LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

The Panasonic AG-AC160

CreativeCOW presents The Panasonic AG-AC160 -- Panasonic VariCam Review


CreativeCOW.net. All rights reserved.


AC160



In as much as DSLRs have been cover articles on the trade pubs for some time now, the vast majority of cameras sold for video use are still camcorders -- either on-shoulder, or in-hand. The in-hand camcorders used to be called "prosumer" camcorders but with today's technologies being shared across product lines, you'll find the same 2.2 Megapixel U.L.T. CMOS sensor used in several Panasonic camcorders.

What used to be prosumer is very much "pro" these days and the "prosumer" gear is limited to those few camcorders that use core hardware from the consumer product line. The AC160 is clearly not one of those. Any pro or prosumer Panasonic user will be right at home on the AC160. Even as a long-time Sony user, I never wanted for capability on the AC160 and merely had to redirect muscle memory to where the switches were for manual features.


HARDWARE
The AC160 is much the same "big barrel" design as prosumer camcorder have always been, but it packs in some amazing technology. After using a Sony, testing two Canons, and two on-shoulder prosumer Panasonic camcorders, the AC160 was a breath of fresh air. Not because it does anything miraculous, but because it does everything it does so well.

You might expect a 22x optical lens that's longer than Canon's 20x would make the camcorder very front-heavy. But it doesn't. You might expect the copious I/O on the back of the camera to make it unwieldy in the hand. But it isn't. In fact, Panasonic moved the I/O center and put the battery further to the right, behind your hand. This puts the balance of the camcorder more in your hand as opposed to next to it.



Panasonic moved the I/O center and put the battery further to the right, behind your hand.


The grip of the AC160 is nearly perfect -- missing just a little molding under the ball of your thumb, but I was able to wield the AC160 for two days of handheld use covering an expo and experienced very little fatigue. Adding a shotgun mic or XLR cables pulls the center of balance even more into the hand.

My only nit to pick is the same with the other Panny cameras I've used. You flip the thumb switch down to turn it on. Every other switch I use "up" is on. Not a huge hassle but it really is annoying when they could easily make it the other way around. This switch also toggles between camera / VTR modes.



The Power switch toggles down rather than up.


Nearly all the manual controls are in a line along the bottom left edge of the camcorder -- audio, shutter, white balance, iris/gain, and manual white. The manual focus is right up on the lens barrel and there are three separate rings for focus, zoom and iris. I found the manual iris to work very smoothly without any steps to the iris changes.



The manual controls are in a line along the bottom left edge of the camcorder


The servo zoom is smooth. When switching to manual, I was able to quite nearly achieve the same whip-zooms s with full manual lenses. Much better than full-servo zooms which still "zoom" at a set rate when you're trying to "whip" it for effect. The focus is very smooth, and allows manual adjustments even in full auto mode. No need to "switch" anything back and forth.


The lens unit has three rings: a mechanical zoom ring, a focus ring, and an iris ring.


The servo auto-focus, however, I found to be a little on the slow side. And when covering an event, I often had to wait a few seconds while it decided to look for focus and go there. It has the same red "peaking" for Focus Assist as other Panasonic camcorders. But, unlike the AC7 and other more consumer-based camcorders, the auto-focus assist here doesn't turn itself off after a couple seconds. As I said in the AC7 review -- more professional camcorders need to have it pop-up when the manual focus dial is moved, and then go away after a few seconds. Panasonic's lower-end camcorders demonstrate that having to manually switch the feature on, and then back off, is absolutely unnecessary..

The Optical Image Stabilization, while impressive, is not as good as Canon's. When I handhold these 20x lenses, I found the Canon OIS to be notably superior to Panny's. While it is competent, and nobody should try and shoot everything handheld, at full zoom on a 22x lense, I expected it to do better.

The 28-616mm (35mm equivalent) lens is also nicely wide at the wide end. While shooting expo interviews on the show floor, I did not want for a wide angle lens. Plus, I was also able to get down to 2.4" from whatever I needed to shoot without having to swap lenses or enable a special macro mode. I did once have to remove the lens hood to keep it from casting a shadow on the subject.



The built-in ND filters made it a breeze to keep the aperture low.


The built-in ND filters made it a breeze to keep the aperture low. I liked that the built-in waveform scope was much bigger than I've found on the Panny camcorders I previously reviewed. It made ensuring that I got the shot much more conclusive than using the Zebra. There are two zebras on the AC160 but I was bemused that I couldn't use both of them at the same time -- one for faces, the second for clipped whites.



Audio controls you might need to quickly adjust are readily accessible on the left side of the camcorder. The Zebra: you may select two levels from 50% to 105% in 5% steps.



This shot focuses on the three user-selectable control buttons. You can easily assign many of the camera's functions to three User buttons on the left side of the camcorder for easy access.


Any audio controls you might need to quickly adjust are readily accessible on the left side of the camcorder. There are also limiters and other settings in the menus. Like the HMC80 I reviewed, I still disliked the clear plastic cover. Two small screws facilitate its removal.



Two small screws facilitate the removal of this plastic cover.


The shotgun attachment held my Sennheiser shotgun with ease, but a little too far forward. The shadow of the mic was visible in some shots and I had to cheat it back several inches in the holder, making it back-heavy, which made it tilt up. You can mix internal and external mics so adding a wireless to the internal mic means you don't need a shotgun, but I preferred the much more directional mic.



The shotgun attachment held my Sennheiser shotgun with ease -- but a little too far forward.



The AC160 makes it easy to phantom power cabled mics, and accept mic or line level to either input.



The AG-AC160 supports uncompressed 16 bit LPCM 2-channel digital audio recording with PH mode.



You can mix internal and external mics.


The 852 x 480 x 3 [RGB]) LCOS viewfinder (1,226,000 dot) was very pretty. Almost soft & velvety in image tone. But as my eye darts around the screen examining different parts of the image, the rainbow effect was clearly evident. It did not distract when critically looking at the image. Optics in the viewfinder allow a wide space for eye placement, diopter adjustment, and easy use.



Widescreen 921,000-pixel 3.45-inch LCD color monitor


The 1920x480 (921,000 dot) 3.4" LCD screen was a little small, but very clear & easy to use. It is not a touch screen. The screen's plastic cover is coated, presumably to reduce reflectivity, but I still found it pretty reflective of incident light.

The "jackpack" on the back is nicely equipped. HDMI, HD-SDI, Composite w/stereo audio on RCA jacks. Headphones, separate jacks for Index, focus/iris, and zoom/shutter speed. Add to this Firewire for DV, and USB. XLR jacks for audio in are up front. The jackpack is well integrated and doesn't look like an afterthought.


A well-integrated "jackpack"


It takes two SD cards (up to SDXC) and can record from one to the other, or on both simultaneously, something that's pretty much the norm these days on professional / client shoots. One card for the client, one as a backup. Plus, with SD cards getting so cheap these days, they become your archive and use so little space, it's even hard to properly label them.



It takes two SD cards (up to SDXC) and can record from one to the other, or on both simultaneously. Clips can also be copied between the 2 slots.


USAGE:
Using the AC160 came very naturally to me, even coming to it as a regular Sony operator. So the menu system, button placement took a little bit of getting used to. Aside from that, every need I had while using the camcorder was fulfilled. I especially relished the 22x zoom which looked very nice all the way through.

I even took advantage of some of the creative frame-rate options in the AC160 to shoot some time lapse footage. I also enabled the Dynamic Range Stretch (DRS) but found the maximum (3 or 3) to be easily visible when the talent moves their hands in front of the camcorder. Though powerful, it's best to use this HDR-like feature carefully.

Recording video to the SD cards was easy and the only snafu was when I tried to enable the "fast motion" effect but was unable to when the camcorder is set to something other than 24p. It seems an odd limitation that slow & fast motion can only be conformed to 1080p24. Not 1080p30, or any 720 frame settings.

Importing the AVCCAM (AVCHD) footage into the computer was quick and effortless. It all looked wonderful, just as you would expect from a camcorder of this caliber. I had the software automatically transcode it to a more editable codec, but if your computer can easily deal with AVCHD, you should have no problems with footage from the AC160.

I should note that you can set up multiple scene files and save them to multiple positions on a rotary dial near the eyepiece. You can also read/write them to an SD card. A cursory glance showed Detail, V Detail, Coring, Chroma Level, Chroma Phase, Master Ped, DRS, Gamma, Knee, Matrix, Skin tone. I am a proponent of doing all that in post so I did not venture further, but it was not as comprehensive as Canon's in-camera paint options.


You can set up multiple scene files and save them to multiple positions.


While shooting, I appreciated that the camera menu buttons did double duty as headphone audio adjustments that required no menu to access. However, I wished the audio dials were on the back face of the camcorder so I could see how low or high they were set to without having to crane my head to the side of the camcorder.

I was able to set three prominent user buttons to Super Gain, Face Detect and the Waveform monitor. Yes, this last one is redundant with the WFM button already on the camcorder. But as all of Panny's buttons are nearly indistinguishable by touch, I wanted WFM where I could toggle it solely by touch, very quckly. The rubberized, stick out, user buttons proved to be the optimum place. Thank you to Panasonic for allowing me to select a feature that already had a dedicated button.


CONCLUSION:
The AC160 is a fine camera. It does what you need it to do rather effortlessly. It doesn't get in the way and in some cases, actually allows you to make it easier to use than it is out of the box. It is not groundbreaking or dramatically different in any particular way. But that is the beauty of the AC160. It is an AVCCAM (AVCHD) camcorder that is pro in every way.

Especially nice is its ability to shoot all the AVCHD 1.0 standards at frame rates from 2fps to 60fps, and even intervalometer settings of 1sec, 10sec, 30sec, 1min, 2min between frames for some incredible time lapse work completely in camera. It shoots the 740p standards and even DV standard for backward compatibility. The AC160 does not record the new 1080p60 standard, it records 1080p60 into p30 for slow motion, but I believe the frames are intact so you can speed it up in post to achieve 1080p60.

If you don't like the AVCHD codec and find 21 Mbps (peak of 24) too much compression, Panasonic makes the 100 Mbps HPX240 for you. Same body as the AC160, more color, higher bitrate, less compression. Oh, and the HPX250 uses P2 cards while the AC160 uses much less expensive SD cards. Whether the improved image quality justifies the $6,000 versus the $4,800 pricetag (list) is something you need to determine for yourself. But either way, you get a capable, easy to use, high-quality, professional handheld camcorder.




Click on any image above to expand larger view.







Anthony Burokas has been producing video since 1989. Editing non-linear since 1994. Broadcast on PBS since 1996. And writing about it since 2003. He is currently based near Dallas TX and continues to produce, write, & consult. He looks forward to the 4k 60p 3D large-sensor camcorder he'll be using in a couple years.



Comments

Re: The Panasonic AG-AC160
by Anthony Burokas
YouTube didn't like that clip.

Here's a different upload.







Anthony Burokas ~ http://IEBA.com
Re: The Panasonic AG-AC160
by Anthony Burokas
I understand, see, and hear what you are talking about.

The visual effect you see at the telephoto end of the lens (and it's a long 22x lens) is called "portholing" and I've seen worse on ENG lenses that cost more than the AC-160. I hazard to say you won't find a lens that long without that effect, and certainly not in such a capable camcorder that, for _everything_ costs only around $5,000.

Maybe with a $10,000 piece of glass, maybe with a zoom that doesn't go as far (they stop it before the portholing is visible), or maybe not at all.

The zoom noise and the rattly buttons I all chalk up to the camera mics picking up noise that is traveling through the body of the camera. I checked my footage with a Sennheiser mic mounted in the Mic holder and the audio was clean, I was doing similar fast & snap zooms as you did.

Here's my clip:





I agree that better internal microphone insulation ought to be used in a camcorder designed for this market. Would it be a deal breaker for me? Not at all. There are just too many things that I like about this camcorder.

I wish you luck in finding a camcorder that better suits your needs.

Anthony Burokas ~ http://IEBA.com
Re: The Panasonic AG-AC160
by Stephen Crye
Hi Anthony;

Hey, if my comments are not appropriate for your review, I understand if you need to remove them. (You can email me about it, see my profile or my YT channel).

Anyway, I just posted a short vid that illustrates the zoom noise problem. While I was compiling it, I noticed something else - something that would have been enough to make me reject the cam, even if the zoom problem was not there: bad vignetting at full zoom.

Yes, I am picky. I wonder if I might be more picky than a "pro" who has more money than I do. I saved for over a year and then took out a loan to accumulate the $5K I need for a better cam. So, I really need to get it right, and I expect a lot better quality than my little old Sony CX550V for that $5K!







Again, sorry if this is not the right place to complain about the AC160. I really had high hopes for it. Still sad and don't know what to do now.

Steve

Win7 Pro X64 on Dell T3400, MultiTB SATA, 8GB RAM, nVidia FX 570, Vegas 10e (and 11) x64 DVDA 5.2(build 133) Sony HDR-CX550V
Re: The Panasonic AG-AC160
by Stephen Crye
Hey Anthony, I saw your response to my post on Adam Wilt's blog. How are you able to post? Every since the Provideo Coalition site styarted freaking out due to spam, I've been having to ask Jeremiah the Webmaster to post for me. When I try to post I get this "you must be registered: error page, and the Rgister/login links just go back to the main ProvideoCoalition page.

Just to keep the conversation going, I'm going to paste my original post below, then your response, then my response. I'll also ask Jeremiah to post my response on Adam's blog.

----- my ProVid comment --
Well, I sent back the AC160.

It had a show-stopper problem I never anticipated - the zoom servos are horribly loud, when any zoom speed other than a slow creep is used!

I had never heard anything like this. Conceivably the unit I had was faulty, but I don’t think so.

The whine was so loud that it even came through on the recordings when using an external mic on a separate stand 6’ away. This made the camera useless for any serious recordings of classical chamber music. It also really bugged me on ENG stuff - whirrr, whirrrrr with every zoom. I’m speculating this cam uses a gearmotor of some kind to drive the lens, where the Sony’s I’ve used have a stepper motor. Puzzled butI just could not stand the whine.

The image quality was very good, and the face detection worked well. I had no real problems with the auto-focus, although it was a bit slow at the long end in dim light. Also, I had no objections to the EVF - it could have a bit more magnification, but it is useable. It came with the Barry Green book.

Some things I might have lived with had the zoom been quiet:

* The build quality is worse than I had anticipated, even having been warned. The rings felt a bit scratchy, not silky like the rings on a Sony NX5. The buttons are cheap and rattled at the slightest shake. The plastic housing felt thin; taps on the cam created a hollow sound that also came through on the recordings. The bottom plastic base, where the tripod attaches, in particular felt and sounded thin and
cheap. I know Panny is supposedly trying to save mass, but it made me want to open up the case and line the housing with DynaMat to suppress the hollow sounds. In general it just felt cheap compared to what I have grown used to with Sonys.

* The handle zoom rocker is not vario. I knew about this before I bought it but it bugged me more than I thought it would.
* Instead of a lever-action dust cover, there is a misplace-able lens cap.
* The cooling fan noise is audible in quiet environments.
* I had problems with quick white-balance, i.e. when pointing it at a
card. The joystick knob when set to one-push did not seem to work reliably. I’d prefer a dedicated one-push white balance button.
* The cam has more noise in low light than the NX5, but not a lot more.
* The manual focus-assist seemed annoying. I never did figure out how to leave the cam in Auto-everything mode and still have full manual focus. I’m sure there is a way, but Panny makes it hard to get to.
* The position of the LCD is not optimal - it needs to be up on the handle.

Given all this, I did not want to keep it and have to hassle with the $300 factory upgrade. So I sent it back. I guess if there is nothing
else I can find by the time the AC160A comes out, I might try one of those. But I will not be enthusiastic, and for nearly $5K I was expecting a LOT more.

Sad,

Steve

Posted by Steve Crye on 05/01 at 03:14 PM

-- Anthony's reply ---
I have a whole mess of footage I shot with an AC-160 with a lav mic about 5 feet away, and the on-board camera mic providing a scratch track. I never heard the zoom at all. Fast zooms, slow zooms.

I don’t know of a handle zoom rocker that _is_ vario. Only one speed. Unless you put a Varizoom up there. smile

The cover for SD cards is a lever action, non removable door on steel hinges. So I don’t know what you had.

I agree about the lightweight plasticky housing, and I didn’t try tapping it to see if the audio transmitted, but it really sounds like you got a lemon otherwise. I was very happy with my camera, and, aside from my being used to how a Sony is arranged, and some menu idiosyncrasies, I didn’t want to send mine back.

With your permission, here’s my take on the AC160 as well:
http://magazine.creativecow.net/article/the-panasonic-agac160

Posted by IEBA on 05/01 at 05:01 PM

----- My reply to Anthony, which I will ask Jeremiah to post --

Hi Anthony;

The NX5 handle zoom rocker is vario, and the new JVC GY-HM600U handle zoom rocker will also be vario. It really adds to functionality. I realized while testing the AC160 that I just can't use a rocker that is not vario - it bugs me.

I was talking about the lens dust cover, not the SD cards cover. The AC160 has a lens cap. I really prefer the lever-operated lens caps, such as the ones on the NX5, the NX70, and what will be on the JVC GY-HM660U. I don't want to have to put the lens cap on a leash, it will blow around in the wind and bang on the tripod or the camera. If I end up getting an AC160A, I will have to buy a lens hood from an NX5 or similar and then use a Dremel tool and epoxy to jury-rig the hood onto the AC160!

I don't think that all the buttons on my AC160 were defective. All of them rattled.

If the zoom on my AC160 was defective, then the defective part was the noisy gears. With the servos engaged, and when I moved the zoom ring by hand (I know that I am not supposed to do it that way but I did this to try to isolate the problem), I would still hear the noise. That means it was a gear sound, not a motor sound.

I will admit I am very sensitive to camera noise. I record a lot of classical performances, chamber and symphony music. I need very large amounts of audio dynamic range, 70 dB or more. Most people do not hear the noise that will ruin a recording for me. I play my stuff back on an old but very high quality Yamaha / Bang and Olufsen system, VERY loud. I expect no noise during quiet passages and no distortion when the sound is loud to the point of near hearing-damage. The AC160 I had fell far short of that - not just with the zoom noise, but also the cooling fan.

It was not as quiet as my cheapo CX550V, so I'm not asking the impossible.

Steve

Win7 Pro X64 on Dell T3400, MultiTB SATA, 8GB RAM, nVidia FX 570, Vegas 10e (and 11) x64 DVDA 5.2(build 133) Sony HDR-CX550V
Jellocam
by Anthony Burokas
I've not compared the latest Sony cameras heat to head with the Pannys. I can surmise that because the Sony's Exmore chip is diagonally situated that the jello is ameliorated through software. I did see jello with the Panny, and the flash strobing is only reduced in software on higher end cameras.

Jellocam drives me nuts too. I have a vDSLR and grit my teeth every time I see the image wiggle. That's why I still have and use my CCD based HD camera.

As to focus, the screen on the AC160 is nice for for more critical viewing, the viewfinder has the higher resolution. But as others were saying on Adam Wilt's review, someone needs to come out with a higher magnification eyepiece fro these camcorders. I've never understood why the manufacturers themselves don't respond
to a need like this and leverage the economies of existing manufacturing to replace the optics in the viewfinder and offer an optional, high magnification viewfinder for those who want it. It'd have to be cheaper than whatever a third-party company could cobble together.

Anthony Burokas ~ http://IEBA.com
Re: The Panasonic AG-AC160
by Stephen Crye
Thanks, Anthony. (I found your review via the comments you left on Adam Wilt's review on ProVideo Coalition).

I'm really torn. I tested and returned an NX5 recently. It was a great camera, but had some things that bugged me and I really want the new AVCHD 2.0 1080 60p mode (which Panny will release soon via firmware upgrade for the AC160).

One thing that will drive me crazy about the AC160 if I get one is the lack of an expanded focus. I have been burned so many times by "peaking" focus assist that I know I will be flubbing shots if I don't have expanded focus.

I've spent the last 6 months testing a rejecting various camera's in this class. They all have at least one thing that drives me crazy! Why Panny would ship anything without expanded focus is beyond me.

I do have a question, perhaps you can answer. My tests with Sonys reveal surprisingly controlled jello-cam, perhaps because the Exmor chips read the data out quickly. Some of the footage I have seen from the AC160 seems more jello-y than Sony. What was your impression?

Steve

Win7 Pro X64 on Dell T3400, MultiTB SATA, 8GB RAM Vegas 10e (and 11) x64 DVDA 5.2(build 133) Sony HDR-CX550V


Related Articles / Tutorials:
Panasonic VariCam
Leo Ticheli discusses the HD VariCam from Panasonic

Leo Ticheli discusses the HD VariCam from Panasonic

Panasonic's VariCam HD camera is one of the most popular HD units in use today, being used in major and independent films, commercials, corporate and music videos and many other projects. In this article, Creative Cow's Leo Ticheli discusses how the VariCam is used at his company, Leo Ticheli Productions (LTP). LTP bought VariCam back in 2001 and today uses the VariCam in projects that are developed at the two company offices located in Birmingham, Alabama and Atlanta, Georgia.Leo Ticheli, (host of Creative Cow's VariCam forum), discusses his purchase reasons, the image quality, the posting process and some of the projects that the VariCam has been used on. He gives his assessment of the camera, as well as the VariCam's aptness for a broad range of assignments.

Review, People / Interview
Leo Ticheli
Panasonic VariCam
HD Expo's Panasonic VariCam 'VariCamp'

HD Expo's Panasonic VariCam 'VariCamp'

James Kelty has always considered himself more of a writer-director than an editor or cinematographer. But in today's ever-changing production world, like many independent producers working on project videos and/or documentaries, Jim is quickly becoming a skilled editor -- using a CinéWave system armed with Final Cut Pro. Recently, after a long career shooting film, he has begun using video in some of his projects. As part of this move, he attended HD Expo's "VariCamp" in Hollywood in January, 2004, where Jim began his exploration of High Definition using Panasonic's VariCam. Jim concludes that it offers new options to producer-directors and he found HD to have 'the types of innovations that kept making me think hi-def is selling itself short through the constant comparisons to film, and that the technology is essentially creating new visual language and production capability all its own.' Here is his report...

Review
James Kelty
Recent Articles / Tutorials:
Field Production
“Before I forget: don’t wear any underwear.”

“Before I forget: don’t wear any underwear.”

Before coming to Creative COW, before his lives in product marketing and product management at Avid and Boris FX, Creative COW Editor-in-Chief Tim Wilson ran a video production company. As we also observe the 100th Anniversary of the founding of the US Parks Service, Tim recalls one one especially memorable adventure to Everglades National Park, wherein he found himself quite literally up to his armpits in alligators. He had no idea that this was going to happen when the day began. At the time, he was focused on a brand new fear: getting sliced in half by burning underwear.

Editorial, Feature, People / Interview
Tim Wilson
Art of the Edit
The Science of Editing

The Science of Editing

Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.


Sven Pape
Panasonic Cameras
Shooting MTV's Mary + Jane with Panasonic VariCam 35

Shooting MTV's Mary + Jane with Panasonic VariCam 35

To shoot the ½ hour scripted comedy series for MTV, Mary + Jane, the producers at Television 360 enlisted cinematographer Charles Papert (Crazy Ex-Girlfriend, Key and Peele), who found that Panasonic VariCam is a great fit for moving fast and getting great images when time and resources are scarce.


COW News
Adobe After Effects
Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-in for Adobe brings all the amazing features of the professional version of the mocha Planar Tracker directly into After Effects and Premiere Pro in the form of a plugin. In this in-depth review, After Effects tutorial guru Tobias Gleissenberger of Surfaced Studio will show you what you can do with this new plug-in, and discuss what he likes and doesn't like about the new update.

Tutorial
Tobias Gleissenberger
Apple Final Cut Pro X
Hawaiki Keyer 3.0 Upgrader Tutorial

Hawaiki Keyer 3.0 Upgrader Tutorial

After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour of the even more advanced Hawaiki Keyer 3.0.

Tutorial
Simon Ubsdell
Cinematography
All Eyes on IBC 2016 for Cameras and Lenses Galore

All Eyes on IBC 2016 for Cameras and Lenses Galore

What’s that you say? An IBC that’s not only relevant, but downright exhilarating? This used to not be news, of course. However, in recent years, IBC has too often become simply an opportunity for European audiences to see products already announced at NAB. In 2016, however, the focus swings sharply to Amsterdam, especially when it comes to cameras and lenses. IBC 2016 is shaping up to be one of the most dramatic trade shows for cinematographers, broadcasters, and videographers in years. Join Creative COW Editor-in-Chief Tim Wilson for a speedy overview of some of the highlights.

Feature
Tim Wilson
Art of the Edit
Film Editing Tutorial: How To Crush The First Notes

Film Editing Tutorial: How To Crush The First Notes

It's happened to you. The first cut sounds noisy, has compression artifacts, actors aren't giving their best performances -- and the director has notes about all this and more. Follow along as Sven Pape from "This Guy Edits" works through some of these very issues on the film he's working on, with tips on how deliver exactly what YOUR director is looking for.

Tutorial
Sven Pape
Adobe After Effects
After Effects 2015.3 - My Favorite Features

After Effects 2015.3 - My Favorite Features

Learn why you should upgrade to After Effects CC 2015.3 - 13.8.1 - a close and detailed look at the latest release of After Effects (August 2016). Roei Tzoref will be focusing on his favorite features that set this release apart from previous versions: Performance, Queue in AME, Lumetri Color new features, and more.

Tutorial
Roei Tzoref
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]