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.

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

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:

PANASONIC EXPANDS PROFESSIONAL AVCHD PRODUCT LINE WITH THE NEW AG-HMC70 SHOULDER-MOUNT CAMCORDER
* 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

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.

The Cutting Edge IX: The Order of the Edit
Belmont University, Nashville, Tennessee
September 8th 2007

Less than a 2 weeks before the Cutting Edge IX: Order of the Edit, the annual NPPA workshop with an emphasis in editing, lands in Nashville Tennessee. Belmont University ‘s New Century Journalism Program has graciously offered the Bunch Multimedia Hall, 2nd Floor Library, as the location for the seminar. It will be a place to gather, to learn, to meet fellow journalists and to listen to The Cutting Edge Faculty of Matt Rafferty, Lou Davis and Shawn Montano as they discuss: The Art of Natural Sound, Opening and Closing Shots, Keeping Your Editing Sharp and Separating Yourself from the Group. Matt, Shawn and Lou will bring insight to each topic. The seminar will kick off with a meet and greet Friday night, September 7th. Then on Saturday we start the seminar at 8am and go to 9pm. Critique sessions will be offered throughout the day. There will be a 2 hour lunch in which there will be breakout sessions. Our host hotel is The Courtyard Nashville Marriott, 2508 Elm Hill Pike, Nashville TN 37214 Call 615-883-9500 by August 17th and ask for NPPA Room Block rate of $90.00. For more information contact Shawn Montano, Director of The Cutting Edge, at shawnmontano@gmail.com.
You can also read more about the seminar at: http://nppa.org/professional_development/workshops_and_seminars/cutting_edge/

and check out the Cutting Edge blog at: http://cuttingedgeix.bloggerarea.com/

Shoot like you watch, edit with natural flow
In recent years feature films at the cinema have become longer and longer. Many scenes that really should have been consigned to the cutting room floor are now quite often left in. The result is often a film that outstays its welcome. Long periods of flat pacing end up dulling what could otherwise be a great story. The art of tight editing, pacing, and being able to be impartial to the footage that you have shot is gradually being eroded. Almost everyone involved in video has heard the term “shoot to edit” before. It is an often used term that is forgotten on a daily basis! For many people the idea of shooting to edit is to take shots in such a way that it gives the editor a good selection of shots to choose from, as well as observing courtesies such as allowing 5 seconds at the head and tail of a shot. This is all very well and good, and certainly instills a good initial discipline for shooting video with. However the idea of shooting to edit can be taken further. For smaller production teams; those who often operate the camera as well as editing, production watchability can be increased many-fold by thinking a little bit more like your audience. It is my belief that every single video and film can be made into something that is interesting to watch. – more

I was very impressed and moved with Pauline Lubens, staff photojournalist for the San Jose Mercury News, and her multimedia documentary about a soldier wounded in Iraq, “Frank’s Fight” (which won first place in the Best Multimedia Package in the small website division for the NPPA). I told Pauline she needs to take this story further and put together a documentary. I’ll talk about this later and what I think we should be considering when producing this type of package.

The panel discussion with editors from five large market papers was very enlightening, especially concerning multimedia and newsroom training. I’ll write a separate article on that event.

There were multiple discussions on technique, technology, and ethics concerning multimedia with television photographers sharing their thoughts on the direction they are taking as well as sharing what newspaper photographers shooting video and gathering sound should consider. A very interesting discussion on ethics took place and I’ll talk about that in a future column.

As I decompress and process what I saw and heard this weekend, I’ll write about the sessions I attended. I start teaching the fall semester this week and need to prepare for classes, but I promise more in-depth reports throughout the week.

He quotes a Pew Research Center for the People and the Press study that found the Web audience is “… younger and better educated than most Americans and far more dissatisfied with their country’s news media.” Many people are pointing their browsers overseas to British online media outlets that give them the content they desire. He also quotes Joseph Epstein who states that Wired magazine now defines a new word, “… ‘egocasting’ as ‘the consumption of on-demand music, movies, television and other media that cater to individual and not mass-market tastes.’ The news, too, is now getting to be on-demand.” Reaching that micro audience as multimedia producers is another aspect of our job that should be explored. How we define a “micro” audience and how we tailor content to reach as many people as possible within that structure will be an interesting exercise.

I like how Rutten finishes, with the hope that some type of “hybrid” publication, “… in which an online edition that’s focused mainly on breaking news and service works in tandem with a print edition whose staples are analysis, context and opinion.” The challenge is to make sure that the multimedia stories we produce are quality in-depth pieces that help showcase and explain the human condition. Here’s an excerpt from Rutten’s article:

“Sooner rather than later, the newspaper you’re holding in your hands will be very different from what it is today. Different in what way is the fair and obvious question. The honest answer is that nobody knows for certain, but the odds are it will be a hybrid publication in which an online edition that’s focused mainly on breaking news and service works in tandem with a print edition whose staples are analysis, context and opinion. The former almost surely will have a lot more video and interactivity than it does today; the latter will have to be much more thoughtful and far more intensely and carefully edited. It’s a difficult — though not impossible — transition, and the scandal of cable news’ failed transformation provides a cautionary example. As Fox and CNN demonstrate to the rest of the news media, it’s possible to save your financial skin and forfeit any claim on respect.”

Zooming, panning, and tilting…
These are sometimes the most effective tools in the VJ’s shooting toolbox and should be the least used too. But all too often beginners can’t hold still and just let the action happen. They just HAVE to tweek things a bit – usually a bit too much. So if we’re able to make these moves, when should we and why shouldn’t we? – more

This is a great piece on aging and sexuality called “Never too old.” Good editing, narration, and sound. I love the way StoryBridge.tv has taken a sensitive topic in a not so exciting venue (classroom) and made it riveting. I showed this in my visual communication class the other day and the students raved about the quality of the story and laughed continuously. Enjoy!

“Never Too Old“

How old is too old to learn about the birds and the bees? Never — if you’re part of a popular human sexuality class for seniors. And we’re not talking about college seniors. If you don’t think octagenarians are interested in sex, you could learn a thing or two from this class. You’ll never look at aging the same way again and that’s a good thing! A warning — if you’re shy or uncomfortable with frank content, this story may not be for you. These seniors are funny, feisty and honest!

I like the last point Dirck makes in the article, that the Platypus Workshops he started many years ago are not meant, “… to turn out a new generation of TV photojournalists. TV news is for all intents and purposes dead. What we are there to do is to teach a skill that will provide choices that can be used to continue a career in visual journalism.”

That middle part, “TV news is for all intents and purposes dead,” is very prescient. Dirck has always had a knack for foretelling the future of visual journalism. He’s right. Media is changing –drastically, and those who don’t embrace change are surely going to die. Television, as we know it, is a medium we will not recognize in the very near future.

Newspaper journalism started changing more than 26 years ago as the first digital camera, the Mavica, was introduced. Many thought early on that our profession would never embrace the new digital technologies being introduced. We did. Today we are at a new crossroad in the profession and I’m glad to see today’s photojournalists embracing change. I’m wondering what Dirck’s next prediction will be? I can’t wait!

For those of you who dabble in design – enjoy!

The dates for Cutting Edge IX have been released. And while this is geared toward television news, it could be a great opportunity for multimedia producers to learn advanced editing techniques. News announcement from the NPPA:

DURHAM, NC (July 14, 2007) – Shawn Montano, director of the Cutting Edge IX: Order of the Edit workshop, announced that the 2007 seminar will be held September 8 in Nashville, TN, at Belmont University’s Bunch Multimedia Hall from 8 a.m. until 9 p.m. Cutting Edge is an NPPA educational workshop with emphasis on the craft of editing. This year’s program is co-hosted by Belmont University’s New Century Journalism Program. Topics at this session include “The Art of Natural Sound”; “Opening and Closing Shots”; and “Separating Yourself from the Group.” Faculty for this workshop includes Lou Davis, chief photojournalist for WTVD-TV in Raleigh-Durham, NC. Matt Rafferty is also on the faculty. He’s a video editor at WJW-TV in Cleveland, OH. Shawn Montano rounds out the Cutting Edge faculty and is director of the workshop. For more information contact Montano at shawnmontano@gmail.com. -more

A nicely done piece from the Onion on the loss of all data. In all seriousness, what would we do if the content we have so lovingly created is lost due to a server meltdown or other calamity? We rarely think about the archival quality and lasting power of multimedia content. Today we can go back into the national archives and pull up a Dorothea Lange image. And if that digital archive is somehow lost, we still have the hard copy to go back to. What are we doing, especially at small news organizations around the country, to keep our content alive?

Hillman Curtis on Creating Short Films for the Web
Text and images by Hillman Curtis.
New Riders Publishing, Berkeley, 2005

An excellent book, Curtis offers a look into his filmmaking process. He takes you through the ideas that drive the story, through setup, shoot, and the assembly of a rough cut, to the final edit. Hillman also offers advice on direction, sound, editing, and interviewing. Included at the end is a primer that lists and explains the equipment you’ll need and provides an overview of the process. There is even a guide that helps you build your own Flash video player.

Publisher’s Description: Legendary Web designer and author Hillman Curtis has always been fascinated by motion and movement. In 2001, inspired in part by the affordability and accessibility of digital video, he began to experiment with short digital films in an effort to reinvigorate his creative spirit and express himself both personally and professionally. The nine projects Hillman describes in this book, each between 60 seconds and 10 minutes long, draw from a wide variety of creative sources and take various forms-documentaries, music videos, a fictional short film, and a series of video portraits. Each one is unique, yet the goal is always the same: to capture in video the essence of his subject.

Boot camp for VJs
I’m attending the second Travel Channel Academy, in Silver Spring, Maryland, just outside Washington, D.C. It’s a four-day course in digital video: shooting, editing and storytelling. Each day will run about 10 to 11 hours; today (the first day) we went from 9 a.m. until 7:30 p.m. Michael Rosenblum and associates are leading the training, and it’s being blogged over at Rosenblumtv too. – more

In this report from the Baltimore Sun, the paper is going to start partnering with local television media and working with broadcast reporters to co-produce multimedia content.

Sun to share content with WMAR, MPT
By Nick Madigan Sun reporter July 18, 2007

Expanding its reach into other media platforms, The Sun has struck partnership agreements with WMAR and Maryland Public Television, and is discussing a similar deal with a TV sports programmer. The agreements will enable the organizations to share content and resources for online, print and broadcast stories and commentaries, and should increase the visibility of Sun reporters and columnists. “We’re increasingly living in a multimedia world,” Timothy A. Franklin, editor of The Sun, said yesterday, “and it’s important that we have our journalists and our content on multiple stations so that we can maximize our exposure and get more eyeballs.” Steve Sullivan, The Sun’s assistant managing editor for multimedia, said yesterday that the paper has also been talking with an area sports programmer about an on-air, online collaboration between the two entities. – more