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Copyright © 2004 -
Information Today, Inc.
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January 1998 [Volume 7, Issue 1]: Features
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Ron Miller|Videographers sound off on the pros and cons of shooting in 24p.
Posted 21 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Ron Miller
Jan Ozer|To produce professional video on a budget, you need to master various visual and technical arts. But you also need to become a master of illusion, especially if you’re working as a crew of one. Here we explore the art of the single-camera shoot, and insert-editing techniques that will ensure that you have all the angles covered.
Posted 21 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Jan Ozer
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January 1998 [Volume 7, Issue 1]: Column: Executive Decision
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Pre-pro” is about being a prepared professional. If you have all of the information you need before the shoot begins, it will be that much easier.
Posted 01 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Kevin Weyl
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January 1998 [Volume 7, Issue 1]: Column: The Main Event
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Looking back over nineteen years in the business known to the world as Event Videography, it amazes me how much has changed. It’s not just the technology, the clientele, client expectations, the competition, or my vantage point. More than that, it’s the dynamics of the business, and the way those of us in it are perceived.
Posted 01 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
David Robin
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January 1998 [Volume 7, Issue 1]: Department: Gear & Now
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Thank You for Your Support
Posted 20 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Doug Graham
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January 1998 [Volume 7, Issue 1]: Department: Studio Time
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Capturing and editing the most precious and sacred moments in a person’s life will—more often than not—look, sound, and memorialize the event better if left in the hands of a professional.
Posted 08 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Geoff Daily
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January 1998 [Volume 7, Issue 1]: News: Features
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MiniDV brought digital video recording to the masses, but dropouts, head clogs, and the post-production lag of real-time capture make it a less-than-perfect medium for pros. More and more videographers are turning to hard disk digital video recorders to back up or even replace tape. Here’s a look at the latest in tapeless DV storage.
Jan Ozer | If you're already using Vegas 4, version 5 is a no-brainer upgrade. If your video productions are music-intensive, and you're not already using Vegas, you should be. Vegas can do virtually everything that Premiere Pro can do, and a whole lot more, but you'll get there faster and easier in Premiere Pro. Though vastly improved, DVD Architect still trails DVD Workshop and Encore in overall functionality.
Posted 16 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Jan Ozer
Event video has come a long way since the 1980s, when the videographer couldn’t buy respect—he was “the fat, sweaty guy in the tux," as American Videographers Association founder David Robin says. Today, the form is established, the profession esteemed, and the equipment affordable. The field is growing by leaps and bounds, with opportunities for profitable and pioneering work emerging all the time.
Many of the questions I get from readers and see on Web forums relate to confusion about the formats and file types used in the video production process.
Posted 13 Jul 2004
/ January 1998 [Volume 7, Issue 1] Issue
By
Jan Ozer
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