Video editors who use an iMac and can’t stand the glare have a free, non-invasive solution.
For many years, those of us who prefer the Mac platform and a high-quality matte display have had to avoid Apple screens that are glossy (highly reflective) or use an invasive screen protector, which I dislike. Since several years ago, Apple began offering iMac computers exclusively with an ultra reflective screen, many have avoided the iMac in favor of either a tower (Mac Pro) or a Mac Mini. Many ProVideo Coalition readers will recall two of my 2011 articles which covered how STAFF HDTV/Alta Definición from Guatemala re-purposed its older Mac Pro tower for its DaVinci Resolve grading suite, and then found better performance in the editing room with a Thunderbolt-equipped Mac Mini together with a Pegasus disk array. At that time, they chose the Mac Mini over the iMac since they wanted matte monitors (not glossy). I have just become aware of a free, simple, non-invasive, and easily reversible approach to making an iMac become much more matte without using any screen protector.
Is T-TAP appropriate to connect an HP DreamColor monitor?
As I have covered in great detail in several prior articles here in ProVideo Coalition magazine, the most complete and most reliable method of connecting your critical video monitor to your computer based editing system is via a professional a/v i/o interface, like those Thunderbolt models now offered by AJA, Blackmagic, Matrox, and now even MOTU. However, most of them are more than what many editors need today in the tapeless acquisition, file-based era. Often editors no longer require any audio or video input at all, since the material primarily arrives in file-based format. That’s why AJA decided to design and build a simpler, lower-priced, self-powered, output-only device called the T-TAP at NAB 2012. The outputs are SDI and HDMI. This article will cover all of the specs (even some vital ones that AJA hasn’t yet published), applications, recommended connections, and define whether the T-TAP is appropriate or not for use with HP’s DreamColor monitor.
Ever since I saw the 3rd-generation iPad (2012), I began to have visions of its use for video journalism. Many of ProVideo Coalition magazine readers sent me private enthusiastic comments about my pre-NAB iPad articles like Avid now lets you edit video on your iPad for US$4.99. Should you?, Why an iPad is like a 4×5 view camera, and why you’ll need a black “focusing cloth” and later part 1 of my review called 1st handheld dynamic microphones with hybridXLR/USB/iPad connectivity from Audio Technica. While I was translating/localizing brochures for Avid Latin America just before NAB 2012, I became aware that they were going to launch iNews Command for iPad. On the NAB 2012 floor, I saw several iPad video journalists. Ahead you’ll find several photos, a few videos, and comments about various iPad video accessories.
Thank you Blackmagic for using HFS+, balanced audio inputs, and standard códecs/file formats.
As some of my colleagues at ProVideo Coalition magazine have already reported, at NAB 2012, Blackmagic announced its first digital motion picture camera, officially known as the Blackmagic Cinema Camera. For US$2999, Blackmagic gives you the camera, a license of DaVinci Resolve (US$995 value) and a license of UltraScope (US$695 value). Supply your own Canon EF or Zeiss ZE lens and recording media. I applaud Blackmagic for making one of the two best possible decisions regarding the formatting used on the removable SSDs (solid state drives), and for using standard códecs/file formats. Unlike what many traditional photo and video camera manufacturers have chosen to implement (the weak FAT32), Blackmagic chose to use HFS+ (aka HFS Plus or Mac OS Extended). In this first look, I’ll review the differences and advantages of either HFS+ or UDF over FAT32, and point out some other details, i.e. the audio connections and file formats.
Read the full article free in ProVideo Coalition magazine.
Larry Jordan, Daryn Okada, and Allan Tépper join Leo Laporte and Alex Lindsay on MacBreak Weekly
At NAB 2012, I was honored to be invited by Leo Laporte to participate together with Larry Jordan, Daryn Okada and Alex Lindsay on MacBreak Weekly. This episode 295 was streamed live from the Las Vegas Convention Center on Tuesday, April 17 2012 and is now available for immediate streaming or download. We discuss many of the new developments at NAB 2012, in general and with respect to the Mac. Alex Lindsay even comments about the potency of the coffee he allegedly consumed during his yet unconfirmed trip to the 24th century during the creation of a yet unannounced feature, as covered in a recent article here in ProVideo Coalition magazine. This episode of MacBreak Weekly has a duration of 1:41, calculated especially for fans of palindromes.