Digital Video - February 2008 - (Page 30) BEST OF 2007 30 TOOLS INDIE FILMMAKERS G-Technology’s G-Speed. I n the effort to make some sense of the amazing volume of new tools introduced (or delivered) in 2007 — from camcorders to codecs, from HMI lighting to DI color timing — we asked DV’s top writers to each pick their favorites with the proverbial “indie filmmaker” in mind, resulting in this list. As some contributors lean toward production, some toward post and others toward distribution, each came at selecting their personal “bests” from a unique perspective, creating what we hope will be a useful tool in itself (running in alphabetical order by company) when it comes time for you to gear up for your next production. FOR COMPILED BY DAVID E. WILLIAMS CREATIVE SUITE 3 PRODUCTION PREMIUM Adobe, adobe.com/products The Adobe CS3 Production Premium bundle signals Adobe’s return to the Mac and offers the market a solid competitor to Apple’s Final Cut Pro Studio. CS3 Production Premium bundles software covering all aspects of production, including field and studio shooting, post, effects, sound, virtual sets and distribution (SD and HD DVD authoring and even Flash production). And this is one of only two cross-platform post packages — making it attractive for Windows and Mac users alike. — Oliver Peters windows — time-consuming and impossible if you have an open door. The way to go is the HMI lights, as they are daylight-balanced. In the old days, HMIs cost $5,000 plus and needed heavy ballasts. But relief is now here with these $180 HMI units. — Stefan Sargent COLOR Apple, apple.com/finalcutstudio Apple Color offers the indie producer tools at the top end of capability for color “correction” (and improvement) and puts them in every Final Cut Studio user, for no additional cost for the software. Even the less well-equipped can round trip to Color to apply presets while the more adept and experienced will want the neutral color back- IO HD AJA Video Systems, aja.com AJA announced this product at NAB 2007 in conjunction with Apple’s announcement of Final Cut Studio 2 and the new Apple ProRes 422 codec. If you are editing HD but can’t handle “uncompressed” HD file sizes whether because you are editing on a notebook or just can’t schlep a MacPro and massive RAID with you to the Amazon, this box answers your prayers. The ProRes codec is virtually lossless and files are no larger than SD files. This box transcodes in real time from any source to ProRes and as an added bonus is a stand-alone, real-time converter between different codecs. — Ned Soltz Apple’s Color 800 BALLAST AND BULB Alzo Video, alzovideo.com Shooting in daylight-lit rooms is a drag if your lighting kit is tungsten-balanced. As there’s nice daylight streaming in, you get out the old blue gels and balance for daylight. The gels sop up a lot of light and so you move them closer to the talent. Ugh! Or you tape 85 filters all over the doors and ground, 5600ºK lighting, broadcast HD monitor and probably a control surface. But even without these (somewhat expensive) accouterments, Color puts a lot of power for manipulating color and mood in every user’s hand. — Philip Hodgetts IPHONE Apple, apple.com While it has its limitations, the iPhone has forced all mobile device manufacturers to “think different” about their next product’s capabilities, integration and ease-of-use factor. (Inventive users www.dv.com Litepanels’ LP-Micro 30 dv february 2008 http://www.adobe.com/products http://www.apple.com/finalcutstudio http://www.aja.com http://www.alzovideo.com http://www.apple.com http://www.dv.com
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