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August 28 2003
Production News:
• Adobe Ships Adobe Video Collection

• FOCUS Enhancements Ships FireStore FS-3 DV Disk Recorder with DTE Technology

• SGI TP9300 Adds Midrange Array to Storage Line

• Viviclip Announces Video Filters 3 Pro for Premiere Pro and After Effects

• Maxtor Launches Next Generation OneTouch Drive

• Sony Intros DCR-PC330 DV Camcorder

• DVS supports HD Varicam

• Canopus Announces DVStorm2 Ultra Bundle

• VideoGlue Nonlinear Editing Software for Prosumers to Ship 9/1/03

• Discreet Ships Lustre, a New Color Correction System


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Laird Capdiv Direct DV Recorder
Is that a disk recorder in your pocket, or are you just glad to see me?
by Charlie White
The holy grail of tapeless DV is here with Laird's Capdiv DV disk recorder ($1295). Plug it into your DV camcorder and it acts just like a little VTR, recording everything your DV tape does, and arranging it on its 40GB disk in separate clips. Then when you get back to your edit bay, it can act like either a VTR or a hard disk, able to store three hours of DV footage. It's a great system, but it's not flawless. Let's take a look.

The DVD Studio Pro 2.0 Walkthrough
Part 1: Basic creation of custom shapes, buttons and drop zones
by David Nagel
When I got my first gander at Apple's DVD Studio Pro 2.0, I knew instantly I'd be launching out a whole new tutorial series on customization and design techniques. But where to start? Over the coming weeks and months, we'll be covering just about every aspect of this program to help you get started with DVD design and get into some advanced techniques, but I thought I'd kick things off at the point where most users begin to customize their DVD projects: buttons and drop zones.

What’s Wrong with This Picture?
Choosing the Post-Production Monitor That's Best for You
By David English
Buying a post-production monitor was easy 20 years ago. If color accuracy was critical, you bought a grade-A broadcast monitor. For less critical work, you settled for a lesser-grade broadcast monitor. Today, the situation is far more complex. If you’re editing your video with a computer-based system, you may have a CRT or LCD computer monitor in addition to a broadcast monitor. If you’re showing your work to a client, you may be using a plasma screen or large-format LCD monitor. And if you’re working in digital cinema, you may use some form of DLP projection. So how do you choose among the different types of display devices? And is it possible to use a single monitor for all your needs?

Reality Check
The Truths, Half-Truths and Outright Falsehoods about High-Def
By Peter Caranicas
Editor, Special Projects
Film & Video Magazine
One thing is for sure: Over the past few years, production and post have been rocked by seemingly contradictory statements about the merits of shooting on high-def formats. How many times have you heard one or more of the following: Shooting HD is cheaper. HD equipment costs more. You’ll save with HD because you can shoot all the stock you want. Film is more “artistic,” HD looks more “real.” Post is easier with HD. These and many other statements are spinning heads in Hollywood and elsewhere, largely because each one contains an element of truth — and an element of deception. Here are the views on HD of some leading cinematographers and equipment rental executives.

Lighting 201: Reflections are Our Friends
Lighting Transparent and Semi-Transparent Objects
by Stephen Schleicher
Now that the new school year is about to start, time for you to move up in your lighting knowledge. From the previous lighting lessons, you should be very familiar and comfortable with lighting a person for an interview. In Lighting 201 we’ll move away from lighting the single person interview and look at ways to light objects and environments.
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