Ini adalah antara permintaan seorang perwakilan MIC yang duduk dibelakang aku semasa  membantu zack video2u, untuk kerja-kerja MCP di Mesyuarat Agung MIC. Terasa bangga juga apabila ada orang appreciate kerja kita sebagai seorang videoman ni. Mungkin brader ni ingat aku cameramen press kot.

@ studio

apai on green screen

Sebenarnya sudah hampir seminggu lebih selepeas kedatangan glidetrack ni kepada aku, tapi aku masih gagal lagi untuk menyambungnya bersama – sama dengan kepala Manfrotto 503. Dan semalam setelah puas aku round semua kedai bolt n nut dan kedai – kedai fotografi yang lain akhirnya aku jumpa juga skru yang dapat menyambungkan nya. Diorang panggil reducer.

503 Fluid Head

Glidetrack SD

ni dia mas kahwin mereka, punya lah susah nak cari

akhirnya ….

Ready for action…

So lepas ni boleh lah aku nak dapatkan track shot yang aku idam – idamkan selama ini.

So kepada bakal-bakal pengantin..marilah memilih TelagaPictures Videoworks sebagai official videografer anda..hehehe

Entri kali ini aku just nak berkongsi kesedihan kepada semua pengguna Avid Liquid. Sebelum kita  bersedih marilah kita bersama -sama menatap utusan daripada Avid Technology Inc ni.

Dear Valued Avid Liquid Customer, This letter provides notification for the end of production of the Avid Liquid® Family of Products. As of March 3, 2010, these products will no longer be developed or available for purchase.

Why was this decision made?

The decision to end this product family was not made lightly, but it is necessary to allow us to focus our future development efforts to ensure that we can best respond to the changing needs of both our professional and consumer customers. On the pro video side, it will allow us to focus our development efforts on Avid Media Composer® – the video and film editing solution used by professional editors worldwide, and the perfect next step for any Avid Liquid user.

What support will Avid offer?

Avid Customer Success will continue to provide phone support for Avid Liquid products for the next 2 years. Avid Service Access Codes, which enable support for specific service issues, will continue to be available for purchase on the Avid Web Store. Avid will continue to provide spare parts, while supplies last, for Liquid hardware under warranty.

What else do I need to know about this?

We have put together an extensive FAQ document which can be accessed via our Knowledge Base. You can also find a high-level feature comparisons of Pinnacle Studio, Avid Liquid, andAvid Media Composer, which will help you understand the differences between the various editing applications available from us.

What’s next for me?

Avid is pleased to announce a special limited-time only loyalty offer which will allow you to join the millions of Avid Media Composer editors for just just $495 US MSRP.

Offer Details

$495 US MSRP Avid Media Composer software upgrade available only via the Avid Online Store. This is a physical product only – not available as download. A one-time use unique code provided in this email will be required to purchase Media Composer at the offer price. Purchase with this offer is only available at the Avid Web store. Promo code:  Offer valid from March 10, 2010 through June 30, 2010. Offer only available to registered Avid Liquid customers as of March 10, 2010. Customers interested in Avid Media Composer compatible hardware, should view the Avid Media Composer system requirements and/or contact (800)800-2843 to speak with one of our Inside Sales Specialists. US and Canadian Residents can place orders on 3/10/10 European, Latin America and Asia Residents can place orders on 3/14/10

Note: this version of Avid Media Composer includes Avid DVD by Sonic for Blu-Ray and DVD authoring, as well as the rest of the Production Bundle (Boris Continuum, SmartSound SonicFire Pro, Sorenson Squeeze, Avid FX).

Why Avid Media Composer?

There are many great reasons to make the move to Avid Media Composer, and at these prices, you can’t go wrong. Check out some of these great features:

Professional editing

Move up to the same full featured professional NLE used by top Hollywood editors on projects such as Avatar, Transformers 2, Star Trek, Slumdog Millionaire, as well as popular TV shows such as Lost, 24, and House. ScriptSync – text based editing for scripted and transcripted projects such as reality and documentary. Popular format support with AMA (Avid Media Access) which provides direct, immediate access to high-end formats such as XDCAM and P2, in addition to the formats you already use in Liquid, such as HDV. Mix and Match – this powerful extension of the Avid Open Timeline allows for broadcast quality mixing of frame sizes, frame rates, and resolutions, letting you use different kinds of video in one project, in broadcast quality and in real-time. Fluid Stabilizer motion tracking gives you professional level image tracking and stabilisation, bringing your projects to the next level. Advanced Color Correction in Media Composer includes the Natural Match function, automating and improving the quality of your color correction work. Keying and Effects – use the same professional palette of tools the pros use to produce broadcast quality effects and transitions.

Real time video and audio effects

Media Composer supports the AVX plug-in architecture, letting you use a huge number of real-time video effects to create the look and feel you’re after. The integrated Avid CPU/GPU architecture provides blazing fast system response and processing, giving you the valuable real-time feedback you crave, letting you work faster and produce a better final project.

The Avid pipeline

Add Avid Mojo® DX to Media Composer and gain HD-SDI I/O, SDI I/O, HDMI monitoring, and boosted HDV support. Add Avid Nitris® DX to Media Composer and gain analog HD/SD I/O, HD-SDI I/O, HDMI monitoring, boosted HDV support, and boosted performance with Avid DNxHD®, the broadcast quality Avid codec.

To get even more information on Avid Media Composer please visit www.avid.com/mc andwww.avid.com/mediacomposer.

Not sure if this is right for you?

Download a trial version and see for yourself all that Avid Media Composer has to offer. To help you get started with Avid Media Composer, there are a number of resources at your disposal:

Downloadable Media Composer Quick Start Training Online Avid Learning Excellerator (ALEX) courses http://www.avid.com/training/alex.asp Avid Community Forums http://community.avid.com/forums/ where community members engage in peer to peer discussion on products, industry and workflow. Avid Community Tips and Tutorials on migrating over to Avid Media Composer. http://community.avid.com/forums/t/67003.aspx http://community.avid.com/forums/t/71781.aspx

Everyone at Avid appreciates your loyalty to the Liquid product family and your business over the years, as well as your contributions to our Avid community. We hope that we have offered you a viable upgrade option that will allow you a smooth product transition and that we can count on you as an Avid customer for years to come. Avid is looking forward to providing you with the world’s most advanced film and video editing tools throughout your career. Sincerely, The Avid Team

Sebenarnya dah lama dah bulan March aritu dah keluar announcement ni cuma aku je lambat share disni. So pengguna Avid Liquid semua macam mana? Nak migrate ke Avid Media Composer? Nak migrate ni banyak benda nak kena fikir, of course la duit salah satunya. nak upgrade walaupun Avid offer voucher 80% discount, so kena bayar USD 500 je untuk existing customer tapi agak membebankan juga. kalau duit kita dekat nak 2 riban juga. Lepas tu BOB lama Avid Liquid yang lama tak leh pakai pulak dengan Avid Media Composer, so handycam aku terpaksa menjadi korban lah untuk outputkan preview daripada PC aku. Double work tu..meaning jangka hayat handycam aku makin pendek lah.Nak angkat Mojo, tak mampu doh..Aku buat video kawen je bukan buat video koporat atau drama swasta.

Beberapa option dalam kepala aku sekarang untuk migrate

1. Sony Vegas 9 – dicadangkan dan dihasut oleh sedara ahmeng cromart.
2. Canopus Edius

Any suggestion..

Rupanya ada yang orang gunakan filem ni untuk abadikan perkahwinanya. Yang ni bukan lagi video perkahwinan ni dah jadik filem perkahwinan. Diorang pakai filem 8 dan 16mm untuk shoot kahwin untuk customer diorang. Mencabar tu. Agaknya penghasilan program diorang tu mungkin sama macam penghasilan filem la kot. Rasanya di Malaysia adakah kita dah bersedia untuk benda-benda macam ni. Mungkin kena tunggu 3-4 tahun lagi kot baru boleh merasa buat benda – benda macam ni. Industri wedding film/video kat sana besar dan orang tahu menilai dan menghargainya. Mungkin kita tak sampai tahap tu lagi.

Haritu aku masa aku berborak-borak dengan En. Khairulfazi, dia ada beritahu stesen tv di US & Eropah yang menayangkan filem dokumentari dan program –program berbentuk dokumentari lebih diterima di disana. Rating nya lebih tinggi daripada stesen tv yang menayangkan program – program yang berbentuk hiburan. Ini adalah kerana mereka lebih gemarkan program – program yang membuatkan mereka berfikir, berbanding kita disini yang lebih gemarkan program bercorak hiburan dan sebagainya. Mungkin tahap pemikiran orang kita disini masih lagi belum bersedia untuk menerimanya.

Kos untuk buat filem agak tinggi. Dan kalau wedding film ni berapalah agaknya kos yang perlu dikeluarkan oleh pelanggan tu? Aku tak rasa yang pelanggan jer kena bersedia untuk benda ini tapi videographer dan editor untuk wedding ni pun kena bersedia. Baru benda ni boleh direalisasikan.

Kalau nak tengok contoh wedding film boleh tengok kat bawah ni

http://davidperryfilms.squarespace.com/blog/2008/10/30/16mm-and-8mm-at-kelsey-nixons-wedding.html

Zacuto’s new Gunstock Shooters change the way DSLR cameras will be used from this point forward. They are universal for all cameras, quick-releasable, and great for run n’ gun type shooting. Weighing a mere 7 Ibs, and offering up to five points of contact, these shooters come equipped with Zacuto’s Optical Viewfinder (the Z-Finder) which creates the correct form factor for precision focus. Zacuto offers four types of DSLR Gunstock Shooters (Sharp Shooter, Marksmen, Sniper and Precision Shooter), and they all enable users to move from tripod to handheld or “ready position” to “shooting position” within seconds.

Zacuto’s DSLR Gunstock Shooters are locked, loaded, and ready to fire! After six months of using DSLR’s, Zacuto has made the next evolutionary leap by changing the way DSLR cameras will be used from this point forward. These Shooters are universal, quick-releasable, extremely lightweight and great for run’n gun type shooting, as well as indie filmmaking. They also create the correct form factor for filmmaking by utilizing Zacuto’s Optical Viewfinder (Z-Finder) for precision focus.

All kits are light and easy to handle, which is critical for smooth movement and less user fatigue in both tripod and handheld use. The Gunstock Shooters come equipped with a shoulder strap for all day carrying, allowing users to go from ready position to shooting position within seconds. This also enables users to effortlessly move from tripod to handheld without a cut or interruption. The Shooters can be used with any 15mm lightweight accessories, follow focuses & matte boxes. They can also be used with or without counterbalance.

The Precision Shooter allows users to quickly go from run’n gun type shooting to studio shooting. It includes all the components of the Sniper, plus it gives users the ability to mount and power an on-board monitor. With the Precision Shooter, users can go from tripod to handheld in seconds. It weighs 7.5 Ibs and offers five points of physical contact.

Includes:
Mini Baseplate with 6″ rod and 8″ rod
Quick Release adapter
Zgrip Z-mount
Shoulder Pad with 12″ rod and 8″ rod
Studio 15mm Minimount
(2) Minimount
Z-Finder
Strap
Z-Focus with .8 pitch gear
(1) Zip Gear Universal
Zround Mount
Gunstock with 1″ rod
1″ Rod Extension
Doublemount
Red Plate
Battery Plate
Wireless Plate
Zamerican V3 Large 12″ Arm
Zicromount III
(2) V-Mount batteries and dual charger

more pics at www.zacutoimages.com

Harganya dalam 20K tu. Rasanya ada ke photographer kat Malaysia ni dah pakai benda ni?

PANASONIC TO START DEVELOPMENT OF NEW PROFESSIONAL 3D PRODUCTION SYSTEM

Industry’s First System to Support Efficient Production of 3D Full HD Content

LAS VEGAS, NV (April 19, 2009) — Panasonic Corporation, a world leader in High Definition technology, today announced it will start developing a professional 3D Full HD production system. The system, which is expected to be the first of its kind in the industry, consists of a twin-lens P2 professional camera recorder and a 3D-compatible High Definition Plasma display. Panasonic will exhibit concept models of the 3D system at its booth (Central Hall #3712) at NAB 2009 to be held in Las Vegas, Nevada from April 20, 2009.

Panasonic is exhibiting a conceptual model of a 3D Full HD Camera Recorder at the 2009 NAB Show where it announced it would start development of a 3D Full HD Production System.

With Hollywood studios moving towards creation of more 3D entertainment content, Panasonic successfully debuted the world’s first 3D Full HD Plasma Home Theater System based on Plasma display and Blu-ray Disc technologies at the CEATEC trade show in Japan in September 2008. More recently, the company also established the Advanced Authoring Center within Panasonic Hollywood Laboratory in February 2009 to support Hollywood studios in developing 3D Full HD Blu-ray Disc titles.

Production of 3D movies requires a great deal of time and effort. With the new 3D production system, which can enable an easier and more efficient 3D production process and environment, Panasonic will contribute to accelerating the realization of easier high-quality 3D content production.

At present, 3D content producers have to hand-build their own 3D production systems by physically connecting multiple 2D production devices. Panasonic is now starting to work on developing a twin-lens, 3D camera system. Also, Panasonic’s Plasma displays have been used in many post-production facilities in Hollywood, thanks to their high-quality imaging performance, which has been endorsed by leading Hollywood professionals. Technologies and expertise obtained from their use in post-production has enabled Panasonic to further develop high-quality 3D viewing performance in its Plasma technologies. As a result of this process, Panasonic’s 3D Plasma display system will help 3D content producers to quickly and easily evaluate the image quality of 3D content.

Each component of Panasonic’s innovative 3D Full HD production system has unique features. The twin-lens P2 camera recorder enables the capturing of natural and high-quality live 3D images. Thanks to the non-mechanical solid-state construction of the P2 system, the camera recorder will be compact enough to allow more flexible 3D shooting, thereby maximizing the creativity of the filmmakers by eliminating the stress factor from the use of the equipment.

3D Full HD recording using Panasonic’s proprietary P2 system also enables recording of two channels of Full HD images on the P2 card. P2’s non-mechanical construction and compactness will also be incorporated into the company’s 3D image recording and editing equipment to make production in the field highly flexible and efficient.

Panasonic’s 3D Drive System enables the display of Full HD moving pictures for the left and the right eyes, so large screen 3D viewing will become possible. The excellent moving picture performance and accurate color reproduction characteristics achieved by Plasma’s self-illuminating technology enables the realization of high-quality 3D image evaluation capabilities required in the professional content production field

“Panasonic is continuing its efforts to enable consumers to enjoy 3D movies in the comfort of their own living rooms with its 3D Full HD Plasma Home Theater System, which incorporates a Plasma HDTV and a Blu-ray Disc player,” said Dr. Paul Liao, Chief Technology Officer of Panasonic Corporation of North America. “The professional 3D Full HD image production system we are going to develop will improve the 3D production environment and accelerate creation of 3D titles.

TERMS –TERMS DI DALAM KERJA-KERJA PENYUNTINGAN VIDEO

Oleh : Pijai

Web : http://pijai.telagapictures.com

Post-Production merupakan satu elemen penting di dalam penerbitan sesuatu video. Di peringkat ini pelbagai proses dibuat antaranya proses suntingan video dan audio, penambahan kesan khas (visual efek),digitizing, telecine, color grading dan lain-lain lagi. Pada peringkat ini kerja-kerja mencantikkan apa yang telah dibuat sebelum ini dilakukan sebelum material tersebut dikeluarkan kepada penononton atau pelanggan.
Sebagai seorang video editor sekurang-kurang nya kita juga perlu tahu mengenai beberapa perkara asas didalam suntingan video, antaranya seperti rushes,dailies ,offline editing, online editing, non linear editing dan juga linear editing.

Rushes,Dailies, adalah satu benda yang sama, semua diatas merujuk kepada raw material rakaman kita (belum diedit). Raw material ini terdapat didalam pelbagai medium antaranya tape,filem,DVD dan sebagainya. Di Eropah mereka menggunakan rushes untuk merujuk kepada raw material mereka ini manakala di America pula mereka menggunakan terma dailies untuk raw material tersebut. Penggunaan terma tersebut mungkin digunapakai oleh mereka yang terlibat didalam industry perfileman tetapi bagi kita yang tidak terlibat didalam industry perfileman mungkin lebih senang menggunakan terma-terma seperti raw dan footage.
Offline editing merupakan satu proses dimana raw atau rushes yang diperolehi di salin dan di sunting tanpa merosakkan sumber asalnya. Dimana berlaku disini kerja- kerja digitizing daripada tape ke mesin editing. Proses ini juga penting bagi seorang filem editor dimana pada waktu ini editor akan membuat review keatas rushes/raw berkenaan dan menyusun kembali timecode dan marker “in” dan “out” bagi setiap scene yang diperlukan. Suntingan secara “rough cut” akan dibuat untuk untuk mendapatkan footage yang diperlukan sahaja. Perlu diingat suntingan pada peringkat offline adalah suntingan yang dijalankan keatas rushes/raw yang mempunyai kualiti yang rendah berbanding sumber asalnya. Ini adalah kerana sumber asal tersebut telah pun didigitalkan untuk memudahkan computer memahami format tersebut.
Suntingan untuk Online editing pula dibuat ke atas raw/rushes yang asal, ini merupakan proses akhir sebelum sesuatu program di terbit atau dikeluarkan. Bagi seorang filem editor proses ini adalah kesinambungan daripada proses yang dijalankan secara offline. Dimana rushes/raw yang telah disusun akan dihantar untuk suntingan pada peringkat ini. Suntingan secara online ini memerlukan peralatan yang agak mahal jika dibandingkan dengan proses yang sebelumnya.

Setelah kita memahami mengenai offline dan online editing, kita beralih pula kepada linear dan non linear editing. Seringkali didalam internet atau didalam forum-forum orang perbincangan mengenai NLE Software, untuk editing. Apa dia NLE software itu? NLE software merujuk kepada Non Linear Editing. Non-Linear editing, merupakan satu kaedah suntingan yang mana suntingan tersebut boleh dibuat tanpa mengikut sequence. Maknanya jika anda sendang membuat suntingan untuk bahagian A anda boleh terus menyambung kerja-kerja suntingan tersebut ke bahagian C dan E tanpa perlu membuat suntingan ke atas bahagian B dan D. Ia juga bermakna jika anda ingin membuat perubahan pada bahagian C, anda juga boleh terus membuat suntingan di bahagian tersebut tanpa perlu membuat perubahan pada bahagian A dan B. Ini amat berbeza dengan Linear Editing. Linear editing memerlukan anda untuk membuat suntingan mengikut sequence. Bermakna disini jika anda membuat suntingan untuk bahagian A dan setelah selesai anda perlu membuat suntingan pada bahagian B terlebih dahulu sebelum anda dapat menyambung kerja-kerja suntingan anda di bahagian C. Begitu juga jika anda ingin membuat perubahan keatas satu-satu bahagian atau sequence didalam timeline anda. Jika perubahan pada bahagian C ingin dibuat ianya perlu dibuat mengikut sequence.
Terdapat pelbagai lagi terma yang digunakan didalam kerja-kerja suntingan. Insya Allah saya akan kongsikan dengan anda di waktu yang lain.

Web : pijai.telagapictures.com

Rasanya ramai pernah tulis benda ni. Saja buat tambahan kepada artikel yang ada.

Biasanya agak pening jugak membeli camcoder ni. Sekarang terlalu banyak pilihan, macam-macam model ada semuanyan ikut budget anda sahaja.

1. Recording Media .

Sekarang ada banyak jenis kamera video dengan pelbagai jenis media yang digunakan untuk merakam video. Kalau dulu kamera video (consumer),  agak popular dengan pengunaan Mini DV, DV dan Hi-8 sebagai media rakaman nya. Kini teknologi sudah berubah dan pelbagai teknologi baru yang berkaitan dengan media rakaman digunakan antaranya  HDD, SD,SDHC, dan MS.

2. Image Sensor

Image sensor ni amat penting didalam teknologi kamera ni. Image sensor kerjanya ialah untuk tukarkan cahaya yang masuk mejadi signal signal yang difahami oleh kamera. kebiasaaanya 2 jenis teknologi yang yang ada didalam pasaran iaitu menggunakan CCD (Charged Coupled Device), dan satu lagi menggunakan CMOS (Complementary metal oxide semiconductor).

CCD ni merupakan satu teknolgi yang dibangunkan khas untuk industri kamera berbeza dengan CMOS, dimana teknologi CMOS ni kebanyakan digunakan didalam memory chips, kiranya biasa dalam PC. Mungkin kalau nak lebih maklumat boleh carik dalam google. Biasanya teknologi  CCD ada pilihan samada menggunakan single CCD atau 3 CCD. Kebanyakan kamera Panasonic menggunakan teknologi CCD samada single atau 3CCD,manakala Sony pula dilihat cenderung menggunakan teknologi CMOS.

3. Optical Type

Image Stabilization

Image stabilizer, agak penting juga untuk membantu mengurangkan gambar yang bergoyang.

Internal ND Filter

ND Filter penting untuk mengurangkan cahaya yang masuk. Walaupun ada ND Filter yang boleh attack kepada kamera. Internal ND Filter yang baik juga sekurang-kurangnya dapat membantu kita dalam membuat rakaman.

nanti part 2 aku sambung lagi dengan features video,audio and video input dan output

forexexchange07@yahoo.com