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January 2015

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www.postmagazine.com 39 POST JANUARY 2015 TALKINGBOX DIGITAL RELIES ON PANASONIC HD HANDHELDS FOR VARIED ASSIGNMENTS NEWARK, NJ — Mat- thew Abourezk, owner/ director of Easton, CT's Talkingbox Media Group (www.talkingboxdmg. com), was faced with a dilemma in choosing his new video camera. On the one hand, the veteran videographer/ still photographer was shooting award-winning assignments with his HDSLR; on the other, he was beginning to feel the wear and tear of setting up elaborate rigs to achieve desired results. His solution was to invest in Panasonic's (www.panasonic.com/ broadcast) AJ-PX270 P2 HD camcorder. "At some point, you simply need a dedicat- ed video camera with more depth of field," Abourezk says. "I did my research. The PX270 has great reviews, and as a longtime AG-HVX200 owner, I was comfortable with Panasonic gear." Since purchasing the PX270 late last year, Abourezk has used the camera on diverse corporate assignments, including documenting an in-office seminar, and shooting a product video for a medical-equipment company. "I absolutely achieved my objective of being able to control the depth of field," he adds. "I can grab the PX270 and start shooting, no rigs required. Because of that, we're seeing significant cost reductions for our clients." Abourezk says that on shoots for the seminar and medical product, which were both in 1080/30p, "simply by being selective with my camera positioning, I was able to manage depth of field. With the product video, I could get in close, but also show the large piece of equipment and a technician, both in focus. And with the seminar, I needed to show staff busily working in the foreground, but I was able to keep the background a little out of focus." Abourezk also cited the PX270's image production in low light, its high-resolution monitor and OLED viewfinder, 22X zoom with three manual control rings, breadth of available formats, 3G-SDI out and comfortable form factor as assets that he depends on when on-location. "The PX270's image quality is exceptional and it affords mind-blowing versatility," he adds. "It was the right decision for my business." Upcoming assignments include a TV pilot for Kelsey on the House, a reality-based home show. The AJ-PX270, Panasonic's first P2 HD handheld camcorder with AVC-Ultra record- ing, combines high-quality and low-bit-rate recording with 3G/4G/LTE wireless mo- bility. The five-pound PX270 provides the key functionality of Panasonic's high-end, shoulder-mount camcorder, and features newly-developed, high-sensitivity, low-noise 1/3-inch 3-MOS imagers to produce results even in low-light conditions. IRISH INDY PRODUCER SCREENTIME SHINAWIL ADDS FORSCENE TO POST WORKFLOW FOR THE VOICE OF IRELAND LONDON — Forbidden Technologies plc (www.forbidden.co.uk), devel- oper of the cloud video platform Forscene, has announced that Irish in- dependent production company Screentime ShinAwiL (www.shinawil. ie) is using Forscene to accelerate post production on the fourth series of the reality singing competition, The Voice of Ireland. "One of our challenges during post production is cutting eleven 90-minute pre-recorded episodes, as well as insert content for six live shows within a five-week offline period. Other Voice territories would have a longer timeframe. So our aim is to ensure the most efficient and productive workflow during the post production process," says Sheila Meaney, head of production for Screentime ShinAwiL. "Forscene will enable the post producer to access and view rushes remotely, and work on picks and short assemblies, which will provide more help and support for the edit team. It helps to know that Forscene is used on The Voice UK, which proves that the technology has already been tested on a similar production and that systems are in place. The Scre- entime ShinAwiL team is very excited to be working with Forbidden to showcase Forscene for the Irish market." Screentime ShinAwiL is relying on five offline editors and one edit assistant to cut content for The Voice of Ireland. Once content is load- ed and accessible, the series producer and senior producer can log in to Forscene to view rushes, select compelling sound bites and visuals, and work out the running order. According to Screentime ShinAwiL, the ability to review material in Forscene means producers can make decisions without taking up time in an offline suite as they would have had to do in the past. Irish post house Piranha Bar installed Forscene to serve production needs on The Voice of Ireland and envisions offering it as a service to all clients to allow them to take full advantage of secure access wherev- er and whenever they want to view their rushes. "By running this test with The Voice of Ireland, we are examining how we can extend our service offering to clients to allow them to save time and money in the edit process," says Stephen Murnane, head of digital at Piranha Bar. "We are delighted to be working with Screen- time ShinAwiL and Forbidden on this series of The Voice of Ireland. We genuinely believe that this test will lead to time and cost savings for our clients and complement our well-established broadcast workflows and service offering." BUYING GEAR

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