RedShark News

Convergent Design, who gave us one of the biggest product surprises at NAB 2013 with their Odyssey monitor/recorders, has released pricing information about their modular system, including daily rental options for additional and camera-specific codecs

Why you should use Avid DNxHD and Apple ProRes

Published in Post & VFX

Modern cameras are simply amazing. The idea that you can record cinema-quality video on a still-picture camera that costs only a few thousand dollars still seems unreal at times.

The best Magic Lantern footage we've ever seen

Published in Production

 

Andre Meyer has produced some wildlife footage using a Canon 5D Mk III, the like of which we've never seen

Ninja 2 + Nikon D800 Review: Part 1 of 3

Published in Production

DSLR users have long complained that they can't get clean, unadulterated line outputs suitable for high-quality recording. But the D800 is different. Phil Rhodes tests it with an Atomos Ninja 2 Field Recorder

ProRes remains a living codec and proof of that came out two days ago when Apple announced ProRes XQ - an ever higher quality variant

Is it hard to set up 4K recording?

Published in Technology & Computing

Most of us, if we're honest, struggle slightly when it comes to configuring even HD equipment and settings. There are enough combinations of frame rates, codecs and resolutions that just about everyone has to stop and think when they're setting up their gear

A new, higher quality version of ProRes is immediately supported by the ARRI Alexa

Why are there so many camera codecs?

Published in Technology & Computing

Why can't cameras all use the same codec?

Somewhat surprisingly, Sound Devices has added the ability to record 12-bit, 4:4:4 content to Apple ProRes 4444 format at 330 Mbit/s, giving a "perceptually lossless" quality to stored material

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