
With Thunderbolt 2 performance, these hard drives have equally beautiful
specs designed to make 4K video editing and creative workfows run smoothly.
Go see one in all its glory. Visit g-technology.com/pro.
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VI DEOMAKER >>> J ULY 201 4
16

SUMMARY
Corel VideoStudio Pro X7 is a
stand-alone video editing tool that
provides a straightforward editing
interface with additional customiza-
tion options, 64-bit performance, and
some additional bonus features, all at
a price well under $100.
Doug Dixon covers digital media at Manifest-Tech.com.
For comments, email: editor@videomaker.com, use article
#17090 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17090
Corel VideoStudio Pro X7
REVIEWS
line and saving AVCHD to SD card are
revamped. For editing, Corel added
more single-press keyboard short-
cuts, HD preview for more accurate
visualization of the nal rendered
frames, new color patterns and back-
grounds libraries and a collection
of additional overlay transitions for
overlay tracks.
The batch conversion feature al-
lows you to create custom proles
for export formats, and then select
a group of video les or VideoStudio
Pro X7 projects to be converted to
a selected format. VideoStudio Pro
X7 will then batch process the list
of les, while you can go on and do
something else.

Straightforward Editing
Corel has done a nice job of stepping
the VideoStudio Pro X7 video editor
up to full 64-bit support, and re-
working the interface to improve the
editing experience. The FastFlick tool
can help new users quickly turn out
impressive-looking projects, and pro-
vides a fast-start to build an animated
project for further customization.
The VideoStudio Pro X7 interface
is straightforward, with everything at
hand for basic editing. The result is a
signicant number of tools, but logi-
cally organized and identied clearly
with friendly icons and helpful pop-
up explanations. Corel also provides
extensive assistance for novice to
experienced users, including online
help, a PDF user guide, and the Web-
based Discovery Center with video
and written tutorials, and more.
At the next level, especially in the
slide-in options pane, VideoStudio
Pro X7 offers a still relatively straight-
forward interface for delving into
more advanced options, including
animated and keyframed overlays
and effects.
And then theres even more fun
tools if you have the need, includ-
ing time-lapse and variable-speed
effects, screen capturing, motion
tracking with customized tracks,
stop motion animation and subtitle
editing.
You can try out the VideoStudio Pro
X7 video editor for yourself for 30
days by downloading the free, fully-
functional trial version, for either the
64-bit or 32-bit version.
Effects interface
Motion interface
For editing, Corel added
more single-press keyboard
shortcuts.
326 C5 Corel VideoStudio Pro.indd 16 5/20/2014 4:22:48 PM

VI DEOMAKER >>> J ULY 201 4
17
REVIEWS
b y Br i a n Te a l
$2,000 ($7,107 as tested)
Fast and Stable
Hewlett-Packard
Z1 G2
Workstation
Hewlett-Packard
www.hp.com
STRENGTHS
Tool-less maintenance
Well matched components
Smooth rendering and export
WEAKNESSES
mSATA SSD rather than SATA SSD
for desktop use
Limited upgradability
T
he Hewlett-Packard Z1 G2 is a new
offering from HP to build upon its
popular HP Z1 which started shipping
in April of 2012. Building on their stable
and reliable platform, HP has included
some new features which will make
those involved in video production,
engineering, computer aided design and
architecture delighted with the improve-
ments. If your production is mission
critical, and stability and speed are your
main concerns, the new Z1 G2 is your
target video production system.
Design
Unique to the HP Z1 series is the ser-
vice mode which allows the user to
tilt the screen back and at, then with
two latches, open the screen and pres-
ent the internals of the system. We IT
professionals greatly value a system
which is easy to access, as well as easy
to upgrade; the Z1 G2 provides just
that. Installing extra disk drives, up-
grading a video card, or adding RAM
is a breeze due to the thought process
behind this service mode.
Though easily accessible, there is less
room for upgrades than a traditional
tower. For instance, there are four DIMM
slots for memory within the chassis
which allow up to 32GB of ECC or 16GB
non-ECC unbuffered DDR3 1866MHz
RAM. On many video production ma-
chines, there may be up to eight slots
for RAM expansion. However, because
of the unique combination of hardware
and technology, the lack of memory
expansion does little to sway us from
believing the Z1 G2 is a video produc-
tion beast of a computer.
Recently Videomaker has seen several
new video production units which
contain an Intel Xeon processor, this
is no exception. Though there are op-
tions for the Intel Core i3 and the Intel
Core i5 processors, the Xeon E3-1280
v3 quad core processor hits speeds of
up to 3.6GHz with 8MB cache and a
maximum turbo frequency of 4GHz.
These speeds and number of cores are
responsible for silky smooth video ren-
dering and exporting that has the video
editing community abuzz. However, the
magic of the Z1 G2 isnt the DDR3 RAM,
Intel Xeon E3-1280 v3 processor, dual
256GB mSATA SSD drives or the NVIDIA
K4100M 4GB video card (you may nd it
listed as a high level 3D video card). The
magic is the combination of all of these
working together at what they were
designed to do best. Many computer
companies will pick the top products
to integrate into their machines, but
BUS size, cache, channels, etc. are rarely
matched for optimal performance. So
you might have an eight core 4.7GHz
processor with 128GB of DDR3 3100
RAM, a 6GB GDDR5 video card, and a
512GB SATA III disk drive and not have
anywhere near the same performance
of this system due to the lack of match-
ing capabilities and focus on stability.
Stability and Performance
As described above, the Z1 G2 test unit
we received is not necessarily a video
editing and post-production hot rod on
paper, but we were impressed with the
performance and stability which proved
it to be a hot rod in sheeps clothing.
The Intel processor is among the fastest
offerings from HP for the Z1, though
the Xeon series has faster processors,
the Intel E3-1280 v3 works well with its
partners. One difference post-produc-
tion users might expect to see as a big
326 C5 Hewlett-Packard Z1 G2.indd 17 5/20/2014 9:17:53 AM
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VI DEOMAKER >>> J ULY 201 4
18
TECH SPECS
AS CONFIGURED
CPU: Intel Xeon E3-1280 v3 quad core
3.6GHz
RAM: 16GB DDR3 SDRAM at 1866MHz
Storage: 512GB SSD (2), RAID 1
Graphics: NVIDIA K4100M
Connection Ports: Thunderbolt 2 (2),
USB 3.0 (2), USB 2.0 (4), DisplayPort,
audio line in, audio line out, RJ-45, sub-
woofer output, optical S/PDIF output
OS: Windows 8.1 Pro 64, 256GB mSATA
Wireless: 802.11ac LAN & Bluetooth
Card Reader: SD
Screen Size: 27 IPS 2 LCD matte
Screen Resolution: 2560x1440
SUMMARY
A beautifully put together video pro-
duction machine which provides effi-
ciency, stability, and speed; a must
have for video producers. HP has
done it again.
Brian Teal is a long-time computer builder/tester who
enjoys integrating technologies to meet real-world sit-
uations and has instructed various computer classes
for Fortune 500 companies and their employees.
For comments, email: editor@videomaker.com, use article
#17092 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17092
grading the video card would be the
rst upgrade to achieve maximum
performance.
Test Results
PCMark7: 6,024
3DMark 11 Cloud Gate 1.1: 3D Benchmark
Tests: 7,382; Ice Storm 1.2: 110,889
Call of Duty: Modern Warfare 3; Max qual-
ity, Native, AA/AF=4X/4X: 60fps
CINEBENCH 11.5 Multimedia Tests: 4.8
MP Ratio
Technology
With two different versions of the
Z1 G2, you have the option of either
a 10-nger multi-touch screen or a
non-touch, non-glare screen. Both have
27-inch diagonal IPS LED backlit LCD
screens at 2560x1440, with a 2MP
1080p webcam. Optional, are Thunder-
bolt 2 ports which allow for the con-
nection of fast external peripherals for
transfer speeds up to 20Gb/s. For video
rendering and post-production, these
speeds will help you obtain your desired
goal quicker and with stability.
Conclusion
As a strong machine for multi-stream
HD video production, rendering, and
editing, the Z1 G2 is built for you. The
time taken to render and export full
HD videos is quite impressive and the
screen options provided make the Z1
G2 an obvious choice for professional
development. Stability, efciency, speed
HP did it right.
Hewlett-Packard Z1 G2
REVIEWS
ing full HD videos of a space shuttle
blasting off, a downhill mountain bike
race, and a tour through the rain forest.
During this process there was not one
bit of lag. The videos played wonder-
fully, the video rendering and export
ew through the paces, and we even
opened up Microsoft Excel, Microsoft
Word, and Gmail to see if we could
make a dent in the performance. No
dice. The Z1 G2 kept up. The only time
we were able to place any sort of load
on it and see the performance decrease
was while watching those three HD
videos and exporting our own video.
We started the Hyper PI benchmarking
software which calculates the value of
pi to whatever variable you set it to. We
set it to four million digits. This wasnt
fair. But we wanted to see what would
happen. Small degradation in perfor-
mance was seen and Premiere Pro said
it was unresponsive for all of about ve
seconds. After we threw everything we
had at the Z1 G2, it then kicked back
and smoothly played the videos and
exported the video le as if nothing
happened.
Based on the datasheet specs for
our video editing test unit, we werent
prepared to be amazed, we were
more about seeing what the Z1 G2
could possibly do, rather than what it
couldnt do. We were impressed.
However, when it came to bench-
marking the components, rather
than the full system, we saw some
differences. On 3DMarks Cloud Gate
1.1, the Z1 G2 had a physics score of
7,382 which was impressive. Unless
the user needs a high-end gaming
desktop (which would score closer
to 15,000), the results for the Z1 G2
show that it is a top performer. In a
Call of Duty game, frame rates of 60
fps were the most we could obtain at
full resolution. As mentioned earlier,
the combination of components gives
the users what they need, a fast, ef-
cient, stable system, which is strong
for video rendering, editing, and
post-production. However, if you are
looking for a gaming machine, up-
gain are the disk drives. The combina-
tion of the dual mSATA SDD may be
expected to be a letdown as there are
so many other options which would be
considered better for video editing and
post-production. However, in test after
test and real-world video rendering,
editing and post-production, we didnt
see a drastic loss in performance as we
would have expected.
During testing we used Adobe Pre-
miere Pro to render and export full HD
video, while simultaneously watch-
Thunderbolt 2 ports
326 C5 Hewlett-Packard Z1 G2.indd 18 5/20/2014 9:18:06 AM

VI DEOMAKER >>> J ULY 201 4
19
REVIEWS
b y Ma r k Ho l d e r
$100
Smoothin Out the Action
Steadicam Curve
GoPro Stabilizer
The Tiffen Company
www.steadicam.com
STRENGTHS
Solid aluminum construction
Lightweight
Easy setup and adjustment
Gimbal tilt and rotation is very smooth
WEAKNESSES
Slight learning curve
No non-GoPro mounts
May be too small for some hands
terbalance weight that can be stored in
the handle and a couple of Steadicam
decals for added coolness. There is
also a quick start guide which does a
concise, yet effective, job of describing
the device, proper setup, adjustment
and operation techniques.

Parts and Pieces
The Curves smooth as silk video cap-
ture and counterbalancing magic are
made possible with a solid, lightweight,
curved (of course) aluminum plate with
a threaded hole at its base. The balanc-
ing weight is a hollow aluminum cyl-
inder that threads into the hole. Inside
the hollow cylinder is a second, solid
cylinder, with rubber o-rings at either
end. Weight may be easily shifted to
the left or right very precisely by turn-
ing the cylinder or sliding the internal
cylinder to one side or the other. To
balance the original HERO, the extra in-
cluded weight may be inserted into the
outer cylinder and centered alongside
the inner one.
At the top of the curved aluminum
plate is the mounting platform which
is designed to accommodate any Go-
Pro HERO with the GoPro LCD Touch
BacPac or LCD BacPac. The platform
rides on the narrow upper end of the
Curve and features a knob that moves
the platform forward and back for ne
tuning the balance.
Integrated into the base of the
platform is the gimbal, which allows
smooth movement in all directions.
The handle extends downward from
the gimbal and has a removable top
for storing the extra weight. The base I
t had to happen right? It was just
a matter of time. Made specically
for this hugely popular, tiny little
action camera, your HERO now has
its very own stabilizer, and from
none other than Steadicam. Using
the same concepts and technology
as their pricier models, a Steadicam
Curve makes stabilized video capture
a breeze. Now, while youre not likely
(and shouldnt, for safetys sake) to
be hand-holding a POV camera while
snowboarding down your favorite
snow covered mountain, theres no
reason why the footage of you pass-
ing by your buddys HERO camera
should look shaky.
Whatcha Get
The Curve comes ready for action. Its
already assembled, has one extra coun-
C
a
m
e
r
a
n
o
t in
c
lu
d
e
d
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VI DEOMAKER >>> J ULY 201 4
20
TECH SPECS
Built-in Mount: Compatible with HERO
cameras
Frame: Lightweight, durable aluminum
Balancing Weight: .2oz. (5.7g)
Dimensions (LxWxD): 6.5" x 4.5" x
1.6" (16.5cm x 11.4cm x 4.0cm)
Weight: .5lb. (227g)
If you want to smooth out the jitters
and jiggles from your GoPro action
camera footage, check out the
Curve by Steadicam.
Contributing Editor Mark Holder is a video producer
and trainer.
For comments, email: editor@videomaker.com, use article
#17433 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17433
Steadicam Curve
REVIEWS
learned to use a light touch, smooth
video capture was achieved with rela-
tive ease.
Here are some tips: Once your
system is balanced, practice a bit
before shooting anything important.
The quick start guide has some great
operational tips. Grip the handle with
your middle, ring and pinky ngers.
With your index nger, thumb and a
light touch on the round collar just
above the gimbal, you can control and
steer the camera with ease. Big-hand-
ed people can grip with one hand and
steer with the other, still with a light
touch. Start by moving the camera
stabilizer while standing in place,
then, when youve got the hang of it,
begin to slowly walk around, picking
up the pace as you get a feel for how it
works. Soon youll be moving quickly
over all sorts of terrain and up and
down stairs with nice, smooth video
capture to show for it.
If you want to shoot silky smooth
video with your GoPro POV camera,
then youll want to give the Steadicam
Curve a try.
of the handle is notched and contains
a pin that locks into an indent in the
base of the curve to form a solid hand
grip for non-gimbal-stabilized hand-
held shooting, storage or portability. A
sliding button on the handle releases
the pin to return the device to full
camera stabilizer mode.

Operation
We mounted our HERO3+ Black Edi-
tion POV camera and got to work. Its
important to use the correct GoPro
mount. As the device is designed
with a particular setup in mind, its
an easy matter to get set up quickly.
Adjusting the aforementioned cylin-
ders slightly to the left or right places
the lens parallel to the ground on
the horizontal plane. Tweaking the
platform adjustment dial achieves
the same thing on the vertical plane
so the lens is neither tipping back to
shoot the sky nor tilting forward to
get a view of the ground.
We immediately noticed the disap-
pearance of the up and down, clumpi-
ty-clump that happens while walking.
Initially we had some challenges with
sway and the camera wanting to spin
in circles around our hand. This, of
course, was due to operator error and
a need for more practice. Once we
Handle and counterweight
SUMMARY
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SUBSCRIBER
ALERT!
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326 C5 Steadicam Curve.indd 20 5/20/2014 9:32:06 AM
H5 HANDY RECORDER
Four Tracks. Evolved Recording.
zoom-na.com
2014 Zoom Corporation
EVOLVED
RECORDING
The all-new H5. Built with an interchangeable capsule system and
ultra-low noise foor. The H5 handles up to 140 dB SPL and captures
moments in near-perfect audio.
Were Zoom. And Were For Creators.
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VI DEOMAKER >>> J ULY 201 4
22
The 2014 NAB Show in Las
Vegas offered attendees
great insight into upcoming
trends in content creation
and distribution. Heres a
roundup of all the trends
and hot technology from
NAB 2014.
W
ith more than 1,700 exhibitors
showing off thousands of prod-
ucts, the convention can be a little
overwhelming. But for video profes-
sionals, this trade show showcases the
latest and greatest gear from manu-
facturers all over the world.
3D Takes a Back Seat
With the exception of big budget
feature lm, there was very little in
3D production and post solutions
shown at NAB 2014. This is a stark
change from the past few years when
tools and workows for nearly any
3D budget production were displayed.
With the exception of projector manu-
facturer Christie who was showcasing
their 6-primary laser 4K projection
theater experience, the broadcasters
at had virtually no interest in 3D tech-
nology. Japanese broadcaster NHKs
8K theater and camera demo showed
that even for sports, 8K was a better
option than 3D. The footage shown
by NHK included shots in 8K from the
2012 FIFA Club World Cup that had
amazing detail with the width of the
soccer eld in focus with 16 times the
resolution of HD. Its interesting to
note that Japans Ministry of Internal
Affairs and Communications has an-
nounced plans to roll out 8K satellite
broadcasting in time for the Tokyo
2020 Olympic Games.
4K for the Masses
Last year saw an abundance of 4K
cameras and this years NAB Show
326 F7 Insider's Look at NAB.indd 22 5/20/2014 4:37:29 PM
VI DEOMAKER >>> J ULY 201 4
23
AN
INSIDERS
LOOK AT
NAB BY ODIN LINDBLOM
was no different. Perhaps, more signif-
icantly though, this year, there were
tools for every stage of a 4K workow
and for nearly every budget. NVIDIA
showed off its Quadro K6000 graphics
card installed in an HP Z workstation
that was able to play REDCODE RAW
(R3D) in real-time at 4K resolution,
even after adding minor color cor-
rections in Adobe Premiere Pro. In
the past you needed a RED ROCKET
card for 4K REDCODE playback in
real-time. Were hoping this added
competition will force video card
prices down.
NAB 2014 showed a clear path for
4K, not just for feature lm but for TV
and online video as well. At the show,
broadcasters from major networks,
cable networks and college stations
were talking about their upgrade to
4K. A walk around NAB 2014s exhibit
oor found broadcast video switch-
ers, eld recorders, media encoders,
post-production software and moni-
tors, all built for 4K and most at prices
not much greater than HD gear. Nearly
all of the new versions of post-pro-
duction software exhibiting this year
supported 4K. Some companies were
showing the advantages of shoot-
ing 4K for an HD delivery similar to
the way many TV shows once would
shoot 35mm lm for SD broadcast.
With camera and post-production
equipment prices falling so quickly,
we expect the changeover to 4K wont
take anywhere near as long as the SD
to HD conversion.

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VI DEOMAKER >>> J ULY 201 4
24
and cranes could be found at NAB
2014, but this year, gimbals were all
the rage. From handheld mechanical
stabilizers to servo controlled models
like the MoVI M5, to remote control
units like the one shown by JVC, it
seemed like everywhere you turned
there was another three-axis gimbal.
Looking to the Skies
Helicopters, quadcopters and drones
were the rage at NAB 2014, showcas-
ing new ways to get aerial shots and
add production value to your projects.
The increase in product range saw a
decrease in pricing. Additionally, drones
have increased in size to be able to
handle larger and heavier cameras.
The Ever-Evolving Camera
For years camcorders have been made
with xed lenses that are limiting in
the shots that can be achieved. With
DSLRs you can change lenses, but the
controls for video are limited which is
challenging for those accustomed to
greater control. NAB 2014 saw more
in the category of lower price cameras
which offer interchangeable lenses
as well as more cameras in the shape
of, and that operate, like a camcorder.
This is a trend that would be great to
see continue.
For many, going from shooting with
camcorders to shooting with DSLRs
is a hard transition due in part to the
lack of zoom lenses with integrated
controllers. Since many people are
shooting video with smaller cam-
eras and DSLRs, hopefully more lens
makers will note the desire for ENG
style zooms lenses. RED showcased
this point at their booth offering 4K
broadcast solutions using their EPIC
LEDs Everywhere
Over the past few years at NAB Show,
there has been a growing interest in
lighting instruments that draw less
power and create less heat. There
has been an increasing number of
LED panels and CFL softboxes shown
with the traditional tungsten and
HMI lights. At NAB 2014, LED lighting
was almost exclusively all that was
displayed; not just panels and rings,
but even Fresnels and ellipsoidals.
Mole-Richardson, ARRI, Manfrotto,
and Litepanels were among the many
manufacturers that displayed full lines
of LED lights.
In Need of Support
As cameras become increasingly
smaller and lighter, the need for
camera support seems to grow. The
usual mix of pods, sliders, dollies, jibs
AN
INSIDERS
LOOK AT
NAB
HELICOPTORS, QUADCOP-
TERS AND DRONES WERE
THE RAGE AT NAB 2014.
326 F7 Insider's Look at NAB.indd 24 5/20/2014 4:37:50 PM
VI DEOMAKER >>> J ULY 201 4
25
camera with a Fujinon ENG style
zoom lens with a zoom servo and
rocker control.
Super Image Sensors
For years 35mm lm has been
standard for feature lm produc-
tion. The cameras, lenses and camera
accessories were all built with little
variation. As cinematographers move
toward digital cameras for feature lm
production, the lines between lm
and video equipment continue to blur.
For many, the standard 35mm image
capture size is lost. At NAB 2014, most
of the high-end 4K cameras had Super
35mm image sensors. With Sony and
JVC showing off their 4K cameras with
the same Super 35mm sized sensors, it
seems like a new standard is emerging.
If you shoot with different cameras on
the same production, getting standard
cameras will make it much easier to
maintain depth of eld in your shots if
the image sensors are the same size.
New Standards for Codec and
Resolution
While H.264 is still the dominant
codec used for online video and Blu-
ray, H.265 (HEVC) is well on its way
to being the new standard codec for
compressed video. HEVC is said to be
around 50 percent more efcient than
H.264 for compressing video. A demo
from DivX showed that the new HEVC
codec has even less artifacting and a
NAB 2014:
A $5,00 Shopping List
1. Sonys A7S mirrorless camera
has a Super 35mm image sensor
which delivers impressive foot-
age in low light. It records HD in-
camera, 4K to external recorders
via HDMI and weighs just over a
pound. Most cameras this size
have APS-C or Micro Four Thirds
image sensors that make it hard
to achieve shallow depth of field
shots. The larger image sensor on
the A7S also helps reduce noise in
the image. That combined with the
E-mount lens mount that offers
a variety of lightweight lenses
and the ability to use adapters
for other common lens mounts,
makes this new Sony camera very
appealing. The A7S is expected to
cost $2,000.
2. An Atomos Shogun recorder/
monitor can record 4K and HD in
CinemaDNG raw, Apple ProRes or
Avid DNxHD. Most small cameras
record in very high compression
and limited color space which can
make doing effects like chromak-
eying or color correction challeng-
ing. The Shogun allows you to
record with low compression to
standard 2.5-inch SSDs or hard
drives. If thats not enough, the
Shogun has a 7-inch 1920x1080
monitor filled with useful features
like focus peaking, false color,
zebra patterns, waveform and
vectorscope. The Shogun has
XLR, HDMI and SDI inputs and is
$1,995.
3. Glide Gear PRO Action Jib and
DNA 6001 Vest and Arm Stabiliza-
tion Kit is amazingly versatile. It
combines the mobility and stabili-
zation of shooting with a sled and
vest style system with the wide
range of shot options of a small
jib. The unit is a great option for
small cameras in locations where
using a dolly or jib is impractica-
ble. Itll require a skilled operator
to support the jib and camera as
well as get the shot. The whole kit
is estimated to retail for $800.
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VI DEOMAKER >>> J ULY 201 4
26
derbolt networking is currently lim-
ited to two computers, Intel is working
on expanding the capabilities to allow
multiple machines to be connected.
Thunderbolt looks like it could
be for 4K what FireWire was for DV.
External hard drives and RAIDs with
Thunderbolt ports have been out for
a while now, but some new monitors
can be connected directly with the
port. Cameras such as the Blackmagic
Production Camera 4K and AJAs CION
have Thunderbolt ports. NAB 2014
featured many new applications for
the Thunderbolt 2 port. A Thunderbolt
2 port allows for transfer of data at
speeds up to 20Gb/s making it a great
option for external media.
Storage Solutions
While many are still skeptical of com-
mercial cloud solutions, there was a
push on the oor for creating your
own personal cloud. With storage
prices plummeting, and Thunderbolt
2 offering incredible transfer speeds,
RAIDs are now a viable solution for
every video professional. The storage
demands of 4K are now reasonable.
Conclusion: A Glimpse of Things
to Come
Its not a matter of if 4K broadcasting
will occur, its a matter of when. NAB
2014 denitely illustrated that the
extensive availability of 4K cameras, as
well as the gear to support 4K post-
production workow and delivery will
speed up the conversion from HD to
4K. This will happen a lot quicker than
the SD to HD conversion. For many
video professionals, nows the time to
consider upgrading gear to be ahead of
the curve so you can maximize oppor-
tunities for 4K content creation.
Odin Lindblomis an award-winning filmmaker whose
work includes film, commercials, and corporate video.
Odin offers a full range of services at The Mothership
which includes production, post and VFX.
For comments, email: editor@videomaker.com, use article
#17172 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17172
sharper image than H.264, even when
used for low resolution SD footage
at lower bitrates. 4K video les that
are four times the resolution but only
twice the le size of HD les will re-
ally help 4K delivery.
One of the other challenges 4K
production initially faced was the
wide array of resolutions that were
called 4K. Now, most companies
are supporting either the Ultra HD
resolution of 3840x2160 or the Digital
Cinema Initiatives 4K resolution of
4096x2160. Some support both.
While 4K standards do support mul-
tiple frame rates for video, interlacing
is not supported. When the conver-
sion to 4K happens, interlacing will
be gone.
The Thunderbolt Advantage
At NAB 2014, Intel showed how they
can now connect two computers
together with a single Thunderbolt
cable creating a 10-gigabit network.
The TCP/IP network created was able
to transfer a 1GB video le in seconds
from a PC to a Mac. While the Thun-
AN
INSIDERS
LOOK AT
NAB
WHEN THE CONVERSION TO
4K HAPPENS, INTERLACING
WILL BE GONE.
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A
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W
e scoured the NAB 2014
show oor with the
broadcast eld as packed as ever, and
had to look past hundreds of products to
bring you these select few to be called the
tradeshows best. We found some companies
trying new types of products, expanding on a
solid following. This of course brings up some
big names like AJA and Blackmagic, but in
areas that are fairly new to them. New products
are seemingly always coming out in camera
support, and each built smarter and stronger.
Again, we saw a couple established names
crossover into territory that is new, and gimbals
are beginning to feel like the new action camera
its great that they go together. Everyone is
making them and applying them for smooth
oating image stabilization. Heres our Best
Products of NAB 2014.
Best of Show Award: Blackmagic URSA
The Blackmagic URSA modular design really
represents three cameras and then some, so
some might call it cheating, but well just say
that versatility will make this camera very ap-
pealing to a wide audience. Blackmagic De-
signs URSA features a removable component
that contains the lens mount and sensor, so
the base unit can be equipped to use EF, PL or
B4 mounts. The EF and PL versions have a 4K
Super 35 image sensor, while the B4 will have a
sensor aimed at the broadcast market. Theres
even a body-only version with a 4K HDMI input
so that any capable camera can take advantage
of the multitude of LCD screens on the main
unit. The EF version hits a sweet price point
at about $6,000 while the PL version goes for
about $6,500. The B4 and HDMI version prices
are pending, as well shipping dates so peek at
the Blackmagic forum for the latest, previous-
ly the cinematography board has covered
new cameras. The Blackmagic URSA
is one of the earliest cameras with
12G-SDI, and combats rolling
shutter with a global shut-
ter. The built-in, 10-inch
screen is a rst and
the camera is
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designed with two ve-inch touch screens,
creating director of photography and
camera assistants stations. It has some of
the biggest audio meters weve ever seen
on a camera. We didnt even mention that
DaVinci Resolve 11 is set to be included
with the camera, so were just getting more
and more excited to start trying this one
out. For shaking up the industry again, the
Blackmagic Design URSA deserves our Best
of Show Award for NAB 2014.
Best Mirrorless Camera: Panasonic
LUMIX GH4
Upon a second look at the Panasonic DMC-
GH4, were very impressed by the little
camera that can do great things. With video
at both UHD and Digital Cinema Initiatives
4K, a Micro Four Thirds mount and ease of
use, this LUMIX camera gets great images.
4K bitrates of 100Mb/s and HD bitrates of
200Mb/s will test the UHS Speed Class U3
SDHC or SDXC card you decide to use,
while the ip out OLED will make
it easier to shoot. The GH4 is
small but strong, with a
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magnesium alloy body, and room to grow with
attachments, notably one that can provide XLR
inputs and audio meters. The zebra patterns are
a very welcome exposure assist, and a Synchro
Scan can help take out the icker from a moni-
tor or uorescent lights. Since cameras can be
very compact these days we decided to celebrate the GH4 for
being both small and exceptional.
Best Light of NAB 2014: Kino Flo Celeb 400 DMX
The size of the Celeb 400 DMX helps shape how it emits light.
Weve already come to appreciate the Celeb 200 DMX, so as
the LED panel is scaled up from 24 to 45-inches,
we are excited to see the continued excellence.
The Celeb 400 DMX has a color rendering index
score of 95, which is most impressive in light of
the full dimming and color temperature controls.
These are incredibly handy lights that dont get
hot, use standard power and wont bother your
subject like some lights.
To add gels or mounts, it is a clear and secure
task to slide a light modier into the front slots.
Ultimately it makes the job of lighting less of a
chore. At nearly four feet long, its going to cover
a lot of your set. The entire case will be 53lb. or
less, depending on whether you go for the the
center or yoke mount kit. The Celeb 400 DMX
brings great versatility and lighting power to sets,
and saves valuable time, so these are clear reasons well call
the Celeb 400 DMX the best light of NAB 2014.
Best Plug-in of NAB 2014 Award: Red Giant Universe
For editors, visual effects and motion graphics tend to be
either their favorite part of the produc-
tion process or the hardest. Plug-ins
have been the go-to answer for
many during post-production,
so it stands that when one
of the premier creators
of plug-ins, Red
Giant, teams up
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and collaborates with the editors of the Universe
theres some award-worthy effects to be had.
The idea with the Universe is that youd get to
use the effects that creators like yourself and
legendary people like John Knoll have
created. Youll work with creators to help
shape the effects that become available
next, rather than have to wait until the next
package of limited shelf-life plug-ins becomes
available. Whether you use Mac or Windows, the
major host applications are recognized, so to get
the Universe to gel with your workow probably
wont take much. Its free at the lowest-level. For
more access subscribers can pay $10 per month,
$99 per year or a one-time lifetime price of $399.
Best Camera Accessory of NAB 2014 Award:
Sachtler Ace Accessories
The collection of Ace Accessories includes the Ace Base
Plate, Ace Follow Focus and Ace Matte Box. Each is an indi-
vidual product, but when they combine, your gear becomes
elite. It uses standard 15mm rods for accurate focus and
matte boxes for the ultimate in camera control. A total of
three ags act like barn doors while two slots allow you
to easily mix in a lter (or rotate one). The reliability and
value that many have come to expect from the Sachtler Ace
line supports is now in the Ace Accessories range. The strong
but light tripods from this German company are easily seen
in many productions. In our experience, anything that moves
the shoot along faster goes up in value. Were pretty sure that
the frequency with which youll turn to your Ace-ed rig will
offset costs pretty well.
Best Action Camera Support of NAB 2014
Award: Dactylcam Go Rig
Prehistoric? Hardly. The Go Rig is for the young at
heart: hobbyists, athletes, and enthusiasts. To fully
explain what this rig does itll take some physical
description. Its an aluminum sled cable-cam rig
for action cameras that requires some 1/8-inch or
1/4-inch line, the Amsteel Blue non-stretch kind
is preferred. It can carry 3lb. and is driven by a
remote control. The easy question is which of the
many small POV cameras youll use with the sys-
tem. The harder question is: What will you attach
the cables for the sled to? Accessories can be attached
to the Go Rig sled as well as a more powerful battery.
The transmitter controls forward and back motion with
a 4-Channel 2.4GHz Dual Band Remote Control. The kit
should make jumping into cable-run cameras simple. At
$990 the Go Rig certainly stands as an investment, but
the fun on productions is denitely going to ramp up. Just
remember to set up a way to monitor your camera before
sending the sled along.
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Best Stabilizer of NAB 2014 Award: Freefly
MoVI M5
A 3-axis gimbal counteracts the movements of a
camera operator, and steers footage towards the
ultimate, cinematic smooth move look. Freeys
MoVI M5 takes on the growing competition and
helps make high production value easy. By the
very nature of being lightweight and hand operated, the
MoVI M5 is more accessible than say, some sled and vest sys-
tems or dollies. The custom design centers on a proprietary
inertial measurement unit and brushless direct drive system.
The fully protected wiring and tool-less balancing are design
attributes that quickly elevate this rig from others. With a
payload of 5lb. and control features like pan/tilt, a graphic
user interface (via Bluetooth connection), silent operation
and a way to control the amount of allowed camera shake,
this is a full featured camera stabilizer. The MoVI M5 itself is $4,995
with various accessories available, and can ship 4-6 weeks after
orders are placed.
Best Storage of NAB 2014 Award: G-Technology G-SPEED
Studio
We can generally agree that more storage is better, and more RAID
storage, is even better than that. The G-SPEED Studio is a storage
device with room for four hard drives and is congurable to RAID
0, 1, 5, 6, or 10. You can bring the total storage up to 24TB, and at
a lesser amount, the sustained 660MB/s transfer rate will get your
les going quick. The connection is Thunderbolt 2 which can
daisy chain to other devices and Mac computers. This echoes one
of the beautiful things about Thunderbolt in that cabling in
and out of devices is very simple. The four removable en-
terprise class disks are 7200RPM SATA III. We cant help but
appreciate the efforts G-Technology goes through to match
their design of storage devices to the current Mac Pro. The
G-SPEED studio is developed with creative producers in
mind, and who knows, you might ll it before the 3-year
warranty expires.
Best Motion Control System of NAB 2014 Award:
edelkrone Action/Target Modules
The edelkrone SliderPLUS is great at putting our cameras into
motion, but the Action and Target modules would be bet-
ter. They are modules that attaches to the sides of a Slider-
PLUS for motion controlled pan/slide moves. Your control
of the camera is simple with a four-direction button for moving
the camera, and adjusting the average speed. These are the three
things it needs to complete a move, where you start, stop and an
average speed. And rather than punching in numbers, the system
can record your move, and you dont need to get the speed exactly
right because the wizard mode knows how to calculate averages. A
double tap allows an innite loop between points, and for this. The
Action module clocks in at $600 and the Target module at $800,
and both have Canon LP-E6, Panasonic CGA-D54 or Sony NP-FV
battery options.
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Jackson Wong is an associate editor for Videomaker.
For comments, email: editor@videomaker.com, use article #17173 in
the subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17173
BEST OF NAB AWARDS
Best External Recorder of NAB 2014
Award: Atomos Shogun
Use the Shogun for a powerful way to
record video. The 7-inch, 1920x1200 reso-
lution monitor makes it especially strong
when it comes to monitor/recorders. Atomos lets
you record to Apple ProRes 4K, Cinema DNG
Raw or Avid DNxHD over HDMI and 12G-SDI.
The Shogun has great color calibration with
plenty of monitoring (including audio) and assist
functions that camera displays usually aspire to
have. The SuperAtom IPS 325ppi screen elimi-
nates buttons with its touch screen, and the
dual disk recording medium allows for extended
record lengthes like two hours with a 2TB RAID
for 4K video. The openness of the Shogun is
welcome when youre looking for XLR audio
or remote control. The Shogun is calibrated to
SMPTE Rec.709 for standard colors. Thankfully
the Shogun is well suited to playing with many
cameras on a production thanks to Genlock,
timecode and monitor pass through. The report
for the Shogun is to be ready for duty this fall
and cost $1,995.
Best Computer Monitor of NAB 2014
Award: HP Dreamcolor Z24x Display
Colors: 1.07 billion. Not bad not bad prob-
ably more than you or we could name. Actu-
ally, the Z24x is the smaller of two displays, but
is signicantly less costly at $600. As a color
critical display, Ethernet-based remote control
through an integrated Web server is in a league
of its own. It has 1920x1200 resolution and
10-bit color accuracy with a easy-to change
color space and color calibration. The quick
access to presets includes specic color spaces,
including some that sound like named stars
beyond the Milky Way: sRGB D65, sRGB D50,
Adobe RGB, BT.709, BT.2020 and DCI-P3. Plus,
users have the ability to create custom color
spaces and control the primaries, white point
and tone response. While supported for Linux,
Mac and Windows, the Z24x must be calibrated
on a Windows system. This is some of the best
news yet in terms of color critical monitors
coming down in price.
Most Innovative Product of NAB 2014
Award: FloLight CycLight
Lighting seems too easy if we use a single
light for a subject, especially when lighting
green screen. The CycLight seeks to make the
whole process easy with a single light xture
that reduces the light at the bottom, and
gradually increases it to counteract the
inverse square law that light must obey. So
where a spot is twice the distance from a
light source, that spot will have one quarter
the intensity of light. This law governs au-
dio as well, but the CycLight seeks to beat
that law. The specication for beam spread
provided by FloLight reads: No. What the
CycLight allows you to do is dim three
40W green LEDs and light a green screen
from the oor, less than four feet from
the screen. The idea for the CycLight and
Light Wave technology is much anticipat-
ed, and is sure to make green screen more
feasible for many.
Winners Immortalized
The news from NAB 2014 may not last very
long but the products will and these here
will be among the markings of another
excellent year in video production innova-
tions. The way we tell stories continues to
change and the tools are getting more and
more sophisticated. Whether we begin to
assign three people to operate a camera,
send our camera into oating handheld
shots, use effects developed by a visual ef-
fects wizards, or light a green screen with
one light, the products awarded here, stand
to become big reasons for your video pro-
ductions success.
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STORAGE
SOLUTIONS
Not having backups of your digital assets is asking
for trouble and will cost you time and money, should
any assets be lost due to a hard drive failure.
BY MARSHAL M. ROSENTHAL
T
he moral of this story is that since Murphys law knows
no boundaries and makes no distinctions, a business
that creates digital assets and must access them from a
storage device, cant take for granted that the hard drive
containing the assets will continue to be safe.
Your drives hold a lot: digital video, audio les, completed
projects, raw footage and other assets, but a digital le can
become corrupted or damaged or lost on a broken or defec-
tive hard drive. An unforeseen event can occur that causes
physical damage, such as the drive getting wet or suffering
from internal heat build-up or a power surge shorting it out.
Or, it may just get a hard knock that sends a high speed spin-
ning disc, with all your data, into a tailspin. Losing access
to an asset is a fancy way of saying that its gone. No longer
having it in storage translates into lost time and money in
order to recover it, if that becomes possible. Should a job be
looming, a lot worse than time could be lost, as in making
a deadline or having to tell a client the kind of bad news
that guarantees she or he will be a client no more. And that
doesnt take into account whether payment for the work will
have to be returned in part or in whole.
All of this could have been avoided by having copies
of your digital assets. At the most basic level, making a
duplicate of a digital asset provides a second version and
PROTECT DIGITAL ASSETS
AND YOUR BUSINESS
Theres an urban tale that in Ohio in 1895, the states only two
horseless carriages (i.e., cars) managed to collide with one another.
326 F6 Protect yourAssets.indd 34 5/20/2014 9:59:55 AM
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VI DEOMAKER >>> J ULY 201 4
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physically separated from where the original
is located. The simplest method is to connect
a hard drive to the computer and copy all of
the digital assets to the drive, either through
drag and copy or by using a hard drive copy
program. These programs can be congured
to copy selected les or do whole-disk drive
copying, and remove the need for having to
covered data. The service is affordable, with the
cost being in the tens of dollars, not hundreds,
and is basically hard drive insurance, with data
recovery added.
The External Storage Solution
The second method for copying/saving digital
assets requires using a storage media that is
Software options
are available
for Mac and PC
which attempt to
recover lost data.
STORAGE SOLUTIONS
PROTECT DIGITAL ASSETS AND YOUR BUSINESS
Your data is the most critical
part of your professional life.
Our mission is to support
your workows with quality
products backed by an
industry-leading warranty.
For over 20 years Glyph storage solutions have been
designed for content creation workows needing speed and
capacity. The all-new Studio family is equipped with rugged
all-metal enclosures, pro-grade internal power supplies, disk
health monitoring, and intelligent cooling systems.
Every Studio series hard drive is backed by Glyphs
outrageous, industry-leading warranty and a team of tech
support professionals who know and understand your
production environments.
The original drive for professional content creators.
3 YEAR HARDWARE WARRANTY 2 YEAR LEVEL I DATA RECOVERY 1 YEAR OVERNIGHT ADVANCE REPLACEMENT
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VI DEOMAKER >>> J ULY 201 4
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Digitals desktop hard drives are recommended
for RAID use, while its WD Red is, due to its higher
level of performance and reliability, intended for
write-intensive applications. Many pairs of hard
drives can be congured for this purpose, depend-
ing on the enclosure boxes available for contain-
ing the drives.
Software Solutions
The fact that all of the hard drives are together
in one enclosure means that any kind of attack
that can happen to one drive (i.e., virus, getting
soaked in water, etc.), has the potential to happen
to all of them at once. If that were to occur and a
drive becomes inoperative, there are a number of
limited scenarios to save your data.
Should the damage be computer-related, soft-
ware repair tools can be tried. There are a number
of these available that dont require program-
ming skills, these two are priced around $100 or
less; Mac computers have the Alsoft DiskWarrior
program (OS X 10.3.9-10.9), which repairs a drives
structure so that les on it can be accessed again.
Avanquest Fix-It Utilities Professional 15 for PC us-
ers (Windows 7, 8, XP, Vista) contains optimization
features as well as repair procedures for crashes,
freezes and system errors.
But should a drive fail as a result of physical
damage, there is the option of a hard drive data
recovery service to acquire the data off the drive.
This is a real option should there be no other
copies of the content on the drive. The downside
is that such services can charge exorbitant fees,
depending on urgency and the complexity of the
damaged hard drive.
Seagate has its Rescue and Replace service
available for up to three years for Seagate drives.
Should the drive be damaged, send to Seagate, to
be replaced with a new drive that holds the re-
can be done in a matter of minutes. But if you
have mountains of data to copy, its easy to keep
putting it off, until Murphys law shows you
the error of your ways. Instead, lets delve into
whats needed, and more importantly, how to
work out a method for efciently and depend-
ably copying your digital assets so as to have a
backup if the worst case scenario occurs.
The RAID Solution
There are two methods for going about this, with
the rst being to create the second copy when
the original is being saved to either an internal
or external hard drive. This method requires
creating a RAID. Multiple hard drives, often with
the same capacity, are employed (two being the
minimum conguration for backup in what is
called RAID 1). Lets take a LaCie 2Big Thunder-
bolt RAID as an example, which contains two
2TB hard drives. One of the 2TB hard drives is
mirrored, or duplicated, with the second 2TB in
the enclosure. This means that, instead of having
4TB of free space to use, there are only two, and
the speed of the drive being accessed is not as
fast as if they were striped (thats RAID 0 which
doesnt provide a backup), since it is actually two
drives that are being accessed for every data save.
In addition, the hard drives need to be geared
for this use. For example, only some of Western
RAID CONFIGURATION
RAID stands for Redundant Array of Indepen-
dent Discs and can be configured in more ways
than listed here. RAID 0 basically treats all the
hard drives as if they were a single drive, this
can improve performance, but as a result there
is no protection against drive mishaps or failure.
For that RAID 1 is needed, since the same data
is written to a pair of drives. As many mirrored
drives may be used as can be controlled by
the RAID controller. RAID 5 provides speed of
STORAGE SOLUTIONS
PROTECT DIGITAL ASSETS AND YOUR BUSINESS
There are a number of software repair tools
available that dont require programming skills ...
writing/data redundancy by using around one
third of the free disk space to send parity data
to the drives (a small amount of data mathemati-
cally representing the original larger amount). It
requires at least three hard drives to function, and
performance can improve since the data is being
read from multiple disks. The final option, JBOD
(Just a Bunch of Disks) is more of an adjunct to
RAID; sending data to the first drive until it is
filled to capacity, then the next and so on.
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VI DEOMAKER >>> J ULY 201 4
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Marshal M. Rosenthal is a technology and consumer electronics
freelance writer.
For comments, email: editor@videomaker.com, use article #17143 in the
subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17143
monitor le by le copying. Examples of
such programs are Carbon Copy Cloner for
Macs and FolderClone le mirroring utility
for PCs. The external hard drive can then be
removed from the computer and placed else-
where until needed again. Because the drive
is going to be moved about, having one that
is rugged is important. An external hard drive
that does both is G-Technologys G-RAID with
Thunderbolt, which features a solid, alumi-
num design, a thermo-regulated smart fan
and is available in storage capacities of 4TB
and 8TB.
Optical Storage
Optical drives have the advantage of using
discs which make for easy storage and retain
what has been written on them for many years.
These discs can be stored without special con-
siderations, except for extreme weather condi-
tions or being placed under a heavy weight that
will result in their being cracked. Blu-ray discs
have a higher capacity. Blu-ray read/write drives
come in many computer congurations, with
both internal and external models available at
affordable prices for both PCs and Macs.
Cloud Storage
Another option is storing content online. There
are services that will do this for a fee, but re-
gardless of cost, the basic process is that digital
les are uploaded to a secure server where they
are stored as if on a hard drive underneath the
computer desk. The advantage is that the con-
tent is now safe from any event that could occur
at your location, such as a hard drive failure, a
re or other disaster large or small. The disad-
vantages include the possibility of disaster strik-
ing at the servers location, Internet pirates and
trolls invading your privacy and the fact that
the time for uploading may be very long and
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BASIC TRAINING
VI DEOMAKER >>> J ULY 201 4
40
ity on such things, or at least he is
the only one spending weeks in the
swamp with a pair of binoculars and a
trap baited with a crate of cabbages.
Who could argue? This could be
my big break to get a video produc-
tion onto national TV. In my head I
saw crystal clear video of a nine foot
tall Sasquatch nonchalantly eating
carrots from someones vegetable
garden with my name scrolling
underneath and Wolf Blitzer saying
Amazing video by camera operator
Kyle Cassidy every three minutes. I
grabbed my bag and started making
a mental note of things wed need:
Bigfoot has been spotted north of
Route Six! Tony shrieked, bursting
through the door. He was covered
in dirt and bark, waving his arms
to get my attention. As he raced
towards me he knocked over a plate
of chicken wings and upset a pair
of heavily mustached bikers who
seemed on the verge of beating him
out of his shoes until they smelled
him and shrunk back. Hed been in
the swamp for a long time, by the
look of it.
Tony raced across the room and
shoved his cell phone in my face.
On it a fuzzy brown blob was mov-
ing through a fuzzy green blob, Hes
in the forest! I looked at the video.
Grab your cameras! he shouted
impatiently when I didnt move. Then
jumping up and down, Were getting
an expedition together to do a video
production of him! Tony is the presi-
dent of the Skunk Ape, Sasquatch &
Yeti Hunters and is the local author-
When to Work for Free
Should you ever use your time and
talent without getting paid? We take
a look at some of the things people
will ask you to do for free and why
you might say yes or no.
b y Ky l e Ca s s i d y
tripods, cameras, a beefy laptop with
editing software, long lenses, a tent,
tranquilizer darts ...
We jumped in Tonys Jeep and he
tore out of the parking lot, leaving
a cloud of dust behind us. Tony was
talking a mile a minute. the sightings,
the direction the Skunk Ape was trav-
eling, the tool sheds itd destroyed, the
plaster casts, the horrible odors....
One thing, Tony said as we pulled
onto the freeway. We dont have a
video production budget. Youll have
to do this for free.
When (if Ever) to Work for Free
Throughout the course of your career
as a videographer, people will ask you
to work for free. Theyll think theyre
being clever, or even generous, of-
fering you the opportunity to shoot
their daughters steeplechase event,
or a party theyre throwing. Artists
have been pushing back against this
for years, often with organized angry
responses. (No doubt, many of you
have thoughts about this, please share
them on the Videomaker forum: www.
videomaker.com/forum.)
Inevitably though, there are times
when working for free is an OK thing
and a good idea, not every payment is
Ability, education and
experience make up
the triple threat of
finding work. Its dif-
ficult to get started
when youre missing
one.
326 C10 Basic Training.indd 40 5/20/2014 10:02:54 AM
BASIC TRAINING
VI DEOMAKER >>> J ULY 201 4
41
in dollars. Ultimately its for you to decide where
to spend your time and talent, but today well
look at some reasons you might want to consider
working for free and what it might get you. (See
Will Work for Free: Shooting Charity Video
www.videomaker.com/r/750.)
Why work for free? There are a number of le-
gitimate reasons you may want to consider fore-
going the paycheck, and there are also a whole
bunch of reasons to say no thanks. Among the
reasons you may want to consider it are:
To get real-world experience
To build a demo reel
To learn from a more experienced producer
To learn new techniques
To attempt a new type of video production
Types of Free Work You Might Do
There are lots of opportunities to work for free,
lets take a look at some of the legitimate ones.
BASIC TRAINING JULY 2014
Volunteer: Would you volunteer to record your
kids soccer game? Lots of parents would. You do
it because you like to watch your kid play soccer,
you want to be helpful. We all volunteer to do
things because we want to see them get done
and because we want to be helpful. If its a vol-
unteer opportunity that provides something for
your reel or gives you an opportunity to spend
time with people you like and have fun with,
then you can consider that compensation.
Intern: Theres a lot of misunderstanding about
what an intern is. What its not is free labor.
In Walling v. Portland Terminal Co., the U.S.
Supreme Court stated that companies can hire
people and not pay them if the job is for the
benet of the person being hired, and not the
company. The outcome outlines six require-
ments that must be met for an internship.
1. The type of work the intern is doing must be
similar to what theyd be doing in a school set-
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Videomaker-Advert-June-2014 r2.indd 1 9/05/2014 3:15 pm
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VI DEOMAKER >>> J ULY 201 4
42
BASIC TRAINING JULY 2014
however, formal apprenticeships typically pay a
salary. Though its certainly possible that you will
have an unofcial apprenticeship with someone
who will let you come along on shoots to help
out and observe.
Because a Client Doesnt have a Budget: Some-
times youre feeling charitable and want to see
something happen. Other times its a friend or
relative, and sometimes people keep bugging
you and it seems easier to do it rather than keep
hearing them ask about it. Very often, poten-
tial clients will promise you future riches and
exposure in exchange for your labor. Exposure
is a loaded gun. Yes, its possible to make money
through eyes on your talent, as William Hung
knows. (Hung was an engineering student whose
audition for American Idol was so incredibly
bad that after it was broadcast, he was signed
to a record contract and his album, Inspiration
sold nearly a quarter of a million copies.) James
Cameron famously took no paycheck and no
percentage of the gross for directing Titanic,
banking on the belief that hed make money
from it in other ways (he reportedly pulled in
$115,000,000 when all was said and done).
In fact, all advertisements are simply compa-
nies trying to make money through exposure. But
often times, the types of exposure clients think
theyre offering you wont translate into sales.
Do gigs for exposure only after youve carefully
weighed what youll be putting in with what you
really expect to get out of it. Is it an opportunity
to spend time with people you really like? Does
it support a cause you care about? If its not for
money, then it has to be for love. Dont be taken
advantage of.
A Piece of the Pie: In lmmaking, its common
for people to work on points, which is a per-
centage of future earnings. This allows produc-
ers to make movies without having to come up
with all the money up front, though its a gamble
for anyone who works on it, because it may op.
If working for points, make sure youre work-
ing for gross points rather than net points.
Hollywood often does accounting in ways that
show movies lost money even when they made
huge amounts, partially so they dont have to
pay people points. Your clients may also have
underestimated their budget and you may be
able to work with them to gure out how to
do what they want, for less than they thought.
(Check out this example of making do with less:
www.videomaker.com/r/751.)
ting if they were studying this eld. This means
an employer cant stick a video intern in a tiny
room and have them address envelopes all day.
2. The internship is solely for the benet of the
intern, not the employer.
3. An intern cant do the job that a regular
employee does; meaning an employer cant re
someone and replace them with an intern.
4. Interns have to be closely supervised by the
employers existing personnel.
5. An employer provides this training to the in-
tern and sees no nancial benet. An employer
cant have an intern doing work that makes
them money. In fact, an intern may often be a
net loss to the company.
6. Theres no promise of a job at the end of an
internship. So an employer cant say Work for
free for six months and Ill give you a job. Its
made clear from the very beginning that the in-
tern isnt getting any money for his or her labor.
All these requirements boil down this: Its nan-
cially bad for a company to have legal interns,
which means the only reason they would do it is
if theyre generous and care about giving people
job experience.
An internship is more about a company work-
ing for free, than an employee, though its a
common misconception that it works the other
way around. Beware of someone offering you an
internship thats just you doing free grunt work
for them.
This said, if a videographer or news station
offers you an internship, it could be a great op-
portunity to learn how things work, and to meet
people who might be looking to hire someone.
(You can read more about internships here:
www.videomaker.com/r/764.)
Apprenticeship: When a skilled individual con-
tracts with an unskilled one specically in order
to teach them the skill they know. Its a mentor/
protg relationship. Historically, apprentices
were usually minors and served a master trades-
person for a number of years. In a modied form
its still common in trades like carpentry, and
also common in elds like video editing. Today,
AN INTERNSHIP IS MORE ABOUT
A COMPANY WORKING FOR FREE,
THAN AN EMPLOYEE ...
326 C10 Basic Training.indd 42 5/20/2014 10:03:15 AM
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42nd St. Photo.indd 48 5/8/2014 11:19:58 AM page 43
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VI DEOMAKER >>> J ULY 201 4
44
Kyle Cassidy lives with his wife, Trillian, three cats and a lot of mem-
ory cards. He writes frequently about technology and has famously
worked for free on occasion.
For comments, email: editor@videomaker.com, use article #17020 in the
subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17020
Personal Projects: Sometimes you work for free
because its an artistic project that you believe
in and that couldnt exist otherwise. The history
of independent lm is one of groups of friends
pooling their talent, and making movies because
they want to. Often these are projects for which
nobody expects to make money, and are time
and resource-consuming labors of love. Its usual
for people doing personal projects to offer to pay
in copy, credit and meals. Meaning they feed
you while youre working, you get your name
in the credits, and you get a copy of the nal
product. In the realm of weekend lm projects,
its common and often a good way to meet other
people interested in production and work on
your portfolio.
Am I good enough to charge people for my
video?
If you have a video camera and you know how
it works, then youre good enough to charge
for your services. You might not be the greatest
video producer, but you have something your
client doesnt: a camera and the time to put it
to work. Figuring out how much to charge is a
more difcult question. You want your clients to
be happy with the result they get for the price
they paid and you want them to recommend you
to other people so you can build your business.
Pair yourself realistically with the projects
you choose.
Occasionally youll run across an earnest new
video producer with a camcorder, high business
ethics, a monumental price list and absolutely no
product to show you. The bottom line is: you can
legitimately charge anyone for any work you do,
but occasionally it makes sense to trade your time
for a product to show someone else. If your sister
calls you and asks to video her neighbors dogs
third birthday party, you can certainly charge for
doing that, even if youve never recorded a thing
in your life. Your time is yours and if people want
it, they need to compensate you in some manner,
and if its not for love, then it must be for money.
Price accordingly and make sure youre not
promising more than you can deliver. Its perfectly
reasonable to say Id love to record your birthday
party. My time will cost you $50 and while Ive
used my camcorder and understand its functions,
Ive never recorded a birthday before. If they
wanted Steven Spielberg, they would have hired
Spielberg. Let the buyer beware when trying to get
video on the cheap.
How do I gure out what to charge people?
Sometimes people end up working for a lot less
than they should, or trying to work for a lot more
than they should because they cant gure out
what to charge. Check out your competitions
quality, and prices. Lots of videographers keep
their prices close to the vest and looking at their
websites will get you a call for an estimate and
this is because prices on video are often vari-
able. Theyre based on what the client can pay,
how difcult the job is and what the intangible
rewards are.
Given the option of spending the day in a
corporate board room making $2,000 for a
video and spending the day at an animal rescue
center recording orphaned baby penguins for
$1,800; Im going with the baby penguins. That
said, when Im pricing things online I always
skip all the Web pages that say call for an esti-
mate. Id like to see a price list, even if its just
a ballpark. (And check out Videomakers Video
Rate Calculator online. Its free and is a pretty
good base to begin with, rating your expenses
and income needs and other things you might
not even think about.)
Conclusion
Four days later, Im sitting in a tree, in the
rain with my camera aimed across a eld, wait-
ing for Bigfoot to show up. If he does, itll be
worth it. For such a sighting, Ill work for free
any time.
Videomakers rate
calculator is a free
resource to help
you determine what
to charge for your
production work.
BASIC TRAINING JULY 2014
326 C10 Basic Training.indd 44 5/20/2014 10:03:30 AM
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(28Mbps) Dual SD/SDHC/SDXC
Memory Card Slots Built-in
Wi-Fi & Free Movie Uploader App
OLED 3.5 touch Panel display &
joystick Color 0.24 Viewfinder
Optical Image Stabilization
#CAHFG30
GC-PX100
HD Everio Camcorder
HD 1920 x 1080p recording
SC/SDHC/SDXC memory card slot
3" touch panel LCD
1/2.3 back-illuminated
12.8 MP CMOS sensor
29.4mm f1.2 wide angle lens
Optical image stabilizer with A.I.S.
10x optical zoom & 16x dynamic zoom
Supports shooting speeds up to 600 fps Built-in Wi-Fi
Capture still images in bursts of nine frames a second
#JVGCPX100
HC-X920
3 CMOS Flash Memory HD Camcorder
3x 1/2" back-illuminated CMOS sensors
12x optical, 25x advanced Leica Dicomar
lens (f/1.5 maximum aperture)
Record to SD/SDHC/SDXC media
Remote WiFi mobile device
tether plus Ustream sharing
Manual controls
3.5" (16:9) LCD screen & color viewfinder
3D recording capable with optional Panasonic VW-CLT2 3D lens
Optical image stabilizer Microphone & headphone input
#PAHCX920K
HDR-CX900
HD 1" Sensor Camcorder
1 Exmor R CMOS sensor
XAVC S 1920x1080 60P, 30P,
24P / AVCHD 1920x1080 60,
30, 24p, 1440x1080/60i;
and MP4 1280x720 30p
video recording resolution
BIONZ X processor / high speed 120fps
Zeiss Vario Sonnar T* Lens 12x optical zoom & 24x clear image zoom
0.39 OLED EVF / 3.5 XtraFine LCD Wi-Fi / NFC connectivity
Optical SteadyShot image stabilization
#SOHDRCX900B
HXR-NX30
Compact HD Camcorder
Shoots AVCHD Up to
1080/60p at 24Mbps
Balanced Optical SteadyShot
Equipped with Dual XLR Inputs
Built-In 96GB Flash Memory Capacity
Pro Audio Control & Level Adjustment
Built-In Projector & 3.5" LCD Monitor
Built-In Stereo Shotgun Microphone
Super-Wide Carl Zeiss 10x Optical Lens
Features SD or Memory Stick Card Slot
#SOHXRNX30U
Phantom 2 Vision Quadcopter
with Integrated FPV Camera
14 MP stills and 1080p video
2.4 GHz Wi-Fi Downlink
for Smartphones
Smartphone mounts to
controller for FPV
iOS/Android App for monitoring/control
Phantom 2 Vision+ Quadcopter
with Gimbal-Stabilized Camera
14MP, 1080P Camera stabilized & controlled
with an integrated 3-Axis Gimbal
Phantom 2 Vision #DJPV..................... Phantom 2 Vision+ #DJP2VP ..............
20
Mega
Pixels
20
Mega
Pixels
12
Mega
Pixels
12
Mega
Pixels
20
Mega
Pixels
VIXIA Mini X
HD Camcorder
Record 1920 x 1080p resolution
High-sensitivity 12.8MP CMOS sensor
Records HD MP4 (30p/24p) or AVCHD (60i) format
SD/SDHC/SDXC memory card slot
Built-In Wi-Fi & live streaming function
2.7 variable-angle LCD
Ext microphone input & headphone output
Records linear PCM 16-bit at 48 kHz audio
Records slow or fast motion or interval recording
Canon wide & close-Up f/2.8 fisheye lens
Black #CAVMINIXB 12
Mega
Pixels
HC-V750
WiFi HD Camcorder
1/2.3", 12.76Mp BSI MOS sensor
Crystal Engine Pro+ image processor
5 Axis hybrid optical
imaging stabilization
Advanced level shot function
Optical 20x, intelligent 50X zoom
Records HD 1920 x 1080 at 120 fps
Remote live-view and filming
via Panasonic image App
Home/baby monitoring via Wi-Fi to Smartphone or tablet
#PAHCV750B 12
Mega
Pixels
13
Mega
Pixels
Videomaker 07-14 JN140366.indd 1 4/28/14 3:31 PM
FullPageAD_NEWTemplate.indd 45 5/12/2014 2:17:15 PM page 44 page 45
contents
full screen
contents
full screen
print
contents
full screen
print
Prices, specifcations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
Page 2
When in New York,
Visit our SuperStore
420 Ninth Ave.
Corner of 34th Street
New York, N.Y. 10001
Over 70,000 square feet
of the latest gear
The most knowledgeable
Sales Professionals
Hands-on demos
Convenient free parking
available
BandH.com/catalog
212-444-6633
HXR-NX5U
3-CMOS NXCAM Flash Memory Camcorder
Three 1/3 Exmor CMOS sensors, with a ClearVid array
Capture uses Memory Stick PRO Duo /
SDHC Cards, with relay record
capability (optional HXR-FMU128
flash memory unit)
20x wide G series lens
HD-SDI & HDMI output, SMPTE
Time Code in/out, Dual XLR inputs
Built-in GPS system
3.2 Xtra Fine LCD
#SOHXRNX5U
XF100 / XF105
HD Professional CF Camcorders
1/3" CMOS 1920 x 1080 CMOS sensor
Dual CF card slots
50Mbps MPEG-2 recording
Canon's MPEG-2 4:2:2 color sampling
60p/60i, 30p, 24p MXF File Format
10x HD zoom lens
3.5" 920K dot LCD monitor
Stereoscopic 3-D recording capabilities
Dual XLR inputs Waveform Monitor
XF105 Step-up Features: HD/SD-SDI, SMPTE Time Code, Genlock
#CAXF100 .......................... $2,499.00 #CAXF105 ..........................$2,999.00
AG-AC90
AVCCAM Handheld Camcorder
Three 1/4.7" HD 2.19MP CMOS back
illuminated sensors 1920x1080 native with
variable 60p, 60i, 30p and 24p frame rates
Five-Axis optical image stabilization
Dual SD Memory Card Slots
12x zoom (f/1.5) and 25x digital zoom lens
3.5" LCD screen & LCOS color viewfinder
Six scene presets, and seven programmable user buttons
Interval Record, Pre-Record, Record Check, Last Clip Delete
AVCCAM HD Recording Modes Two-Channel XLR Audio Inputs
#PAAGAC90
XA10
Professional HD Solid State Camcorder
64GB Internal and Dual SDHC/SDXC
card slots with relay recording
1920 x 1080 CMOS Image Sensor
Canon 10x HD Video Lens
8-Blade Iris and Manual Focus Ring
DIGIC DV III Image Processor
24Mbps Recording (AVCHD)
3.5" High-resolution touch panel
LCD and EVF
Dual XLR terminals
#CAXA10 ........................... $1,499.00
NEX-EA50UH
HD Shoulder Mount Interchangeable Lens Camcorder
Exmor APS-C CMOS sensor (AVCHD /
MPEG2-SD) Add lenses without
being locked on a lens brand or lens mount
Supplied 18-200 servo power zoom
E-mount interchangeable lens system
Use Alpha A-mount lenses with
15point phase detection AF
Mechanical shutter Still Picture
3.5LCD Panel Records on media card and FMU128 Simultaneously
Record onto Memory Stick/SD/SDHC/SDXC/HXR-FMU128 (Optional)
#SONEXEA50UH
AG-AC130A / AG-AC160A
3-MOS HD Handheld Camcorders
3x 1/3, 2.2 MP CMOS sensor - 18-bit dsp
22x optical zoom lens
1080p 1080i 60/p30/p24 & 720p60
Three rings; Manual Zoom, Focus & Iris
Dual SD/SDHC/SDXC card slots
AVCHD & DV recording (SD) modes
AG-AC160A Step-up Features:
HD-SDI & LPCM audio recording
59.94 Hz / 50 Hz switchable
Slow/quick motion recording mode
#PAAGAC130A .................................... #PAAGAC160A ....................................
AG-HPX250 / AG-HPX255
3-MOS HD Handheld Camcorders
3x 1/3, 2.2 Mp CMOS sensor - 18-bit dsp
22x optical zoom lens
HD-SDI & HDMI output
59.94 Hz / 50 Hz switchable
Slow/quick motion recording mode
P2 card and DVCPRO mode recording
1080p 1080i 60/p30/p24 & 720p60
Three rings; Manual Zoom, Focus & Iris
AG-HPX255 Step-up Features:
Remote terminal for studio control
#PAAGHPX250 .................................... #PAAGHPX255 ....................................
PMW-100
XDCAM HD422 Handheld Camcorder
1/2.9" CMOS Sensor (1920 x 1080)
XDCAM 422 MPEG-2 Codec at 50 Mb/s
10x Zoom Lens - 40-400mm
(35mm Equiv)
3.5" LCD Screen (852 x 480 Pixels)
HD-SDI & HDMI Outputs
Dual XLR Inputs / Timecode
& Genlock I/O DVCAM Recording
Dual ExpressCard SxS Card Slots
Compatible with XDCAM Disc & EX Formats
#SOPMW100
XA20 / XA25
Professional HD Camcorder
1/2.84 HD CMOS sensor with RGB primary color filter
20x HD Zoom Lens 2 x SD/SDHC/SDXC card slots
with relay and dual recording
Canon Digic DV 4 image processor
Built-in Wi-Fi technology with FTP transfer
capability Optical image stabilization
3.5 LCD screen and color viewfinder
2 phantom-powered XLR audio inputs
Native 24p and slow- and fast motion recording
XA25 Step-up Features: HD/SD-SDI output Pre-record 3-sec. buffer
#CAXA20 ........................... $1,999.00 #CAXA25 ........................... $2,499.00
GY-HM600 / GY-HM650
ProHD ENG Camcorder
Three 1/3 (1920 x 1080)
12-Bit CMOS sensors
Dual SDXC/SDHC card slots,
dual-backup, continuous recording
MPEG-2 / AVCHD / H.264 Recording
23x Fujinon wide zoom lens
F11 Sensitivity Optical image stabilizer
3.5 LCD screen with focus assist HD-SDI and HDMI connections
GY-HM650 Step-up Features: WiFi with Apps for iOS/Android, Live
transmission (streaming), Secure FTP File upload via WiFi
#JVGYHM600U .................................... #JVGYHM650U ....................................
GY-HM70U
Shoulder Mount AVCHD Pro Camcorder
1/2.3" 12Mp CMOS image sensor 3" touch screen LCD and LCOS EVF
3.76-37.6mm f/1.2-2.8 JVC HD GT lens Optical image stabilization
10x optical zoom, 16x dynamic zoom
Records 28Mbps AVCHD 1080/60p
Dual snap-on battery system
enable hot swapping
Two SD/SDHC/SDXC
memory card slots
High frame rate, up to
300fps recording
#JVGYHM70U
FDR-AX100
4K Ultra HD Camcorder
1" Exmor R CMOS sensor
with direct pixel readout
XAVC S, AVCHD, and
MP4 recording options
4K ultra HD video at 30 fps
Zeiss Vario Sonnar T* Lens
0.39" OLED EVF
3.5" XtraFine LCD
Wi-Fi / NFC connectivity
Optical image stabilization
#SOFDRAX100
AG-AC160A
15
Mega
Pixels
12
Mega
Pixels
Videomaker 07-14 JN140366 2.indd 2 5/5/14 11:45 AM
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer General Lic. #0907906
Page 3
800-947-9925
212-444-5025
Fax:
212-239-7770
Store & Mail Order Hours:
Sunday 10-6 Mon.-Thurs. 9-7
Friday 9-1 EST / 9-2 DST
Saturday Closed
We Buy, Sell and Trade
Over 300,000 products,
at your leisure.
www.BandH.com
XF300 / XF305
3 CMOS Solid State HD Camcorder
Record HD 1080/720 onto
Compact Flash cards
50Mbps MPEG-2 4:2:2 recording
3 1/3" 2.37Mp CMOS sensors
18x Canon HD L series lens
DIGIC DV III image processor
4" 1.23 Mp LCD monitor
1.55 Mp Color EVF
Over and under crank
XF305 Step-up Features: HD-SDI Output, Genlock & SMPTE Time Code
#CAXF300 ..........................$4,999.00 #CAXF305 .......................... $5,999.00
EOS C100
EF Cinema Camcorder
Super 35mm 8.3MP CMOS sensor
Canon EF mount with EF contacts
Dual SDHC/SDXC memory card slots
Exceptional low light sensitivity
and wide dynamic range
Dual XLR audio connectors
DIGIC DV III image processor
Full manual control and focusing aids
Multiple recording modes and frame rates
High resolution EVF and integrated LCD screen
#CAC100EF
AG-AF100A
Digital Cinema Camera
Large 4/3-type MOS sensor
Micro four thirds lens mount
Uses still & cinema lenses
Two SDHC/SDXC memory card
slots(Relay Recording)
AVCCAM Recording
1080i/p, 720p variable
frame rates
Optical low-pass filter
HD-SDI, HDMI output, Dual XLR
#PAAGAF100A
FDR-AX1/PXW-Z100
Digital 4K Camcorder
1/2.3" back-illuminated Exmor R
CMOS Sensor 3.5" LCD screen
Dual XQD Memory Card slot
Records 4K video resolutions
(Up to 3840x2160 60P/50P)
20x Sony G-Series zoom lens
Records in 2K and 4K: 60p, 50p, 30p, 25p, 24p
Video format XAVC S format, MPEG4-AVC/H264 XLR audio Input
PXW-Z100 Step-up Features: 4K XAVC Intra 422 MXF
3G-SDI Slow & Quick Wi-Fi Remote
#SOFDRAX1 ..........................$4,499.00 #SOPXWZ100 .......................$5,499.00
NEX-VG30
Interchangeable Lens HD Camcorder and Lens
16.1MP Exmor APS-C HD CMOS sensor
Includes E-mount f/3.5-6.3 18-200mm
OSS zoom lens A-Mount capable
with optional A-mount lens adapter
XGA OLED electronic viewfinder
Direct power zoom with
variable zoom speed control
Optical SteadyShot image stabilization
Comprehensive manual controls expanded focus, zebra, and peaking
Quad Capsule Spatial Array Surround mic (5.1 channel) Mic/Headphone jacks
#SONEXVG30H
NEX-VG900
35mm Full-Frame Interchangeable Lens Camcorder
24.3MP full-frame 35mm Exmor CMOS HD sensor
E-Mount, and A-Mount with includes
LA-EA3 A-mount lens adapter
1080/60i/60p/24p Quad capsule
microphone with XLR option
Tru-Finder OLED viewfinder
with eye sensor 3.0" LCD screen
Uncompressed 1080 HDMI Output
Memory Stick PRO Duo/PRO-HG Duo, SD/SDHC/SDXC
Cinematone Gamma with comprehensive manual control
#SONEXVG900

Pocket Cinema Camera
Active Micro Four Thirds Lens Mount
Super 16mm Sized Image Sensor
Apple ProRes 422 (HQ) at 220 Mbps
3.5 LCD with 800x480 Resolution
Uses SDXC and SDHC Memory Cards
EN-EL20 Compatible Rechargeable Battery
HDMI, LANC, 3.5mm Audio Input and Output
Records Full HD 1920x1080 CinemaDNG RAW
Portable Design (5" Long & 12.5 oz) 13 Stops of Dynamic Range
#BLPKCINECAM
EOS C300
Cinema EOS/PL Camcorder Body
Super 35mm CMOS sensor
Dual CF card slots
Multiple recording formats
HD-SDI, HDMI, XLR audio
Canon DIGIC DV III image processor
Timecode I/O, Genlock in & Sync out
50 Mbps MPEG-2 EF or PL lens mount
Canon XF Codec - 4:2:2 color sampling
High-resolution VF and 4", 1.23 MP LCD
High-Speed, Slow-Motion, Time-Lapse and Stop-Motion
#CAC300EF........................................... #CAC300PL ..........................................
PMW-300
3 CMOS XDCAM HD Camcorder
3x 1/2" Exmor HD CMOS sensors
14x Fujinon HD Series lens
50Mb/s HD recording at MPEG HD422
Interchangeable EX lens mount
HD-SD/SDI and HDMI outputs
Record to SxS, SD, Memory Stick,
& XQD cards Semi-shoulder style
camcorder 3.5" color LCD viewfinder
Advanced signal processing
Timecode and genlock interfaces Optional wireless adapter
#SOPMW300K1 ................. $7,999.00
PMW-F5 / PMW-F55
CineAlta Digital Cinema Cameras
8.9MP Super 35mm CMOS Image Sensor
2K and HD Recording
Highly Modular Design
SxS Pro+ media cards
Dynamic Range Rated at 14 Stops
Native FZ-Mount and PL-Mount Adapter
Olivine Lithium Iron Phosphate Batteries
Optional AXS-R5 docking recorder enables
4K and 2K resolution video recording in 16-bit RAW
PMW-F55 Step-up Features: 4K /2K /HD Recording
#SOPMWF5 ...................... $16,490.00 #SOPMWF55 ....................$28,990.00
PMW-200
XDCAM HD422 Camcorder
Three 1/2" Exmor CMOS sensors
MPEG HD422 at 50 Mbps recording
HD422 1080p at 24 & 30 fps HD422
720p at 24, 30 & 60 fps Fujinon
14x zoom (servo/manual) lens
Dual SxS memory card slots
Four Channels of 16-bit audio
Supports MXF and XDCAM EX
workflows Articulated 3.5" LCD screen
Timecode & Genlock input Cache recording Up to 15 seconds
#SOPMW200 .....................$6,299.00
Cinema 2.5K / Production 4K
Cinema Interchangable Lens Cameras with EF Mount
Canon EF and Zeiss ZE mount compatible lens mount
2.5K image sensor 12-bit RAW, ProRes,
DNxHD, and CinemaDNG RAW formats
Super wide dynamic range 5" display size
Variable frame rate recording
Records to removable 5 SSD drives
SDI video output and Thunderbolt Port
Includes DaVinci Resolve and UltraScope
Uncompressed and compressed recording
Production 4K Step-up Features: 4K super 35mm sensor
#BLCINECAM....................................... #BLPRODCAM4K .................................
16
Mega
Pixels
Lens not included
Lens not included
Lens not
included
Lens not
included
24
Mega
Pixels
Lens not included
Lens not included
Videomaker 07-14 JN140366.indd 3 4/28/14 3:32 PM
FullPageAD_NEWTemplate.indd 46 5/12/2014 3:08:07 PM
Prices, specifcations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
Page 2
When in New York,
Visit our SuperStore
420 Ninth Ave.
Corner of 34th Street
New York, N.Y. 10001
Over 70,000 square feet
of the latest gear
The most knowledgeable
Sales Professionals
Hands-on demos
Convenient free parking
available
BandH.com/catalog
212-444-6633
HXR-NX5U
3-CMOS NXCAM Flash Memory Camcorder
Three 1/3 Exmor CMOS sensors, with a ClearVid array
Capture uses Memory Stick PRO Duo /
SDHC Cards, with relay record
capability (optional HXR-FMU128
flash memory unit)
20x wide G series lens
HD-SDI & HDMI output, SMPTE
Time Code in/out, Dual XLR inputs
Built-in GPS system
3.2 Xtra Fine LCD
#SOHXRNX5U
XF100 / XF105
HD Professional CF Camcorders
1/3" CMOS 1920 x 1080 CMOS sensor
Dual CF card slots
50Mbps MPEG-2 recording
Canon's MPEG-2 4:2:2 color sampling
60p/60i, 30p, 24p MXF File Format
10x HD zoom lens
3.5" 920K dot LCD monitor
Stereoscopic 3-D recording capabilities
Dual XLR inputs Waveform Monitor
XF105 Step-up Features: HD/SD-SDI, SMPTE Time Code, Genlock
#CAXF100 .......................... $2,499.00 #CAXF105 ..........................$2,999.00
AG-AC90
AVCCAM Handheld Camcorder
Three 1/4.7" HD 2.19MP CMOS back
illuminated sensors 1920x1080 native with
variable 60p, 60i, 30p and 24p frame rates
Five-Axis optical image stabilization
Dual SD Memory Card Slots
12x zoom (f/1.5) and 25x digital zoom lens
3.5" LCD screen & LCOS color viewfinder
Six scene presets, and seven programmable user buttons
Interval Record, Pre-Record, Record Check, Last Clip Delete
AVCCAM HD Recording Modes Two-Channel XLR Audio Inputs
#PAAGAC90
XA10
Professional HD Solid State Camcorder
64GB Internal and Dual SDHC/SDXC
card slots with relay recording
1920 x 1080 CMOS Image Sensor
Canon 10x HD Video Lens
8-Blade Iris and Manual Focus Ring
DIGIC DV III Image Processor
24Mbps Recording (AVCHD)
3.5" High-resolution touch panel
LCD and EVF
Dual XLR terminals
#CAXA10 ........................... $1,499.00
NEX-EA50UH
HD Shoulder Mount Interchangeable Lens Camcorder
Exmor APS-C CMOS sensor (AVCHD /
MPEG2-SD) Add lenses without
being locked on a lens brand or lens mount
Supplied 18-200 servo power zoom
E-mount interchangeable lens system
Use Alpha A-mount lenses with
15point phase detection AF
Mechanical shutter Still Picture
3.5LCD Panel Records on media card and FMU128 Simultaneously
Record onto Memory Stick/SD/SDHC/SDXC/HXR-FMU128 (Optional)
#SONEXEA50UH
AG-AC130A / AG-AC160A
3-MOS HD Handheld Camcorders
3x 1/3, 2.2 MP CMOS sensor - 18-bit dsp
22x optical zoom lens
1080p 1080i 60/p30/p24 & 720p60
Three rings; Manual Zoom, Focus & Iris
Dual SD/SDHC/SDXC card slots
AVCHD & DV recording (SD) modes
AG-AC160A Step-up Features:
HD-SDI & LPCM audio recording
59.94 Hz / 50 Hz switchable
Slow/quick motion recording mode
#PAAGAC130A .................................... #PAAGAC160A ....................................
AG-HPX250 / AG-HPX255
3-MOS HD Handheld Camcorders
3x 1/3, 2.2 Mp CMOS sensor - 18-bit dsp
22x optical zoom lens
HD-SDI & HDMI output
59.94 Hz / 50 Hz switchable
Slow/quick motion recording mode
P2 card and DVCPRO mode recording
1080p 1080i 60/p30/p24 & 720p60
Three rings; Manual Zoom, Focus & Iris
AG-HPX255 Step-up Features:
Remote terminal for studio control
#PAAGHPX250 .................................... #PAAGHPX255 ....................................
PMW-100
XDCAM HD422 Handheld Camcorder
1/2.9" CMOS Sensor (1920 x 1080)
XDCAM 422 MPEG-2 Codec at 50 Mb/s
10x Zoom Lens - 40-400mm
(35mm Equiv)
3.5" LCD Screen (852 x 480 Pixels)
HD-SDI & HDMI Outputs
Dual XLR Inputs / Timecode
& Genlock I/O DVCAM Recording
Dual ExpressCard SxS Card Slots
Compatible with XDCAM Disc & EX Formats
#SOPMW100
XA20 / XA25
Professional HD Camcorder
1/2.84 HD CMOS sensor with RGB primary color filter
20x HD Zoom Lens 2 x SD/SDHC/SDXC card slots
with relay and dual recording
Canon Digic DV 4 image processor
Built-in Wi-Fi technology with FTP transfer
capability Optical image stabilization
3.5 LCD screen and color viewfinder
2 phantom-powered XLR audio inputs
Native 24p and slow- and fast motion recording
XA25 Step-up Features: HD/SD-SDI output Pre-record 3-sec. buffer
#CAXA20 ........................... $1,999.00 #CAXA25 ........................... $2,499.00
GY-HM600 / GY-HM650
ProHD ENG Camcorder
Three 1/3 (1920 x 1080)
12-Bit CMOS sensors
Dual SDXC/SDHC card slots,
dual-backup, continuous recording
MPEG-2 / AVCHD / H.264 Recording
23x Fujinon wide zoom lens
F11 Sensitivity Optical image stabilizer
3.5 LCD screen with focus assist HD-SDI and HDMI connections
GY-HM650 Step-up Features: WiFi with Apps for iOS/Android, Live
transmission (streaming), Secure FTP File upload via WiFi
#JVGYHM600U .................................... #JVGYHM650U ....................................
GY-HM70U
Shoulder Mount AVCHD Pro Camcorder
1/2.3" 12Mp CMOS image sensor 3" touch screen LCD and LCOS EVF
3.76-37.6mm f/1.2-2.8 JVC HD GT lens Optical image stabilization
10x optical zoom, 16x dynamic zoom
Records 28Mbps AVCHD 1080/60p
Dual snap-on battery system
enable hot swapping
Two SD/SDHC/SDXC
memory card slots
High frame rate, up to
300fps recording
#JVGYHM70U
FDR-AX100
4K Ultra HD Camcorder
1" Exmor R CMOS sensor
with direct pixel readout
XAVC S, AVCHD, and
MP4 recording options
4K ultra HD video at 30 fps
Zeiss Vario Sonnar T* Lens
0.39" OLED EVF
3.5" XtraFine LCD
Wi-Fi / NFC connectivity
Optical image stabilization
#SOFDRAX100
AG-AC160A
15
Mega
Pixels
12
Mega
Pixels
Videomaker 07-14 JN140366 2.indd 2 5/5/14 11:45 AM
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer General Lic. #0907906
Page 3
800-947-9925
212-444-5025
Fax:
212-239-7770
Store & Mail Order Hours:
Sunday 10-6 Mon.-Thurs. 9-7
Friday 9-1 EST / 9-2 DST
Saturday Closed
We Buy, Sell and Trade
Over 300,000 products,
at your leisure.
www.BandH.com
XF300 / XF305
3 CMOS Solid State HD Camcorder
Record HD 1080/720 onto
Compact Flash cards
50Mbps MPEG-2 4:2:2 recording
3 1/3" 2.37Mp CMOS sensors
18x Canon HD L series lens
DIGIC DV III image processor
4" 1.23 Mp LCD monitor
1.55 Mp Color EVF
Over and under crank
XF305 Step-up Features: HD-SDI Output, Genlock & SMPTE Time Code
#CAXF300 ..........................$4,999.00 #CAXF305 .......................... $5,999.00
EOS C100
EF Cinema Camcorder
Super 35mm 8.3MP CMOS sensor
Canon EF mount with EF contacts
Dual SDHC/SDXC memory card slots
Exceptional low light sensitivity
and wide dynamic range
Dual XLR audio connectors
DIGIC DV III image processor
Full manual control and focusing aids
Multiple recording modes and frame rates
High resolution EVF and integrated LCD screen
#CAC100EF
AG-AF100A
Digital Cinema Camera
Large 4/3-type MOS sensor
Micro four thirds lens mount
Uses still & cinema lenses
Two SDHC/SDXC memory card
slots(Relay Recording)
AVCCAM Recording
1080i/p, 720p variable
frame rates
Optical low-pass filter
HD-SDI, HDMI output, Dual XLR
#PAAGAF100A
FDR-AX1/PXW-Z100
Digital 4K Camcorder
1/2.3" back-illuminated Exmor R
CMOS Sensor 3.5" LCD screen
Dual XQD Memory Card slot
Records 4K video resolutions
(Up to 3840x2160 60P/50P)
20x Sony G-Series zoom lens
Records in 2K and 4K: 60p, 50p, 30p, 25p, 24p
Video format XAVC S format, MPEG4-AVC/H264 XLR audio Input
PXW-Z100 Step-up Features: 4K XAVC Intra 422 MXF
3G-SDI Slow & Quick Wi-Fi Remote
#SOFDRAX1 ..........................$4,499.00 #SOPXWZ100 .......................$5,499.00
NEX-VG30
Interchangeable Lens HD Camcorder and Lens
16.1MP Exmor APS-C HD CMOS sensor
Includes E-mount f/3.5-6.3 18-200mm
OSS zoom lens A-Mount capable
with optional A-mount lens adapter
XGA OLED electronic viewfinder
Direct power zoom with
variable zoom speed control
Optical SteadyShot image stabilization
Comprehensive manual controls expanded focus, zebra, and peaking
Quad Capsule Spatial Array Surround mic (5.1 channel) Mic/Headphone jacks
#SONEXVG30H
NEX-VG900
35mm Full-Frame Interchangeable Lens Camcorder
24.3MP full-frame 35mm Exmor CMOS HD sensor
E-Mount, and A-Mount with includes
LA-EA3 A-mount lens adapter
1080/60i/60p/24p Quad capsule
microphone with XLR option
Tru-Finder OLED viewfinder
with eye sensor 3.0" LCD screen
Uncompressed 1080 HDMI Output
Memory Stick PRO Duo/PRO-HG Duo, SD/SDHC/SDXC
Cinematone Gamma with comprehensive manual control
#SONEXVG900

Pocket Cinema Camera
Active Micro Four Thirds Lens Mount
Super 16mm Sized Image Sensor
Apple ProRes 422 (HQ) at 220 Mbps
3.5 LCD with 800x480 Resolution
Uses SDXC and SDHC Memory Cards
EN-EL20 Compatible Rechargeable Battery
HDMI, LANC, 3.5mm Audio Input and Output
Records Full HD 1920x1080 CinemaDNG RAW
Portable Design (5" Long & 12.5 oz) 13 Stops of Dynamic Range
#BLPKCINECAM
EOS C300
Cinema EOS/PL Camcorder Body
Super 35mm CMOS sensor
Dual CF card slots
Multiple recording formats
HD-SDI, HDMI, XLR audio
Canon DIGIC DV III image processor
Timecode I/O, Genlock in & Sync out
50 Mbps MPEG-2 EF or PL lens mount
Canon XF Codec - 4:2:2 color sampling
High-resolution VF and 4", 1.23 MP LCD
High-Speed, Slow-Motion, Time-Lapse and Stop-Motion
#CAC300EF........................................... #CAC300PL ..........................................
PMW-300
3 CMOS XDCAM HD Camcorder
3x 1/2" Exmor HD CMOS sensors
14x Fujinon HD Series lens
50Mb/s HD recording at MPEG HD422
Interchangeable EX lens mount
HD-SD/SDI and HDMI outputs
Record to SxS, SD, Memory Stick,
& XQD cards Semi-shoulder style
camcorder 3.5" color LCD viewfinder
Advanced signal processing
Timecode and genlock interfaces Optional wireless adapter
#SOPMW300K1 ................. $7,999.00
PMW-F5 / PMW-F55
CineAlta Digital Cinema Cameras
8.9MP Super 35mm CMOS Image Sensor
2K and HD Recording
Highly Modular Design
SxS Pro+ media cards
Dynamic Range Rated at 14 Stops
Native FZ-Mount and PL-Mount Adapter
Olivine Lithium Iron Phosphate Batteries
Optional AXS-R5 docking recorder enables
4K and 2K resolution video recording in 16-bit RAW
PMW-F55 Step-up Features: 4K /2K /HD Recording
#SOPMWF5 ...................... $16,490.00 #SOPMWF55 ....................$28,990.00
PMW-200
XDCAM HD422 Camcorder
Three 1/2" Exmor CMOS sensors
MPEG HD422 at 50 Mbps recording
HD422 1080p at 24 & 30 fps HD422
720p at 24, 30 & 60 fps Fujinon
14x zoom (servo/manual) lens
Dual SxS memory card slots
Four Channels of 16-bit audio
Supports MXF and XDCAM EX
workflows Articulated 3.5" LCD screen
Timecode & Genlock input Cache recording Up to 15 seconds
#SOPMW200 .....................$6,299.00
Cinema 2.5K / Production 4K
Cinema Interchangable Lens Cameras with EF Mount
Canon EF and Zeiss ZE mount compatible lens mount
2.5K image sensor 12-bit RAW, ProRes,
DNxHD, and CinemaDNG RAW formats
Super wide dynamic range 5" display size
Variable frame rate recording
Records to removable 5 SSD drives
SDI video output and Thunderbolt Port
Includes DaVinci Resolve and UltraScope
Uncompressed and compressed recording
Production 4K Step-up Features: 4K super 35mm sensor
#BLCINECAM....................................... #BLPRODCAM4K .................................
16
Mega
Pixels
Lens not included
Lens not included
Lens not
included
Lens not
included
24
Mega
Pixels
Lens not included
Lens not included
Videomaker 07-14 JN140366.indd 3 4/28/14 3:32 PM
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DISTRIBUTION

VI DEOMAKER >>> J ULY 201 4
48
ing video content has taken center
stage. Videomaker talked with some
of the brightest minds in the industry
to deliver the insights and resources
you need to help make this often
overlooked element of business, a
prot center for you moving forward.
But before we can forge ahead, we
must revisit the foundation of video
distribution and the evolution of
moving movies.
Ghosts of Video Distribution Past
A quick look back at the history of
video distribution dates back to the
days of analog media. Celluloid plastics
and lm gave way to magnetic tape,
which begot VHS, Beta, MiniDV and
others. Large and small, tapes ew out
of production houses and producers
edit bays like hotcakes. However, the
cost of capital equipment like tape
decks, duplication and transferring
machines, coupled with packaging and
shipping fees made the cost of produc-
ing professional videos very expensive.
As technology evolved to a digital
platform, DVDs and ash drives proved
to be incredibly cost effective to dub.
These require very few resources on
the capital equipment front. Other than
perhaps a DVD burner or increased
RAM for your computer, this allows
producers to turn out copies of content
exponentially faster. Better yet, video
producers can bill clients for the time
it takes to duplicate and render the
content, which serves as easy money
while the computer and capital equip-
ment do much of the work.
The Enterprise of Distribution
As access to expanded bandwidth
increased for small business owners,
the ability to transmit large les from
creator to customer over Web server
and cloud-based connections became
affordable, efcient and expeditious.
Simply uploading les to private serv-
ers or video hosting sites like Vimeo
and YouTube meant that the videos
were accessible in near real-time. Vid-
eo distribution has become something
of Star Trekian ction, giving content
producers the ability to beam up a
le, then have it re-materialize itself in
another part of the world. The speed
at which producers can share video
content today would make Captain
Kirk and Spock blush.
Options-a-Plenty
Creative agencies are often tasked
with developing memorable video
Weve all heard the saying, If a tree
falls in the forest, does it make a sound?
Much the same way, if a video is pro-
duced but isnt delivered to its intended
audience, does it gain views? Without
a proper video distribution network in
place, video producers are leaving both
money and credibility on the shelf.
While the ghosts of video distri-
bution past may linger in edit bays
around the world, a new way of shar-
Technology has proceeded to
faster, more efficient means of
delivering video, while producers
can earn extra income by sharing
their content.
By Da v e Sn i a d a k
Boost Your Distribution Bottom Line
Today, distribution at all levels happens
primarily via the Internet. Whether its
home movies or motion pictures, theres
little reason to ship product offline.
326 C12 Distribution.indd 48 5/20/2014 10:06:09 AM
DISTRIBUTION

DISTRIBUTION JULY 2014
VI DEOMAKER >>> J ULY 201 4
49
content that captures the essence of a brand,
company or non-prot organization. What
helps separate the great creative agencies from
mediocrity is knowing the right paths of video
distribution. Knowing how to get a video in
front of the intended audience, on a variety of
platforms, on every device, landlocked or mo-
bile, is crucial. If a video isnt going to work on
a device, thats a problem.
The biggest challenge is getting content
out in a format that my clients can use, said
Steve Sliker, who created Pivotal Media, a pro-
duction company in Mesa, Ariz. Its certainly
gotten better. Sending digital les or links
from video sharing websites make it easier to
cater to our clients.
Leah Teravskis, a digital content producer
who has worked with several creative agencies,
explained that traditional social media channels
offer just the rst step in sharing content.
Sites like YouTube, Vimeo, and to an extent,
Facebook and Twitter, allow us to start the
spread of digital content. But its the le sharing
apps like Egnyte, Hightail, ShareFile and count-
less others that make le delivery so much easier.
Once the les are sent off to clients, broad-
casters, and bloggers, getting your content
opened and exposed to your audience is the next
challenge. Dan Ingvoldstad, a vice president at
TalkPoint, says that Web based video distribution
offers an element of monitoring that snail mail of
hard media could never deliver.
Video production is easier and less expen-
sive than ever, said Ingvoldstad, Cloud-based
services for live and on-demand streaming are
everywhere and offer a no barrier entry for
video producers to share their content.
By Da v e Sn i a d a k
Boost Your Distribution Bottom Line
THE BIGGEST CHALLENGE IS
GETTING CONTENT OUT IN A
FORMAT THAT CLIENTS CAN USE.
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COMI NG S UMME R 2 0 1 4
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DISTRIBUTION JULY 2014
VI DEOMAKER >>> J ULY 201 4
50
Ingvoldstad added that digital video distribu-
tion systems that offer tracking and measurement
boost the effectiveness of the content video pro-
ducers are sending out.
YouTube is a quick and easy solution to share
your content. Companies that are looking to
graduate beyond YouTube are usually looking for
a return-on-investment, so they collect registra-
tion data from their audience. This allows content
creators to see who is actually watching and offer
an opportunity to engage with them.
Understanding Your Video Distribution
Service
Moving massive amounts of media over the
Internet may look simple to the untrained eye,
but understanding how digital distribution
works is as simple as knowing the three types
of distribution methods: Progressive download,
streaming, and universal delivery systems.
Progressive Download, without getting tre-
mendously technical, offers a Web server based
playback format that calls up a video le from
a singular server location. When a Web viewer
lands on a progressive download video le, the
content is temporarily downloaded onto the
requestors computer and plays as much of the
content as the server can cache at that particu-
lar time. This is ideal for shorter videos that
offer minimal play control for the viewer.
Streaming Content allows viewers to watch a
video without having to actually cache the le. An
easy way to understand streaming content is to
imagine your computer or mobile device opening
a window, which then receives a breeze of data
from a streaming Web server. Your computer
never caches content, never downloads the video
les and offers play control of the content.
Universal Delivery Systems leverage the best
of both distribution methods by combining
progressive download with streaming content
technology. Universal delivery systems allow
producers to utilize cloud-based video play-
ers, while also offering progressive download
content. When a download is required, your
computer will pull down the content from the
Web server and cache it. When thats not nec-
essary, the video content will blow through like
a calm spring breeze.
However you plan to deliver your content,
ensuring you have the horsepower to handle
the project is incredibly important. Whether
youre working on a Dell Precision T7600
Workstation, MacBook Pro, or HP Z1 G2 Work-
station, youre going to need a lot of RAM. With
that capital equipment upgrade comes a lofty
price tag, so ensure you have a way to pay
down those costs.
Cashing in on Video Distribution
Having a general knowledge of how a video dis-
tribution system works is one thing, but to the
average video producer, its nothing more than
tech talk. There is certainly money to be made
by sharing your video content with the masses.
Shutterstock, Pond5 and Videoblocks all accept work from
independent video producers. These stock footage sites
may be a profitable distribution opportunity. Shutterstock,
Pond5 and Videoblocks all accept work from independent
video producers. These stock footage sites may be a
profitable distribution opportunity.
326 C12 Distribution.indd 50 5/20/2014 10:06:29 AM
DISTRIBUTION
VI DEOMAKER >>> J ULY 201 4
51
Dave Sniadak serves as the director of visual commu-
nications for a marketing agency that caters to several
Fortune 500 organizations. Above all else, however, hes
the proud papa of two young, aspiring video producers.
For comments, email: editor@videomaker.com, use article
#17033 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17033
Websites like Shutterstock, Pond5 and
Video Blocks each have contributing
video producers looking to cash in on
their stock footage.
Were constantly looking to im-
prove and expand our collection, De-
rick Rhodes, video content producer
for Shutterstock, told Videomaker.
[Shutterstock] footage has been
used recently in Hollywood produc-
tions like Anchorman 2: The Legend
Continues, Thor: The Dark World and
The Walking Dead.
Needless to say, if you have good
content, stock sites and video produc-
ers around the globe are looking for it.
Rhodes added that if youre a video
producer looking to cash in on your cre-
ative content, make sure its compelling.
Shutterstock is the ideal outlet for
lmmakers and videographers who
shoot usable, commercial content.
Shoot what you know, learn from
other publishers on our site, and get
inspiration.
Sharing is Caring
At the end of the day, video producers
and viewers alike, want to consume
content that moves them. How you
move that content is totally up to you.
Whether youre old fashioned and
prefer burning DVDs, or youre in-
novative and beam up all your content
into the clouds, and preparing mobile
versions of your video, make sure you
utilize the technology you have at your
disposal. Unless your business can jus-
tify the investment in equipment, stick
with what you know.
My clients like to know that I get
them their content in the most expe-
ditious way possible, notes Teravas-
kis, If I can make a little extra money
by distributing the leftovers to cover
our capital equipment expenses,
thats even better.
FullPageAD_NEWTemplate.indd 48 4/21/2014 11:55:51 AM
Learn the craft of
cinematography
and editing with
critiques of
iconic Hollywood
scenes by the
masters of cinema
Videomakers newest series will have you analyzing and critiquing the most
iconic scenes in cinema history until youre doing it in your sleep. Learn from
the cinematic masters and study their techniques so that you can apply
them to your next video project. Learn more at: videomaker.com/masters.
videomaker.com/masters
326 C12 Distribution.indd 51 5/20/2014 10:06:40 AM
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EDITING
VI DEOMAKER >>> J ULY 201 4
52
Theres a buffet line of video
codecs and digital formats to pick
and choose from. Video transcod-
ing and video encoding are two
post-production processes that
always work their way through the
digital smorgasbord.
editing program and post-production
workow. Some les are heavily
compressed in camera, such as those
compressed as MP4s or with H.264
compression. These type of les
havent always played well inside of
the various editing applications used
in most edit suites. Video transcoding
repackages these les into a format
the works well within the video edi-
tors workow. The large le formats
produced by digital cinema cameras,
when cut up and weighed down with
multiple effects inside a video editing
program, are often too big play in
real-time. Video transcoding allows
the video editor to work with reason-
ably sized media that lets them work
efciently in real-time.
There are advantages and disad-
vantages to video transcoding. The
obvious advantages are that video
transcoding allows the video editing
process to happen efciently with
the video editor working in real-time.
Its important to understand the
disadvantages that come along with
transcoding. One disadvantage is the
additional step transcoding adds to
the workow, extending the amount
Video transcoding and video encod-
ing are often synonymous, one for
the other. The difference lies in the
function, or better yet, the reason
why video les are converted during
video editing. The large le formats
of todays cameras and the multiple
options for video delivery necessitate
that the video editor know how and
when to transcode and encode.
Whats the difference?
Video transcoding and video encoding
both involve the process of reformat-
ting video les from one le type, or
codec, into another le type. It can
also involve keeping the le type the
same but recompressing it with a dif-
ferent codec. Either way, transcoding
and encoding involve the same basic
principles. To better understand the
purpose of the two separate processes
and how they function, video trans-
coding and video encoding will be
referred to as two different processes
in this article. Video transcoding
normally takes place at the beginning
of the video post-production pro-
cess, whereas video encoding nor-
mally happens at the end of the video
post-production process as les are
prepared for delivery.
Video Transcoding
Video transcoding is the process of
changing les to make them more us-
able and efcient for an editors video
Encoding and Transcoding
b y Ch r i s Ac e Ga t e s
of time a project is in video post-
production. Another disadvantage is
the risk of quality. Anytime a video
le is changed from one format into
another, it runs the risk of degrading
the visual quality of the footage. This
is because a le is usually reduced in
size during video transcoding, the de-
crease in size is because of data com-
pression. If the size of a le is reduced
too much, there is visible reduction to
information in the le and compres-
sion artifacts become noticeable.
Some video editing programs such
as Avid Media Composer and Apple
Final Cut Pro have built in video
transcoding capabilities. Video editors
are able to transcode footage upon
ingest. There are stand-alone options
out there for video transcoding and
sometimes these options are neces-
sary. HandBrake is a stand-alone open
source video transcoding program
that is very useful when dealing with
several uncommon video le types.
Adobe Prelude is a bundled applica-
tion that is part of the Adobe Creative
Cloud, its purpose is to ingest and
prepare les for post-production
inside of the Adobe workow. Part of
326 C3 Editing.indd 52 5/20/2014 10:08:57 AM
EDITING
EDITING JULY 2014
VI DEOMAKER >>> J ULY 201 4
53
the preparation is transcoding. Video editors
can predetermine the le format they want to
work with and have Adobe Prelude batch the
transcoding process. Many of these transcod-
ing programs allow the user to set up templates.
Templates are predetermined transcoding specs
that can be applied to a large batch of les. This
saves the video editor from having to go through
and select the transcoding specications for
each individual clip.
Although transcoding adds another step
to the workow, it also gives video editors an
opportunity to organize their footage in a way
that suits their video editing needs. By using
transcoding software and setting up templates
to batch process a folder of les, the video
editor can easily rename each clip and tag the
clips with metadata. Renaming clips helps the
video editor easily identify footage and what
project its associated with. Metadata is extrane-
ous information that stays with and describes
a specic le. Video editors use this data to
HandBrake isnt as feature-rich as most other encoding applications, but you cant
beat the price free!
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EDITING JULY 2014
Adobe Media Encoder
encodes several files,
using the presets
of your choice, from
a single Premiere
timeline.
VI DEOMAKER >>> J ULY 201 4
54
collect, search, and sort les from various
projects and sources. Many programs, whether
a video editing program or stand-alone trans-
coding program, give you the ability to create
metadata templates to use when transcoding
footage. Useful metadata will tell when the
video clip was shot, what production or project
it belongs to, the location of the shoot, and the
content of the shot.
Video Encoding
Video encoding works the same way as video
transcoding, but it takes place at the end of the
post-production process when les are being
prepared for delivery and archiving purposes.
Audiences experience video on multiple plat-
forms, such as online, DVD, Blu-ray, and on
mobile devices. A video editor needs to deliver
les that will play on the platforms outlined by
their client. Often times this means video editors
prepare multiple versions of the same video.
This is when a sound knowledge of video encod-
ing comes in handy.
Most video editing programs allow video
editors multiple options for encoding their
projects for output. If video editors were to sit
through each output, and set up each indi-
vidual and subsequent render, they would
spend a lot of time in the edit bay waiting upon
renders. Stand-alone video encoding applica-
tions such as Adobe Media Encoder and Apples
ENLIGHTENED WORKFLOW
(or, How Video Transcoding and Video Encoding Make Video Editing Easier)
Ingest
The source footage is dropped into a watch folder on the video editors computer. A stand-alone video transcoding applica-
tion sees the new batch of files and automatically starts to process it. It makes and saves multiple copies of each file. One
copy is in a high quality intermediate codec, ideal for video editing. This copy also has embedded metadata that was set up
as a template by the video editor who wanted every clip to be tagged with information about the production it was a part of.
A second copy is also transcoded and saved to a separate location. This second batch of copies is a much smaller file, ideal
for sharing online, The transcoding program uploads this footage to the client who is at a different location. This way the cli-
ent can review his or her footage and makes notes while the editor gets to work offline with the transcoded footage.
Video Editing
The video editor is able to sort and organize the footage for this project by searching through clips using the embedded
metadata. During the editing process the clients phone in and tell the editor which clips they liked and really want to see in
the final product.
Finishing
The video editor has finished the offline edit. He or she uses an XML of the offline edit to conform the source footage. The
conformed online edit is color graded and encoded at full resolution.
Video Encoding
The video editor takes the full resolution completed video and sets it up for video encoding. The video editor uses a batch
process of output templates he or she has set up in a video encoding program. The stand-alone encoder renders out mul-
tiple copies of the finished video at various sizes for use on multiple viewing platforms.
Over 700 Brands
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To Capture The Moment
Call 800-356-5844
or visit fullcompass.com
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Call a
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Today! Request your FREE
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Follow Us
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EDITING JULY 2014
VI DEOMAKER >>> J ULY 201 4
55
Take Out or Delivery
There are a lot of options for video transcoding
and video encoding. These options can be a lot
to swallow and make up a veritable menu of
digital outputs. Like any good menu, theres sure
to be something on the list that will please even
the most nicky diner. Video transcoding and
encoding are two steps of the post-production
workow that make it much easier to work with
the vast number of formats and cameras of
video production. They allow editors to prepare
les efciently and serve them up to the various
platforms that clients require. When video edi-
tors have looked over the menu in advance, and
know exactly what to order, they are bound to
satisfy the eclectic digital taste of the audience.
Chris Ace Gates is a four time Emmy Award-winning writer and
video producer.
For comments, email: editor@videomaker.com, use article #17053 in the
subject line. You can comment and rate this article by going online:
www.videomaker.com/article/10753
Compressor allow the user to batch process
their video encoding needs. These programs
offer multiple workow efciencies that are
useful when dealing with numerous les and
often run in the background, so the user can
get back to work on other projects while the
encoding takes place. Users can set up tem-
plates to create multiple renders of a single le
and distribute those renders to multiple save
locations. A unique but helpful feature of some
video encoders is their upload feature. The
program will upload, via FTP, an encoded le
once it is nished. Video encoding programs
save signicant amounts of time.
MANY PROGRAMS GIVE YOU THE
ABILITY TO CREATE METADATA
TEMPLATES.
Over 700 Brands
Low Prices
Fast Shipping
The Right Tools
To Capture The Moment
Call 800-356-5844
or visit fullcompass.com
Leading The Industry For Over 35 Years
Call a
Sales Pro
Today! Request your FREE
540-page catalog
Follow Us
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VI DEOMAKER >>> J ULY 201 4
56
The idea behind stock video foot-
age is to have readily accessible
art, video clips and pictures that
can quickly be used in a variety of
projects. While it's easy to see how
such things could save you time, not
everyone understands exactly how it
saves money.
Say you're working on a project that
calls for B-roll footage of a metro-
politan skyline, preferably in a bird's
eye view. Renting out a helicopter
and all the necessary camera equip-
ment to record footage (which will
only be used for a few seconds) isn't
very practical. Using stock video of
a skyline would make more sense,
and the cost of licensing video clips
would be far less than the rental costs
involved in shooting it yourself. The
same could be said for large explo-
sions, underwater shooting, or any
extreme shots.
Time vs. Money
The old adage time is money doesnt
always have to be taken literally, as
there are moments when your time is
worth more than the money you spend.
For example, you need footage of cars
driving on a highway, which is simple to
record without hurting your budget, but
Every video project you create es-
sentially boils down to two things:
budget and deadline. If youve made
the decision to turn video produc-
tion into your livelihood (or even
if youre thinking about it), nding
viable shortcuts to work around
these constraints is necessary. Using
stock video footage and templates
can maximize your time in a variety
of ways while also being friendly to
your budget. When used appropri-
ately they can elevate your projects
while offering the freedom to expand
your business.
Money Management
If there's one thing more important
than time in a project, it's money.
Budgets are a constant factor in any
video and need to be adhered to. Go-
ing over budget can negatively impact
a project's success and simultaneously
cost you future work from a client. In
this aspect, stock footage can be im-
mensely helpful as well.
PROFIT MAKING
The use of templates and stock
footage can help save you time and
money, maximizing your profit, if
youre willing to give them a chance
and use them appropriately.
b y J o r d a n Ma i s o n
Stock Footage and Templates
Shutterstock, iStock
and others have
a wide variety of
advanced search op-
tions to help you find
exactly what will fit.
Depending on what
you're looking for,
some sites can be
much easier to use
than others.
Title Title
Subtitle
Lower Thirds
326 C7 Profit Making.indd 56 5/20/2014 4:48:46 PM
PROFIT MAKING JULY 2014
VI DEOMAKER >>> J ULY 201 4
57
it will cost you time. You have to get to location, set
up equipment, record the footage and then pack
everything up. While that doesn't sound particu-
larly long, compared to the ve minutes (maybe) it
takes to drop stock video footage into your editing
timeline, it's an eon!
Recording something easy and simple might
be more cost effective than purchasing the stock
video footage, but the time saved could be far
more valuable. The hours spent recording B-roll
could have been used on other aspects of your
video. If your project calls for visual effects or
you've come up with a neat last minute idea,
you'll need enough time to complete them to
your satisfaction.
From a business standpoint you'll most
likely be working on more than one project at a
time. This means you cant always spend hours
recording footage (which may amount to a few
seconds) for one project. Your time is better uti-
lized multitasking on the rest of your business.
Being over budget means less prot, but cli-
ents wont return with more business if youre
turning things in late: balance is necessary. Ev-
ery project you do has different requirements,
meaning your need to save either money or
time will change and its up to you to determine
which is most important. As such, its vital that
you understand the needs of every project from
the beginning.
Templates and You
Graphic templates are another great way to save
yourself time, money and hassle on a project.
Templates exist for transitions, lower thirds
(i.e. titles youd see at the bottom of the screen
in documentaries or news), and opening title
sequences. Like stock footage, theyre pre-man-
ufactured elements you can quickly place into
your videos.
Even if your primary business revolves around
simple wedding videos, some degree of graphics
is always going to be necessary. They give your
videos a more professional look; elevating them
above the others out there. Templates can give
your projects a professional appearance even if
This cutaway of a
stock footage of
beach and surfboards
doesnt work because
the lighting is strik-
ingly different.
FINDING WHAT YOU NEED
Not all stock footage and templates are created equal, and if youve decided to use these amazing tools in your videos you
need to be discerning in your choices. The Internet is riddled with people selling stock footage and its important that you
know what youre getting before making that purchase.
Dont waste money on footage sight unseen. Going with a seller who offers video previews is always a bonus. This way
you can make sure the footage youre buying is what you actually need. The same holds true for graphics templates, but
with those, its also important to make sure youre buying templates you can manipulate. Itd be horrible to purchase a tem-
plate thats too complicated for you to figure out quickly, or your software simply cant take advantage of it.
If youre on the hunt for good stock footage, these are some good places for you to find them:
iStockphoto
Pond5
Shutterstock
Video Blocks
The bottom line here is that when it comes to stock footage, it pays to shop around and find exactly what you need and
build your library from there.
PROFIT MAKING
b y J o r d a n Ma i s o n
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PROFIT MAKING JULY 2014
VI DEOMAKER >>> J ULY 201 4
58
ADVERTISING INDEX
42nd Street Photo
________________
43
AJA Video Systems Inc.
___________
49
Atomos
__________________________
41
B&H Photo/Video & Pro Audio
___
45-47
Blackmagic Design
________________
3
Canon
___________________________
11
Dell Computer Corporation
________
C4
Eagle America Sales Corp.
_________
61
Full Compass Systems
____________
55
Glide Gear
_______________________
51
Glyph Tech Inc.
__________________
37
G-Technology Inc.
________________
15
Harborfreight
_____________________
59
JVC Professional Products
_________
C3
Kinoflo
__________________________
53
Libec Sales Of America
_____________
7
Litepanels (VITEC GROUP)
_________
C2
Primera Technology, Inc.
____________
9
VariZoom
________________________
27
VideoGuys
_______________________
39
Videomaker Instructional DVD
Deconstructing Cinematography
___
51
Videomaker Downloadable DVDs
___
61
Videomaker Subscription Alert
_____
20
Zoom North America
______________
21
326 VM Ad Index.indd 68 5/19/2014 1:58:36 PM
you lack the skills to generate your
own motion graphics.
Deciding on when to use templates
versus crafting them on your own is
the same as it is with stock footage:
what are the needs of the project?
Animating and rendering a motion
graphic takes time, and if youre
staring down a deadline, but need
something to push your video above
its current quality, using a graphic
template is a great idea.
If you choose to go the template
route, there are some great places
to buy them from with a variety of
choices to t nearly any need you
have:
VideoHive
MotionVFX
aescripts + aeplugins
motion graphics eXchange
Template Digital
One more note when using tem-
plates is to proof your work. This is
especially apparent with text since
placeholders are very helpful. It's
great to know what should be writ-
ten where, and have the font, size and
other parameters set. But it's down-
right embarrassing if, in your nal
product, you name someone "Lower
Thirds." Adjust your templates to add
your own avor and be vigilant with
the big picture.
When to Say No
Budget and time constraints aren't
the only determining factors in us-
ing stock footage and templates in a
video. It also comes down to whether
or not it works in the context you're
using it for. If the entirety of the video
is set in a posh metropolitan environ-
ment, using stock footage of a rural
road wouldn't make much sense.
Beyond continuity, its also essential
to make sure shot styles are matching
up. Stock video clips may not always
match the quality of footage youve
shot yourself, making it look strikingly
different from the rest of your video.
The last thing you want, is for viewers
to recognize whats stock and whats
not. Itll take them out of the experi-
ence and lower the overall quality of
your video.
Those may seem like fairly obvi-
ous examples, but theyre the sort of
things you have to think about when
using anything from stock. The
biggest risk you run with templates
(which can also apply to footage) is
overuse. Utilizing the same graphic
multiple times isnt necessarily bad,
but when youre using it for every
project, its not good. Viewers will
recognize the pattern and feel youre
being lazy, while clients will not feel
like theyre getting their moneys
worth.
Say youre working on videos for
two clients, both of which are selling a
beverage. Imagine how theyd feel see-
ing their brand being used in the exact
same graphical template as a potential
competitor. Its not a situation theyd
be happy with, and likely wouldnt
choose to give you any more of their
business.
Great Tools When Used Wisely
Stock footage and templates are
amazing tools that save you oodles
of time and money, while allow-
ing you to feature elements in your
videos that might otherwise be
impossible. They add to the quality
of your work, which can lure in new
customers. Its important, however,
to be sure the use of stock elements
in a particular video is appropriate.
Used successfully, stock footage/tem-
plates can elevate your business, but
if youre not careful, they could cost
you dearly.
For comments, email: editor@videomaker.com, use article
#17044 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17044
Jordan Maison is an editor and VFX artist whose applied
his talents in Web content for Disney Studios as well as
movie and videogame websites.
YOU CAN'T ALWAYS SPEND
HOURS RECORDING FOOT-
AGE FOR ONE PROJECT.
326 C7 Profit Making.indd 58 5/20/2014 4:49:06 PM
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Item
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shown
RAPID PUMP

1.5 TON ALUMINUM


RACING JACK
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Weighs 27 lbs.
"The Undisputed King of the Garage"
Four Wheeler Magazine
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LOT NO.
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60
reason. With a shotgun mic, you free
the talent to move and act without
worrying about microphones under
their clothes or body packs clipped
to their pants. Shotgun mics have a
highly directional pickup pattern,
minimizing noises other than those
you want to record. Theyre also very
exible in placement. You can point
them up or down at the talent. You
can suspend them from stage rigging.
Attached to a boom pole, a shotgun
mic can reach inside a car or hover
above a waterfall. In addition to
dialog recording, you can use them
for sound effects recording or a quick
voice over. The choice is always yours
when you have a shotgun mic.
2. Lavalier Microphone
The next natural addition to your
perfect audio kit is a lavalier mic, also
known as a lav or lapel mic. This tiny
option easily clips to clothing or hides
underneath it. With a lav, the talents
mouth is always a few inches away
from the mic. With little regard of how
much they move, youll get a clean
recording. With a lav mic on your
subject, you can also position their
body to block background sounds at a
noisy location.
Reality TV uses lav mics extensively,
placing one on practically everyone
who will be on screen, but theyre also
popular on newscasts and sit-down
interviews. Its common practice to
use a lav mic in tandem with a shot-
gun mic, recording each on a separate
audio track. This gives you ultimate
exibility in post.
3. Handheld Microphone
Rounding out the microphone section
is the handheld mic. These guys dont
get much love in the video produc-
How much did you spend on your
perfect audio kit? What audio kit,
you ask? For some reason, many
video creators treat the audio por-
tion of their productions like a distant
cousin. Talk on blogs and forums is
all about pixels, sensor size, codecs
and bitrates. There is little, if any
discussion of audio. Improving your
audio kit is much like remodeling
your kitchen; it gives the most bang
for the buck. When your audience
hears a professional recording done
with care and attention, theyre much
more forgiving of the visual portion
of the content. How many times have
you read that in Videomaker? Dozens?
Well, theres a reason. Below, youll
nd 10 essential items to build the
perfect audio kit.
1. Shotgun Microphone
No audio kit is complete without
a shotgun microphone. Theyre
the workhorse of the lm and TV
production world, and for good
AUDIO
Its easy to focus your wallet on
the camera, lenses and support,
but the fact is that if your video
sounds bad, the visuals wont
matter that much.
b y Ha l Ro b e r t s o n
The Perfect Audio Kit
A shotgun mic is
the most versatile
microphone in a vid-
eographers arsenal,
so while it doesnt
need to be this RDE
NTG3, but such a mic
should be one of your
first purchases.
326 C4 Audio.indd 60 5/20/2014 4:40:33 PM
VI DEOMAKER >>> J ULY 201 4
61
AUDIO
tion world, but theyre a valuable tool
in the perfect audio kit. A handheld
mic can be used as-is, held by the
talent and on camera, much like a
news reporter. It can also be held just
out of frame for a quick interview
or anytime you are pressed to shoot
fast with minimal setup. A handheld
mic will double for a shotgun mic in
a pinch and its great for recording
effects, voice overs and just about any
additional content your production
requires. Most of these dont need
batteries and are very tolerant of ex-
tremes in temperature and humidity.
Handheld mics are perhaps not the
prettiest part of your audio kit but fast
and exible for many situations.
4. Microphone Accessories
A good selection of quality micro-
phones is important, but there are
Closed-ear, also
known as circumau-
ral, headphones help
accurately monitor
sound while keeping
external sound out.
Sonys MDR-7506 is
used throughout the
industry.
several essential accessories that help
them perform their best. For shot-
gun mics, a shock mount and furry
windscreen are the most important.
If your shotgun mic didnt come with
either, its time to add them to the au-
dio kit. A shock mount will minimize
handling noise. The furry windscreen
is essential when shooting outdoors.
A bare microphone will hear every
tiny puff of wind, distorting the
recording and ruining the audio. Add-
AUDIO JULY 2014
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VI DEOMAKER >>> J ULY 201 4
62
AUDIO JULY 2014
canceling headphones either, canceling sound
means cutting out frequencies, you want true
audio monitoring.
7. Audio Recording Interface
If you do much studio-style recording of music
or voice, you need a dedicated audio recording
interface. While you can record to the soundcard
in your computer, the audio quality will suffer.
Adding an audio recording interface gives you a
clean signal path to your software. In addition,
you gain professional audio connectors, phan-
tom power for condenser mics and headphone
monitoring. Starting around $100, this is a great
way to clean up your audio path and gain some
convenience in the process.
8. Portable Audio Recorder
Weve mentioned portable audio recorders
several times in the past. In a very short time,
they have become the go-to device for audio
recording in the eld. With the addition of some
batteries and a media card, you have a mobile
recording studio starting around $100. Some of
the newer models double as audio interfaces and
mixers too, recording as many as six indepen-
dent channels of audio. Depending on your
production style, its possible to use this type
ing the windscreen eliminates this problem in
all but the windiest of situations.
A mic stand is a great addition if you record
voice overs. Its also handy for recording musi-
cians, and if you get a model with a boom at-
tachment, it can be used in interview situations
too. Dont forget a roll of gaffers tape for hiding
lav mics and general xes on your set.
5. Audio Mixer
Weve spent a fair amount of space on micro-
phones, but theyre not much good without
something to plug them into. While most cam-
eras have some sort of audio connector, the best
way to attach microphones to a camera is with
an audio mixer. These come in many forms, and
popular models are often small boxes that sit
easily on a desk or live in a bag hanging from
eld audio recordists neck. Having an audio mix-
er with four or more inputs allows you to blend
several microphones for a large cast, roundtable
or panel discussion.
Most mixers include controls for level match-
ing, simple tone adjustments and outputs to feed
both your camera and another source or two. If
you shoot without access to outlets on a regular
basis, consider an audio mixer that runs on bat-
teries. There are fewer out there, but this option
opens up many possibilities.
6. Headphones
You need a good pair of headphones to monitor
audio in the eld, during recording sessions and
throughout the post process. Were not talking
about the earbuds that came with your phone
although they might work in a pinch. When we
say headphones, we mean over-the-ear, seal-out-
the-world headphones. They should sound clear
and natural on any source, not bass-heavy or
thin. No need to spring for the expensive sound
A portable field re-
corder like this Zoom
H6, is an essential
and economical
element of a good
audio kit.
MANY VIDEO CREATORS TREAT THE
AUDIO PORTION OF THEIR PRODUC-
TIONS LIKE A DISTANT COUSIN.
When working with more than one or two microphones,
having a field audio mixer such as Professional Sound
Corporations DV Promix 3, is essential.
326 C4 Audio.indd 62 5/20/2014 4:40:54 PM
VI DEOMAKER >>> J ULY 201 4
63
Contributing Editor Hal Robertson has been building his perfect audio kit
since 1979. Its a work in progress.
For comments, email: editor@videomaker.com, use article #17060 in the
subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17060
AUDIO JULY 2014
of device for three tasks instead of one. In the
studio or on location, a portable audio recorder
is an important part of the perfect audio kit.
9. Audio Editing Software
While there are many free and bundled audio
software packages oating around, there is
no substitute for full, branded, manufacturer-
supported audio editing software. Examples
include Adobe Audition, Avid ProTools and
Sony Sound Forge. Brand-name software of-
fers stability, a focus on the user interface and
broad plug-in le format support. Editing is
easier with a package youre committed to and
the odds are greater that you can share projects
with collaborators.
10. Spares
Even the perfect audio kit will have issues from
time to time. Regardless of how carefully you
handle your gear, something will eventually go
bad. This always happens on a shoot. The nal
item in your audio kit is spares for everything
you can carry. Spare mic cables are essential as
are spare batteries, adapters and memory cards.
Consider carrying multiple microphones whether
you need them or not. One of them could get you
out of a bind. Regardless, keep spares available
for those items that can make or break your pro-
duction, the items you cant do without.
There are hundreds of items that could be
included in the perfect audio kit. Weve boiled
the list down to these 10 to simplify your selec-
tion and focus on the essentials. With these
items available for audio production, youll have
everything you need for nearly any shooting
situation.
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page 62 page 63
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With JVCs 23X Zoom, your shots will take center stage.
2012 JVC. All trademarks and brand names are the property of their respective proprietors. Camera shown with optional shotgun microphone.
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VI DEOMAKER >>> J ULY 201 4
64
shafts and pools to highlight certain
parts of the scene. Then the rest of the
scene falls into the shadows. Profes-
sional lighting designers shape video
lights using lighting tools such as
barndoors, snoots, cookies and gobos,
but anything that safely blocks light
will work. Light can be shaped using
household items like foam core, win-
dow blinds or an articial tree branch.
5) Color
Light color is a huge consideration that
is often overlooked in video production.
Light color can be easily altered using
gels, and light color has an immense
inuence on the look and feel of a
scene. Yellow or amber gels give a scene
a warm feeling. They can also create the
look of a morning sunrise. Shots tinted
light blue feel cold; like winter. Red
or orange hints at evening, especially
when combined with a light positioned
to create long shadows. Lighting an
entire scene with navy blue lighting
creates the looks of nighttime. Shots can
be tweaked by using a small amount of
color, or completely changed by bathing
them in gelled light.
The best way to improve the look
of your shots is to think less like a
video camera operator and more
like a DP. Give careful consideration
to your lighting setups. The secret
to shooting fantastic footage isnt to
buy a better or more expensive video
camera, its to take greater control
over what happens in front of the
video cameras lens.
The biggest difference between
bringing home so-so shots and
fantastic footage isnt what you are
shooting with; its what you are
shooting at. The best way to shoot
better shots is to take greater control
over the look of the things you are
shooting. This means thinking less
like a video camera operator and
more like a director of photogra-
phy. Think about it. A video camera
operator stands behind the camera
and shoots what he or she sees, but
a DP moves all over the set and takes
control over everything in the frame.
A DP isnt only concerned with
the camera settings. The DP makes
decisions about everything from the
color of the shirt on the subject to
the position of the props and the
look of the lighting. Lighting is the
most critical factor in determining
image quality.
When it comes to making lighting
decisions, there are at least ve factors
to consider every time you turn on a
lighting instrument: Position, bright-
ness, quality, shape and color.
1) Position
Light positioning is about adjusting
the length, direction and angle of
shadows that an instrument casts.
A light source positioned near the
video camera creates what is known
as at lighting. Flat lighting is low
on the creativity scale, and neutral
in terms of emotion. As a light is
moved farther to the side of the
subject it becomes increasingly
more dramatic and emotional. When
a single light strikes one side of the
subjects face at a 90-degree angle
in relation to the camera, it creates
a very dramatic look. And when that
light is pointed at the wall behind
b y Ch u c k Pe t e r s
Five Important Aspects of Any Lighting Setup
the subject, the result is the uber-
dramatic silhouette.
2) Brightness
The overall brightness of a scene is
often referred to as being high key or
low key. High key lighting oods the
entire scene with high levels of light
so that everything is brightly lit. It is
used for happy or upbeat scenes. By
contrast, low key lighting is dark. It
makes greater use of shadows than
illumination and, as a result, creates
drama and suspense.
3) Quality
Quality refers to a lights hardness
or softness. A hard light is character-
ized by a sharp, dened shadow edge
and a deep, dark shadow. Hard light
pulls out the angular features of a
face and draws attention to wrinkles
and creases. It can make a subject
look strong, weathered or wicked.
Hard lighting can make a subject
seem intimidating. Soft lighting has
a broad, gradual shadow edge and a
faint shadow. It is more attering on
the face. Soft light conceals wrinkles
and hides lines in the face, and
makes people seem more friendly
and approachable, and possibly,
more trustworthy. The hardness of a
lighting instrument can be altered by
adjusting the lamp from spot to ood,
by adding diffusion material, or put-
ting a softbox on the light.
4) Shape
Shape is about controlling and fo-
cussing a light. In most cases, light
shouldnt wash evenly over every-
thing in the scene. It should only go
where it is wanted, and leave shadows
where you want them. The lighting
designer selectively shapes light into
Chuck Peters is a three-time Emmy Award Winning
Producer.
TAKE FIVE
5 q u i c k p r o d u c t i o n t i p s
For comments, email: editor@videomaker.com, use article
#17150 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/17150
A lot of people mistakenly believe that shooting with a better video camera will give
them better footage. In reality, shooting with a top-of-the-line, high denition video
camera often does more to reveal the aws in your shots than it does to improve them.
326 C15 Take 5.indd 64 5/21/2014 1:34:10 PM
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