Steve Mullen

Learn solutions to solving the judder problem

Today, DV and DVCPRO (25Mb/s, 50Mb/s and 100Mb/s) are routinely edited on laptops. Depending on your perspective, this either increases the pressure to

Back in the linear age, the words render and real time were not uttered as effects were incorporated into productions. That's because while media was

When HDV was introduced, editors quickly discovered that when they exported a production back to HDV tape, the process often took hours. Many saw long

After two decades use, we are all familiar with basic CCD technology. During this period, the most recent development has been CCD sensors that support

Most broadcast HD camcorders use straightforward DVC, MPEG-2 or MPEG-4 (H.264/AVC) compression. This orderly world of intraframe and interframe codecs

When DVCAM, DVCPRO and DVCPRO50 were introduced, manufacturers positioned these proprietary formats as compared to the DV format. After working with all

From the advent of cameras and camcorders that record video using long-GOP MPEG-2 and MPEG-4 (H.264/AVC) compression, there have been those who felt the

Last month, in the first part of this series, we discussed how the 4K2K format offers an intermediate step on the way to Ultra High HD. In this final

Several paradoxes lay in the path from NTSC to 4K2K production. First, although it is trivial to build a CMOS sensor with several times the 8.3MP needed

Product presentations at NAB are a great way to rest your burning feet while looking like you are absorbing significant information. At the 2009 NAB Show,

The introduction of recording equipment employing H.264, with Fidelity Range Extensions (FRExt), has created a viable alternative to equipment using long-GOP