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Guild Panels Tackle Hot Topics at HD Expo 

Daryn Okada, ASC, president of the American Society of Cinematographers; David Frederick, SOC, president of the Society of Operating Cameramen; and Steven Poster, ASC, president of International Cinematographer’s Guild-Local 600 join Producer’s Guild of America reps and top creative talent for a panel discussion titled The Camera Crew, at the upcoming HD EXPO, on November 2nd....

Sony HVR-V1U three-CMOS 24p/30p/60i camcorder 

Steve Mullen

Sony shooters have long wanted a DV/DVCAM or HDV camcorder that records true 24fps progressive-scan video — and now they will soon have it. In December, Sony will begin shipping the HVR-V1U HDV camcorder to the USA...

Sony’s New HVR-V1U: V for Victory of 24p 

D.W. Leitner

At long last, Sony has extended 24p to a Handycam-style camcorder that requires neither shoulder nor tripod. And while the debut of this new affordable — $4,800 list — 24p HDV Sony camcorder is banner news to those of us who shoot and produce small-format video, 24p is but one of a clutch of innovations that distinguishes what will come to be known as “the V1.”...

Arri D-20 Takes the Field  

By Michael Goldman

The Arriflex D-20 film-style digital camera system is getting extensive workouts under grueling field conditions these days, with a couple of low-budget features currently using the camera,...

HDV editing using Avid’s Liquid 7.1, Part 5 

Steve Mullen

In the previous installment, we examined one of the fundamental debates in working with HDV: should we edit it natively or by using an intermediate codec? After covering this topic, we now almost fully understand how a timeline can hold multiple formats. However, we have not considered one issue. How can multiple aspect ratios be used in the same timeline?...

Adventures in Repurposing  

By Dan Ochiva

Last month, National Geographic Digital Motion (NGDM), the stock footage service of the geographic society's Digital Media division, announced that it...

Mark In 

By its very nature, editing is time-consuming. But even more than the hands-on part of the job, the logistics of pulling together all of the interested...

HDV editing using Avid’s Liquid 7.1, Part 4 

Steve Mullen

In this installment, we will look at the exact role that codec choice plays in a sequence preset. We are going to confront one of most fundamental debates in working with HDV — should we edit it “natively” or by using an “intermediate” codec?...

HD’s Stock Rising 

By Craig Erpelding

As the moviemaking world pushes further into the HD realm, so too do the technological specifications of stock footage companies. While major stock footage players insist the imagery they offer remains best defined by the artistic eye of the cinematographers involved, they agree that their imagery, regardless of how acquired, now needs to be finished to HD to satisfy the needs of clients in all sorts of different media....

HDV editing using Avid’s Liquid 7.1, Part 3 

Steve Mullen

In the first installment, I asked “What would it mean to your HDV editing workflow if you could insert multiple video formats into a timeline?” We then began to examine this question by looking at Avid’s Liquid 7.1, with which I had created two HDV sequences....