AMA is an entirely new protocol for getting media into Avid. It has been described as a “plug-in” type architecture. As of the initial release in Media Composer 3.5 (as well as Symphony) AMA currently supports Panasonic P2 media and Sony XDCAM, including XDCAM EX. To sweeten the pot Avid can now write XDCAM media as well, in a number of different bit rates. To sweeten the pot even more is the promise of what Avid Media Access might offer. RED R3Ds, AVCHD, AVC-Intra, Canon 5D Mark II H.264 files … the possibilities seem endless.

Read the rest of the 2-part series over at Pro Video Coalition.

Fincher, an artist who has pioneered the use of emerging HD and digital tapeless workflows, shot nearly the entire film with the Thomson Viper FilmStream Camera, with additional help from Sony’s F23 Cine Alta. The media was captured using digital film recorders and iDocks from S.two corporation and Kona capture cards from AJA video.

Post production supervisor Peter Mavromates used an S.two iDock on set and was able to capture full resolution DPX files while simultaneously generating DVCPRO HD “dailies” clones. These were immediately shipped back to Fincher’s offices in Los Angeles for editor Angus Wall and Kirk Baxter to assemble. As soon as the editors had something to show, the cut scenes were compressed and uploaded via FTP for the directors review.

Once again, David Fincher is dragging Hollywood kicking and screaming into the digital age. With the completion of his latest project, he demonstrates the physical, creative and financial efficiencies afforded by a file based workflow. All the more impressive on a project with a budget of approximately $150 million dollars, in production for 2 years.

Although this article specifically focuses on the use of Final Cut Pro in the process, with some minor adjustments it could equally be applied to workflows for editors cutting with other software such as Avid’s Media Composer, Adobe’s Premiere and others.

Today we have the 3rd installment of our 3-part interview with cinematographer John Leonetti, ASC, about his experience shooting his latest film, “Hybrid”, with the RED ONE digital cinema camera. In this last segment John and I talk about the state of screening dailies in present day Hollywood and whether he had a DIT (digital imaging technician) on set while shooting “Hybrid”. I then get down to brass tacks and ask John my two most pressing questions; his feelings about the future of celluloid and if he thinks the RED digital cinema camera is revolutionary enough to change the balance of power in Hollywood.

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Link to Part I
Link to Part II

Today we have Part II of our interview with cinematographer John Leonetti, ASC about his experiences shooting his most recent film “HYBRID” with the RED digital cinema camera. I ask John about the level of training that was needed for himself and his crew and the kind of support he received from Toronto rental house PS Production Services. We go on to talk about the Cooke S4 lenses he used and his thoughts on how these lenses complimented shooting with RED. Next he tells us about shooting 4K RAW and what it is like reviewing his work using 4K stills on his MacBook Pro. Finally I ask him if and how he changed his working style shooting with RED. It’s a fascinating and informative talk for anyone who is interested in the “bleeding edge” of digital filmmaking.

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Link to Part I
Link to Part III

The RED digital cinema camera is causing a stir. It’s the paradigm shifting, production tool equivalent of Apple’s Final Cut Pro and it’s changing everything about ultra-high resolution digital cinematography. Directors such as Peter Jackson and Steven Soderberg have embraced it, and the Southern California based company can not make the camera and its accessories fast enough. In fact, if you were to order a RED camera today, it wouldn’t ship until December; that’s how hot this thing is.

That’s why I was delighted when I heard my friend, cinematographer John Leonetti, had just shot his latest film, HYBRID, with six RED cameras on location in Saskatchewan, Canada. HYBRID is an action thriller, and as John reveals, the thirty-one day schedule really put the RED system to the test. Here is part one of a three part series on John’s experience shooting with the RED; his background with digital cinematography cameras from other companies; his thoughts on the future of film and finally, the RED camera’s potential effect on the future of Hollywood.

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Link to Part II
Link to Part III

For those working on the Mac version of Avid’s Media Composer 3.0 with XDCAM EX footage shot with Sony’s new PMW-EX1 camera, there is an issue with importing that you should be aware of. This video Quick Tip will walk you through it. Take a look.

As a new Sony PMW-EX1 owner, I was jazzed to receive my copy of Call Box Live’s Guidebook to the EX1, an in depth look at Sony’s first mass market CineAlta™ HD camera. For independent film-makers this camera has been causing a bit of a stir. One reason might be that CineAlta™ is the same technology found in Sony’s motion picture camera line, including the 250K F35. With multiple frame rates, full 1920×1080 24p acquisition mode and HD-SDI output, Sony was clearly looking at putting a dent in Panasonic’s dominance of this part of the market, and they really loaded the camera with features pretty much beyond comparison in the price range. The hubbub continued at NAB 2008 when Sony announced a new sibling to the EX1 the EX3, which sports several additional innovations, and has interchangeable lenses.

The Guidebook was created and is hosted by Noah Kadner, one of the original admins over at 2-pop.com. Noah is a guy who has been sharing his knowledge of digital tools since the earliest days of the FCP revolution and if you’ve ever read any of his articles, you know that he knows his stuff. In this 3-plus hour instructional DVD he gives detailed, feature by feature explanations of every menu item, button, nook and cranny of this groundbreaking new camera and how to integrate the material you shoot with it into a Final Cut Pro tapeless workflow. The DVD, packed with 36 chapters of information, is divided into four main sections: Overview, Camera Operations, Advanced Camera Operations and Post-Production.

The Overview covers topics that will be of interest to anyone wanting to learn the fundamentals of the camera. This includes information about the XDCAM EX recording format; the EX1’s HD-SDI output connection, which gives users the ability to capture 10-bit uncompressed 4:2:2 media; 1080 vs 720 camera resolution basics; an introduction to the tapeless workflow; the advantages of using a mirrored raid with EX1 files, and the camera’s audio capabilities.

In the Camera Operations section Kadner details each of the EX1’s menu functions. These include an overview of controls; the onboard menus; direct menu mode where you can quickly adjust many of the cameras major settings through the LCD or viewfinder; an overview of timecode options and media playback mode, where you can view, mark, split and manage your shots and essentially start to rough out edit ideas even before you finish shooting. He also covers TLCS Mode, a user programmable group of settings that help you manage the camera’s semi-automatic assist functions, and finishes by going over the mechanics of storing and backing up your camera settings to SxS cards and other storage devices.

For more seasoned shooters, the Advanced Camera Operations section will be of much interest. Here the program takes us through topics such as: using the camera’s exposure and focus assist tools for more image control; gain settings, and ND filters. Next he shows us the in’s and out’s of creating custom picture profiles; shutter speed and angle settings; multiple white balance settings and functionality; the EX1’s unique shot transition mode; gamma settings and finally, using the cameras slow and quick (S & Q) variable frame rate features.

The final section of the DVD covers post-production, specifically as it relates to editing in Apple’s Final Cut Pro. Don’t be confused, the camera integrates with pretty much every major NLE on both Mac and PC including Avid, Adobe’s Premier Pro and Sony Vegas (of course). However, being an FCP aficionado, Kadner gives us some clear insights into working with this particular software. Topics covered include an introduction to the tapeless workflow of shooting on the EX1 and cutting in Final Cut Pro, as well as SxS card management. He takes us through some equipment basics for setting up a Final Cut editing workstation, data archiving solutions, ingesting, (no more digitizing!) and using FCP’s Easy Setups for XDCAM EX. He also provides information about FCP’s Open Format Timeline for mixing different camera resolutions in a sequence; export options and information on outputting to DVD, to the Net, to Final Cut Studio’s color correction software Color and even prepping for output to a 35mm film recorder. If I would have any criticism of the program it would be this final section on post. Not because the information isn’t useful, it is, but the topic is so deep it could fill several DVD’s. In fact, Call Box has an entire DVD specifically dedicated to Color.

The Call Box Guidebook to the EX1 is an informative and enjoyable instructional DVD on this powerful new Sony HD camera and Noah Kadner’s experience and easy going manner make it fun to watch. Being a visual learner myself, I was able to comprehend some of the more complex subject matter much more quickly than slogging through the typically dry user manual. The DVD is well organized, easily navigable, and provides in-depth instruction that will enable aspiring shooters to be both more creative and productive. If you’re going to be working with the EX1, it would be to your advantage to check it out.

Today we sit down and talk with Jeff Youel, President of Wafian Corporation about his HR-F1, Direct-to-Disk digital field recorder. This is truly one of the new tools with the potential to change the face of digital film and HD video production. The HR-F1 is the “Field Unit” version of the company’s complete line of D2D recorders so it’s smaller, lighter and can be configured with a shock-resistant enclosure. It’s also the first portable D2D recorder that captures and plays back up to 10 hours of 24p footage at 10-bit 4:2:2 HD-SDI utilizing the Cineform Intermediate Codec.

Jeff and I also get a chance to talk about Wafian’s other products including their HR-1 mirrored studio unit, their HR-2 Dual-Link (2K) 4:4:4 unit and their newest product the HR-2-DS, a 10-bit, dual-stream stereoscopic HD-SDI recorder for 3D digital film workflows. Take a look!

Click Here if you would like a Window Media version of this segment.