Gamma Going Away

From Reuters: France’s Gamma photo agency on brink of collapse Tue Jul 28, 2009 By Laure Bretton PARIS (Reuters)

French photo agency Gamma, which rose to fame documenting the May 1968 uprising in Paris and the Vietnam War, said Tuesday its survival was in doubt, the latest victim of a crisis hurting traditional media. Read more

Zach Wise’s Newest Multimedia Shines

Devil's Golf Course

Zach Wise is currently a multimedia producer for the New York Times. Before going to the Times, he was the senior multimedia producer for the Las Vegas Sun. Before he left the Sun he finished this great multimedia piece on Nevada’s water woes. Great navigation, interactive elements throughout and great reporting are all part of this report. Click on the image above or go to the story, and then read about how Zach put it all together.

2 Week Documentary Workshop in The Mississippi Delta

From Chandler Griffin:

2 Week Documentary Workshop in The Mississippi Delta
Start Date:  February 15th, 2009

This 2-week DV workshop is designed for photojournalists who are looking to make the move to videojournalism and the web, new documentary filmmakers who want to launch their careers in web and television documentaries and for those with experience in some aspects of filmmaking that are looking to expand their skill, understanding and mastery of the whole process.  Producers, cinematographers, editors and writers with narrative experience who are considering working in non-fiction filmmaking are also encouraged to enroll.

Students will learn all aspects of the process including the importance of the still image, DV camera, compact lighting methods, field sound, field editing and how to weave the story.  To view an extended version of the course description, visit our website at

Link to last year’s videos:

This is one of many workshops that Barefoot will be running in 2009.  In addition to the Mississippi Delta, check out our website to learn more about our workshops in Africa and how you can participate.

Contact: <>
Tuition: $2,250.00 (includes tuition, housing and food)

Past Equipment Sponsors:  Apple, Canon, Tekserve, Bogen, Gitzo, Kata, Tiffen, Sennheiser, Anton Bauer, Lowel, D&M Professional

Barefoot Workshops is a New York City-based not-for-profit 501(c)3, founded by Chandler Griffin in 2004, that offers short, intensive workshops around the world in narrative and documentary filmmaking. We assist organizations and individuals to use media, music and the arts, to accelerate progress and program goals in areas such as cancer, HIV/AIDS, conflict resolution, resettlement, youth empowerment, civil rights, and democracy building. We have worked with partners as diverse as UNESCO, Desmond Tutu HIV Foundation, The U.S. State Department and The Middle East Partnership Initiative (MEPI), to pioneer new formats and “media templates” that reinforce citizen-led, community-owned solutions to these challenges.

The main goal of Barefoot Workshops is to equip students with the knowledge and confidence to use sophisticated equipment while having a foundation that allows a person to create beautiful images regardless of the tools. At Barefoot, growing and learning as a filmmaker means growing and learning as an individual.

Multimedia Reporting and Convergence Workshop

Fellowship applications are now being accepted for a Multimedia Reporting and Convergence Workshop for January 11-16, 2009 and March 22-27, 2009, at The Knight Digital Media Center at the University of California, Berkeley.

It is a week-long training sessions for mid-career journalists wishing to advance their multimedia skills. The workshops combine instruction in multimedia storytelling and hands-on multimedia news production. There are a total of 40 fellowship positions available (20 per workshop) for the sessions being offered in January and March 2008. Applicants may apply to one or both workshops. Applicants are encouraged to apply for multiple workshops to increase their chances of being accepted into one of them. COMPLETED APPLICATIONS FOR BOTH WORKSHOPS MUST BE RECEIVED BY NOVEMBER 14, 2008.

The fellowship covers all lodging, meals and instruction costs. Cost of travel to the workshop must be paid by the applicant’s news organization. An online application form and instructions are available at:

James Nachtwey Releases Latest Story: XDRTB

James Nachtwey, one of the greatest living photojournalists today, just released this story as part of an effort to spread the word on XDRTB through TED. For more information go to the XDRTB website.

Vincent Laforet: “Reverie” Canon EOS 5D Mark II Video

At long last, even though it’s been only a few days, here is the video from Vincent Laforet that was shot entirely on the new Canon EOS 5D Mark II. The footage was not enhanced in any way and was dropped into Final Cut for editing. This is the raw footage and it is nothing short of amazing. Check out Vincent’s Blog and a “Behind the Scenes” video clip.

New Sony HVRZ5U Tapeless HD Video Camera

Sony is coming out with the HVR-Z5U camcorder this December. It has native 24P recording and other professional features—all for less than $5,000—as well as tapeless recording capability through an optional CompactFlash adapter. There are few details yet but a few words from Sony are available:

“Professionals need features like balanced audio, XLR inputs, timecode and more,” said Bob Ott, vice president of professional audio and video products at Sony Electronics. “They also need access to technical resources to help them with issues like integrating with non-linear editing systems. This is where a professional solution like the HVR-Z5U is an appropriate choice.” The HVR-Z5U camcorder offers the addition of several features specifically designed for professional video production, such as progressive scan shooting at 1080/24P and 30P, DVCAM recording, timecode support and two XLR balanced audio inputs. Professionals can record the native 24P/30P signal on to the videotape used in the camcorder or to CompactFlash cards – simultaneously or separately – with the optional HVR-MRC1K recording unit. This unit attaches directly to the back of the camcorder, eliminates the need for cables and automatically synchronizes with the recording action of the camcorder. The recording unit can be directly attached to the new HVR-Z5U camera, as well as to Sony’s HVR-Z7U and HVR-S270U models. It will also work with other HDV camcorders using a supplied iLINK (IEEE-1394) cable and shoe adapter. The camcorder, and the HVR-MRC1K adapter will be compatible with Sony’s Professional 306x CompactFlash card. The recording times on an 8 and 16 GB CompactFlash card in HDV, DVCAM and DV format are approximately 36 and 72 minutes, respectively. The HVR-Z5U professional camera suggested list price is $4950. The HVR-MRC1K recording unit should be out in October for a suggested list price of $940.

Canon EOS 5D Mark II Links

Here are a few more links to sample images, video, reviews and specifications on the new Canon EOS 5D Mark II:

Gizmodo: Canon 5D Mark II Rumored Specs and Details

Gizmodo: Unconfirmed: More Canon EOS 5D Mark II Specs Leak, Lookin’ Good

Canon USA: EOS 5D Mark II Digital SLR Camera

Digital Photography Review: Canon EOS 5D Mark II Hands-on Preview

Digital Photography Review: Canon EOS 5D Mark II: 21MP and HD movies

Digital Photography Review: Canon EOS 5D Mark II Samples Gallery (Preview)

Lovegrove Consulting: Canon 5D Mk2 high ISO pictures

Lovegrove Consulting: Canon 5D mk2 150 frame first findings

Rob Galbraith: Canon EOS 5D Mark II – 21.03 million image pixels, 1080p video

YouTube Video: Digital SLR User Canon EOS 5D Mark II hands on

Here’s a video preview of the Canon EOS 5D Mark II from DSLR TV on YouTube. DSLR TV is part of Digital SLR User magazine .

Canon EOS 5D Mark II Sample Video

Here is a link to Canon Global and some great examples of video shot with the new camera. (

Canon EOS 5D Mark II Could Change the Equation

I’ve been reading all the flurry of activity over the new Canon EOS 5D MII that will be available near the end of November. Vincent Laforet, a New York based commercial and editorial photographer, was given a prototype to use for 72 hours. His report and the stills he has been able to show are nothing short of amazing. The video is forthcoming, but from the promise is better than the Red One cinema camera and could change how we are approaching some assignments. The cost is even better, around $2,700 retail. For sound the camera has a mono mic input, but I’m sure BeachTek will have a solution with XLR inputs for the camera at some point. Check out Rob Galbraith’s evaluation with more images of the sensor and inputs. Check out these sample images from Canon Global as well as their specifications and other data on the camera. Here are some sample videos from Canon Global.

The Norwegian Broadcasting Corporation, the Norwegian government-owned radio and public broadcasting company, has also tested the 5D and has put up its’ analysis of the video on their NRKbeta technology site. Here is an excerpt:

The clips are standard MOV-files that will open directly in QuickTime. We also tried with the latest version of VLC. That worked fine on Mac and not in Windows. In iMovie the clip was imported fine, but converted like any other MPEG4-clip will be in that program. In Final Cut Pro the clips could be dropped right into the program with no conversion. And it was possible to start editing right away. Visually they look better than HDV. Something that shouldn’t come as a surprise considering the specifications. HDV is 25 mbit/s MPEG2. The clips from the 5D is 40 mbit/s MPEG4. The H.264 codec used in the 5D is in some conditions regarded roughly 50% better than MPEG2. When you add the bandwidth in the 5D that is nearly twice the bandwidth of HDV you get video footage with less compression artifacts. Hard panning in the clips looks good and it seems like Canon have managed the timing of the shutter very well. It looks like the GOP-structure of the clips are one I-frame for each 15 P-frame. No B-frames. Read more

Here is an excerpt from Canon’s press release:

Canon U.S.A., Inc., a leader in digital imaging, today introduced the EOS 5D Mark II Digital SLR camera, the long-awaited successor to Canon’s highly popular EOS 5D, introduced in 2005. Building upon the qualities that made the EOS 5D camera so successful, Canon has coupled the creative power of a full-frame CMOS sensor in a relatively compact and affordable camera body, together with groundbreaking HD video capture that opens the door to a much wider range of imaging possibilities for photographers. Along with the ability to capture full HD video clips at 1920 x 1080 resolution, Canon’s EOS 5D Mark II Digital SLR camera features a 21.1-megapixel full frame 24 x 36mm CMOS sensor, DIGIC 4 imaging processor and significantly lower noise, with an expanded sensitivity range from ISO 50 to ISO 25,600. Read more

Top 25 Film Festivals

Want to get your best independent work seen? Here’s a great resource from AJ Schnack from “All These Wonderful Things.” AJ is an award-winning filmmaker and writer based in Los Angeles.

The 25 Top Film Festivals For Documentaries

“You’ve just completed your film. Now it’s time to decide which festivals to target. Maybe all along you were planning on Sundance. Hell, you built your entire post-production schedule around the Sundance deadlines! Maybe you get in. Maybe you don’t. Either way, you’re about to make your next festival decision, and another and another. And beyond the big ticket festivals, the ones where acceptance is supposed to be worth its weight in distribution gold, there’s an endless stream of festivals to navigate. Where should your second screening be? Should you wait to hear from Tribeca? And what about that random festival that you’ve never heard of but assures you a great time and a free ride?”

Reel Venus Film & Video Festival For Women

Just received this from Melissa Fowler. Might be a good place to showcase your better stories and long term projects.


Reel Venus is seeking entries of short films, photography/multimedia slideshow presentations for its 5th Annual showcase which is set to take place October 2,3 & 4 2008.

Reel Venus is an eclectic 3-day showcase of alternative and mainstream film/video shorts (30 minutes or less) photography and multimedia presentations directed/photographed by WOMEN filmmakers, video artists and photographers from the U.S. and abroad. Works must have been completed after July 2007. Go to for more information.

DEADLINE FOR ENTRIES: August 30, 2008 – $20.00.

phone: 212-714-8375

Melissa Fowler
Reel Venus Film Festival

Platypus Workshop

My recent postings on the Platypus workshop have been taken down due to proprietary issues. Suffice it to say that if you ever get the chance to go to the Playtpus workshop you should take it. It was one of the best experiences I have had at a workshop in a long time and one of the most intense. If folks had listened to Dirck and PF more than 10 years ago newspapers would be in a much better way right now. There is one more workshop in Chicago this year and slots are still available.

Value of MediaStorm’s New Multimedia Training

I asked Lucy Nicholson, a senior staff photographer with Reuters based in Los Angeles, about the value of MediaStorm’s new workshops. Lucy attended in May. I’ve read a few posts that have questioned the cost, $3,500 for tuition only, and whether or not the course was worth the price of admission. Here’s her answer:

I think the course was well worth it. There were only 4 people in the course learning (2 photogs & 2 editors) and 5 people teaching. The tutors put in as much time as we needed & stayed working with us at night till we all couldn’t stay awake (not an exaggeration.) The time on the course was superbly budgeted – classroom learning was kept to a minimum; it was all about learning-by-doing supplemented by notes you could read in more detail at a later point. I think MediaStorm is doing some of the best multimedia out there, so just picking up their way of doing things was valuable in itself… There’s no correct formula with a lot of stuff, so it’s good to have someone who really knows what they’re doing give you a formula to start with + all their notes on Final Cut Pro settings to use etc which are appropriate for web journalism. I’d read documentary filmmaking, final cut pro, cinematography, film editing, radio production, BBC TV training books in the last year in an effort to try to get up to speed with the skills I might need for the future. This course really pulled it all together for me in a way which made sense & gave me a lot of confidence – not that I know a lot, but that I have a lot to learn & at least I think I’m on the right track for now! Hopefully I’ll be able to get a chance to do some more multimedia in between the day-to-day necessary parts of my job.

Lucy Nicholson at MediaStorm Workshops in New York

Lucy Nicholson, a senior staff photographer with Reuters based in Los Angeles, attended the first MediaStorm multimedia course in May 2008. Lucy did a great job on this story about New York City’s Naked Cowboy. Just click on the graphic below

“At War” Trailer 3

David Leeson and Scott Kesterson have posted their third trailer for “At War“, a heartrending and powerful look at the cost of war on everyone involved. The film is due for a January 2008 release. I’m in Dallas to interview David as part of my research on the changes facing photojournalism today and how we adapt to those changes. I’ll ask David and Scott about their process for creating the film and where they think photojournalism is headed. Below are the three trailers made for the film.

From the website: “At War” is a documentary film shot and directed by Scott Kesterson, who spent a year embedded with US forces in Afghanistan. The film is produced and edited by David Leeson, Pulitzer Prize recipient and currently Executive Producer – Video and New Media for The Dallas Morning News. The film is subject-driven storytelling, allowing the truth of the moment to speak in the tradition of ethical still photojournalism. At War explores the timeless nature of war and conflict, and ultimately challenges us to look at ourselves as beings filled with love and hate, fear and courage, passion and chaos.




Beet.TV: New York Times Integrated Newsroom

From Beet.TV, a nice little video piece on the new New York Times integrated newsroom:

The New York Times has a New, Integrated Newsroom

The New York Times has moved into a Renzo Piano-designed building on Eighth Avenue. Begun in April, the move is now complete. Beyond the new design and functionality of the place, which is reviewed today in the paper, the new building has an integrated newsroom. It combines the “print” editorial operations, previously in the paper’s headquarters on West 43rd Street, and the digital news operations, which were some 7 blocks away. A video about the integrated newsroom has been posted to The New York Times Company corporate Web Site. – more

Barefoot Workshops: Documenting the Mississippi Delta

In February 2008 the Barefoot Workshops, run by Chandler Griffin, will hit the Mississippi Delta. This is a 2-week workshop designed for new documentary filmmakers who want to start a career in film and television documentary. Chandler Griffin runs the Barefoot Workshops, a a New York City-based not-for-profit 501(c)3, that offers short, intensive workshops around the world in documentary filmmaking. “We assist organizations and individuals to use media, music and the arts, to accelerate progress and program goals in areas such as health, conflict resolution, resettlement, civil rights, and democracy building. We have worked with partners as diverse as UNESCO, Desmond Tutu HIV Foundation, The U.S. State Department and The Middle East Partnership Initiative (MEPI), to pioneer new formats and ‘media templates’ that reinforce citizen-led, community-owned solutions to these challenges,” according to the Barefoot website.

From the Barefoot Workshops website:

This 2-week delta workshop is designed for new documentary filmmakers who want to launch their careers in film and television documentaries or for those with experience in some aspects of filmmaking that are looking to expand their skill, understanding and mastery of the whole process. producers, cinematographers, editors and writers with narrative experience who are considering working in non-fiction filmmaking are also encouraged to enroll. This workshop is ideal for working professionals who want to develop important skills, which will allow them to work with other filmmakers.

In this unique workshop, students will explore every aspect of documentary filmmaking. Cinematographer, Chandler Griffin, will help you develop an understanding for the visual structure, style, and production requirements of a wide variety of documentaries along with storytelling and the art of writing and directing. This will include laying a visual foundation by spending many hours exploring how light, composition, and emotion make up the image. Many different lighting techniques and styles will be covered. Chandler will also be covering all editing demos using Final Cut Pro. Using case studies along with student’s ideas, the goal of the course is to provide an intense overview of the art of documentary productions. Every student will learn how to evaluate non-fiction ideas, create their own ideas and develop an understanding of documentary film aesthetics and the storytelling process.<

The workshop meets formally 6 days each week. There will be lectures, screenings, presentations, technical demos, a review and critique of all dailies, supervised editing sessions, discussion of documentaries, and individual meetings with the Chandler. The workshop combines lectures and presentations with supervised and formal instruction in production laboratories (camera, lighting, sound, editing), shooting on location, transcribing, screening and discussion of current and classic documentaries, meetings with visiting filmmakers and written assignments. Students will write and develop proposals for future projects.

The workshop will break into groups with each group producing a completed 7 to 10 minute piece shot on digital video and edited with Final Cut Pro. Students will meet and scout their subjects and write treatments and outlines to guide their production. from there they will conduct interviews, tape B-roll and coverage for a sequence, record sound and take their material into post-production. There they will be instructed in creating first an edit on paper, then on the computer, where after assembly into a final edit, they will color correct, mix sound and add titles to their finished work. The projects will encompass the diversity of documentary styles and allow the individual the chance to problem-solve by learning to work as a team.

On the last night of the workshops the documentaries will be screened for the community to enjoy. The filmmakers are encouraged to invite family and friends. Because of the full support of The Mississippi Film Commission, documentaries produced with Barefoot Images are automatically accepted for a special screening at the Crossroads International Film & Video Festival in Jackson, Mississippi, and students are encouraged to submit to other festivals around the world.

Chandler Griffin/Barefoot Workshops
Brooke Bassin/Barefoot Workshops

New Panasonic HD Camera in April 2008: AG-HMC70


Panasonic’s new HD camera, due for release in April of next year, will reportedly go for around $2,000. Definitely within reach of most people. From Panasonic:

* Affordable, Point-and-Shoot HD Camcorder Offers Benefits of SD Card
* Solid-state Recording with Professional Audio Flexibility
Panasonic announced the expansion of its professional AVCHD product line with the introduction of the AG-HMC70 AVCHD camcorder. As the industry’s first shoulder-mount AVCHD camcorder, the HMC70 records high-quality 1080i images onto readily available SD/SDHC memory cards. Like Panasonic’s full production quality solid-state P2 HD recording system, this AVCHD camcorder eliminates the need for and cost of a special deck, as well as the time required to transfer content from a tape or optical disc to a PC for editing or content distribution. Since it uses a standard SD or SDHC card, the HMC70’s recording capacity will increase and media cost decrease as the industry announces new higher capacity cards. The HMC70 features three native16:9 progressive ¼” CCDs to record, or provide a live feed of, widescreen 1440 x 1080 HD resolution images of weddings, sports, concerts, or other events. It can be used by law enforcement agencies for training or surveillance, by schools for use in video production, live staging and documentation, or by broadcasters and newspapers for web journalism. The camcorder is equipped with a 12X 38.5mm to 462mm* Leica wide-angle zoom lens, one-push auto focus, and integrated Optical Image Stabilization (O.I.S.) that ensures stable images, which are most critical when displaying high definition video. The camera also provides excellent color reproduction and inherits the exceptional color rendition of Panasonic’s other professional HD cameras. –more

Internet Video Growing

Television shows on the Internet have replaced news programming as the most widely viewed online content. Traditional television programming online and Internet video are expected to grow in the next several years and will soon become entrenched as mainstream according to WebPro News. –more

5 Final Cut Pro Editing Tips for Digital Video

Here’s a link to 5 Final Cut Pro tips from Kevin McAuliffe at Digital Video Editing:

5. Four Channel Split Audio Output
4. Finding Used/Unused Clips
3. Multiclip Redigitizing
2. Adjusting Your Audio Levels – Relative vs. Absolute
1. Copy /Pasting Attributes

Camera Can Record at up to 300 FPS Speeds


Casio says that it is developing a new digital camera with high speed performance and image capture functions. The camera will be able to take still images at 60 image per second speeds and will also take movies that capture movement so fast that it can’t be seen by the human eye. According to Casio the camera can capture movies at VGA resolution at an incredible 300 frames per second, which means it can record movies for replay in ultra-slow motion, a function that has only been possible so far with a limited range of professional movie equipment. The prototype camera features a new high speed CMOS sensor and a high speed LSI image processing chip with 6.0-megapixel resolution, 12x optical zoom, and CMOS-shift image stabilization. –more

Out and About and Moving On

It has been a very busy few weeks. I have been working on my research, teaching classes (I’m even teaching an extra class this semester), working on getting out the educational journal I work on, and filming interviews for my documentary. Which usually means that writing suffers.

I just got back from Dallas after interviewing David Leeson at the Dallas Morning News. David is always inspirational and I’m so pleased he has agreed to be part of my research and documentary. He is currently working on his film “At War” with Scott Kesterson and teaching video to photojournalists at the paper. Earlier in the week I had the pleasure of sitting down with Eli Reed and interviewing him as well. Eli is teaching at the University of Texas Austin and is also working on a documentary. And just a few weeks ago I was able to interview Billy Calzada at the San Antonio Express News. Billy is at the forefront of the changes going on in photojournalism today and, like all of us, is struggling with adapting to this new way of telling stories.

A thread that has been consistent from each person is that multimedia is here to stay. That it is time to get over the battle that has raged over whether it is a good thing or not. The people we are trying to reach with our stories are using this technology and we need to adapt to this trend. It doesn’t mean that we abandon anything about who we are as storytellers. If anything, multimedia gives our stories tremendous depth and allows us to explore issues in greater detail. Technology, whether a still camera or a video camera, is just that, technology. It is what we do with that tool to tell compelling stories that is most important.

Technology has always been there. For the past thirty years we have made tremendous leaps forward in what our equipment can do and how we distribute the news. The constant is our ability tell stories in a way that grabs the reader by the throat and doesn’t let go. Video does not change that.

Deborah Scranton Talks About “War Tapes” at TED

Filmmaker Deborah Scranton talks about and shows clips from her documentary The War Tapes in this video from TED. She put video cameras in the hands of Charlie Company, a unit of the National Guard, for one year in Iraq. The soldiers footage and diaries tell a very personal story of the war in Iraq.

“At War”: Documentary Filmmaking at its Best

Check out Scott Kesterson and David Leeson’s excellent work on a feature length film, “At War“, based on Scott’s documentary footage shot in Afghanistan over a one year embed. David Leeson is editing the film now and has completed a few trailers that can be viewed on the site. Scott is an interesting story, going from citizen journalist and blogger to documentary filmmaker. David has mentored and collaborated with Scott over the years and the result is a powerful visual documentary on the war in Afghanistan. As I have mentioned in the past, my feeling is that we are pursuing the wrong model in some cases. We should be thinking about the long term documentary project more when it comes to video. The most powerful images usually come from long term projects that allow us to explore topics in depth. This is no different when it comes to video.

At War is a documentary film shot and directed by Scott Kesterson, who spent a year embedded with US forces in Afghanistan. The film is produced and edited by David Leeson, Pulitzer Prize recipient and currently Executive Producer – Video and New Media for The Dallas Morning News. The film is subject-driven storytelling, allowing the truth of the moment to speak in the tradition of ethical still photojournalism. It explores the timeless nature of war and conflict, and ultimately challenges us to look at ourselves as beings filled with love and hate, fear and courage, passion and chaos.

New Sony PMW-EX1 HD Camera With Tapeless Recording


The reported cost of the Sony PMW-EX1 HD camera will be in the $8,000 range. A bit pricey for personal consumption, but remember the old days when the first digital cameras were in the $20,000 range. It wasn’t until Nikon introduced the D-1 in the $5,000 range that prices came down. Give it time and these should come down in price as well. The advantage of course is getting rid of tapes. From Sony:

The PMW-EX1 is the first in a new range of professional HD products – called XDCAM EX – which are the first to record onto memory-based SxS ExpressCard media. Designed from the ground up to exploit the ultimate high performance of SxS PRO memory cards, the PMW-EX1 combines a state-of-the-art, non-linear XDCAM workflow with simply the best HD quality yet seen in a compact camcorder. It is also the first handheld camcorder to carry the legendary CineAlta 24P brand with multiple frame rate recording capability such as 59.94i, 50i, and native 23.98P, as well being 1080i/720P switchable.

There is also a choice of a 35Mb/s High Quality mode or a 25Mb/s, HDV 1080i compatible mode. To take advantage of this high performance recording capability, the PMW-EX1 uses an all-new imaging system consisting of three ½-inch type CMOS sensors, each with an effective pixel count of 1920×1080 to produce images in full HD resolution. In addition, there’s a purpose-built Fujinon Professional HD ½-inch 14x lens and a unique dual focus ring mechanism.

In fact, there are innovations in every detail of the PMW-EX1, from its IT-friendly MP4 file recording to advanced creative features, such as selectable gamma curves and “Slow & Quick Motion” capability.

To maximise recording time, the PMW-EX1 has two memory card slots which means with a pair of 16 GB SxS PRO memory cards, it can record up to 140 minutes of HD footage.

A wide variety of accessories are also available, including a USB Reader/Writer, a wide-conversion lens, battery and charger.

The PMW-EX1 HD compact camcorder is the ideal solution for a wide range of customers from broadcasters through to independent videographers and film makers who want exceptional HD picture quality and state-of-the-art workflow from a compact and affordable camcorder.

New Northwestern University Study On Digital Strategy

A new study out of Northwestern University’s Media Management Center, “Running while the Earth Shakes: Creating an Innovation Strategy to Win in the Digital Age, A Study on Innovation in the News Media,” by Annette Moser-Wellman, explores the creative strategies media organizations can follow to adapt to change. Here’s a link to the PDF file.

Executive Summary
The news industry faces seismic changes as the Internet transforms the market and the competitive climate for news and information. Traditional news media organizations must aggressively adapt their business models to stay relevant in this evolving marketplace. And they must become effective and nimble innovators – able to rapidly and continually develop new products, services, distribution mechanisms, business models, strategies and revenue streams in response to or in anticipation of changes in the competitive landscape, consumer preference and technologies. And non-traditional or “emerging” news companies — those that have entered the world of gathering, producing and distributing news and information since the dawn of the World Wide Web — need to be on guard so they don’t lose their natural innovative abilities as they grow. So this report is designed to help both new and old media companies identify and aggressively redefine business models, create dynamic processes, develop flexible organizations and inspire vital leadership to navigate industry changes ahead.

New Sony HDV Cam Has Interchangeable Lenses


Sony has a new HDV camera coming out soon that uses interchangeable lenses. Preliminary info from Sony:

1/3-inch 3ClearVid CMOS Sensor™
The new camcorder will incorporate new 1/3” 3ClearVid CMOS Sensor system for optimum picture quality. Thanks to the unique grid arrangement of the photo diode sensors, in which each is rotated by 45 degrees, sensor resolution has been optimised while maximising the photosensitive surface area. The sensor works in combination with the Enhanced Imaging Processor™ to provide high sensitivity, low noise and a wide dynamic range. The 3ClearVid CMOS Sensor also eradicates picture smear and is less demanding on power consumption, thus delivering longer battery life.

Flexible Lens Options
The handheld camcorder is supplied with an interchangeable HD Carl Zeiss lens with 1/3” bayonet joint mechanism, allowing the flexibility of attaching existing 2/3” or 1/2” lenses with a standard lens adaptor. Lenses from the popular Digital SLR – a System from Sony can also be used with a special adaptor.

Native Progressive Recording Mode
The new HDV camcorder has both native progressive and interlace recording modes. In the native progressive recording mode, the 1080/25p image is recorded in HDV format. It is ideal for film-makers on a budget.

Full Compatibility with Current SD Systems
HDV/DVCAM switchability offers future-proof purchase for current DVCAM users. The built-in down-converter offers DV signals through the i.LINK connector to your current DV non-linear editing system.

Final Cut Pro Tutorials

Here’s a link to Ken Stone’s fantastic Final Cut Pro tutorial site with an extensive list of video and text tutorials, white papers, and audio tutorials.