How to Use My Images and Videos

The world has changed, and because information is ubiquitous, some think they can acquire hard work for their own purposes for both personal or commercial use. The music and movie industry looses billions to pirates, thiefs, and ignorant folk that think when they buy a blu-ray or CD that allows them to do whatever they want with the media. False! You get a license to view the product or listen to the music for non-commercial purposes only. If you can figure out a way to share the image, give an attribute to the creator too.

Any photograph or video I put online belong to me, or we can license the images for your own use and manipulation for a fee to be determined. The fines for infringement range from $750 to $30,000 per image or video by USA law.

I will use a simple Creative Commons license for images:

Creative Commons License
This work by Ismael Rosales is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Creative Commons License
This work by Ismael Rosales is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit

I will use a simple creative commons license for video:

Creative Commons License
This work by Ismael Rosales is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Creative Commons License
This work by Ismael Rosales is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit

NAB 2007 From the Sidelines

The Apple and Mac application user community basked in the announcements from The National Association of Broadcasters 2007 Electronic Media Show (NAB2007). Participating in the NAB2007 show from a distance gives one an opportunity to forage the web for podcasts, webcasts, blogs, and news from the show. Final Cut Studio 2 will once again transform the industry with an impressive toolset including the new applications Final Cut Pro 6, Motion 3, Soundtrack Pro 2, Color, Cinema Tools 4, and Compressor 3, along with stalwart applications DVD Studio Pro 4 and LiveType 2.

The Final Cut Studio 2 suite introduces long requested features like surround sound, 3D support, and a post production HD codec, which Apple calls ProRes 422. Apple leveraged its intellectual property acquisitions like Shake and Logic to bolster it’s core Final Cut Studio 2 products. As Final Cut Pro burst the barriers to afford HD, Apple Color may just open the door to color grading for the rest of us. Previous systems working on 2K digital intermediates like Autodesk Lustre, IRIDAS SpeedGrade, and Silicon Color FinalTouch started at $24,995 and with control surfaces and hardware requirements easily topped $100,000 value, but Apple in its pursuit to make high end production tools affordable, decided to include Color, based on the FinalTouch acquisition, in the Final Cut Studio for no premium beyond the $1,299 asking price (upgrades begin at $499).

Other developers like Avid, Adobe, and Autodesk have various product support for Mac OS X, but none can compare to the value and tight integration of the Final Cut Studio 2 bundle.

For your Listening, Watching, and Reading Pleasure

Software Announcements
Apple Final Cut Studio 2
Adobe NAB2007 Webcast
Microsoft NAB2007 Site

Hardware Announcements
Panasonic NAB2007 USA Site
Panasonic NAB2007 Global Site
Sony Virtual NAB2007 Tradeshow
Sony NAB2007 Global Site

Color Grading Software
Apple Color
IRIDAS SpeedGrade
Autodesk Lustre
Autodesk IBC Lustre Demonstration

Post Production Codec
Apple ProRes 422 White Paper
Avid DNxHD
CineForm CineForm Intermediate

NAB2007 Blogs
Avid Savannah College of Art and Design Blog
Zoom-In NAB2007 Blog
HD for Indies Blog
Digital Content Producer NAB2007 Blogs
FreshDV Video NAB2007 Blog
CineForm Insider Blog

NAB2007 Podcasts
Digital Production Buzz NAB2007 Podcasts
fxguide NAB2007 Day 01 Podcast
fxguide NAB2007 Day 02 Podcast
fxguide NAB2007 Day 03 Podcast
fxguide NAB2007 Day 04 Podcast

NAB 2006 Wrap-Up

2006 ushers in the year of affordable high quality high definition (HD) capture, edit, and output, with all the pieces finally becoming widely available. Camera manufacturers large and small showed off their wears to the marketplace. The very largest electronics vendors had monstrous booths with entry pavilion theaters with breathtaking visuals. Sony Electronics featured their 4K SXRD projectors with a spectacular 4096 x 2160 pixel resolution. Sony showcased the 70 mm film Baraka, by Ron Fricke, with scenes of Japanese Macaque (Snow Monkey) and volcanoes. Matsushita Electric Industrial under their Panasonic brand headlined the versatility, workflow, and color accuracy of the AG-HVX200 DVCPRO HD solid state camcorder. NHK showcased the North American premiere of Super Hi-vision with an astounding 7680 x 4320 pixels, for a near IMAX experience with digital cinema.

The entry into the HD realm starts with 720p, followed by 1080p, and then reaches into the stratosphere with 2K, 4K, and 8K systems. JVC previewed the GY-HD200U a 720p camcorder and Panasonic celebrated the 720p and 1080p AG-HVX200 camcorder. Sony delivered on the 1080i XDCAM HD series, and RED digital cinema promoted a future 4K RED ONE camera.

On the post production side, Mac based editing solutions include Avid and Apple. Compositing software is more diverse with Apple Shake, Boris FX Blue and Red, Autodesk Combustion, and Adobe After Effects. With the rapid move toward Universal applications and Intel based workstations, every software vendor is rapidly moving toward the PowerPC and Intel binaries, but no one faster the Apple Computer. Already Final Cut Studio and very soon Shake will be fully qualified on the Power Mac G5 series, MacBook Pro series, and future platforms.

NAB HD 2006 poster
NAB HD 2006 poster
apple NAB 2006 booth HD
apple NAB 2006 booth HD
panasonic NAB 2006 booth AG-HVX200
panasonic NAB 2006 booth AG-HVX200
century optics NAB 2006 booth fisheye adapter on panasonic HVX200
century optics NAB 2006 booth fisheye adapter on panasonic HVX200
DSC labs NAB 2006 booth test charts
DSC labs NAB 2006 booth test charts
RED digital cinema NAB 2006 booth RED ONE prototype
RED digital cinema NAB 2006 booth RED ONE prototype
las vegas strip looking west from wynn
las vegas strip looking west from wynn

Only Final Cut Studio

Final Cut Studio 2 Box

Earlier this month Apple Computer revealed a new direction in the Final Cut Studio roadmap. In view of the release of the Adobe Production Studio, Apple made a majority of their Pro Applications into an all or none bundle. Previous editions of Motion, DVD Studio Pro, Final Cut Pro, and Soundtrack Pro stood as individual applications, but as of now are available only as part of the $1299 Final Cut Studio integrated suite. Shake, Logic Pro, and Aperture continue to be sold as stand alone tools.

Apple also announced the introduction of the Universal version of Final Cut Studio available by the end of march 2006 for a $49 upgrade fee, just in time for NAB in Las Vegas. Historically, Apple has used the NAB show in late April to showcase the development of the Final Cut Studio. In 2004, Apple and Panasonic stunned the high definition world with the introduction of the DVCPRO HD native codec into a Final Cut Pro timeline. In 2005 apple revealed Soundtrack Pro, and a tighter fusion of the Final Cut Studio applications. 2006 should be an interesting time for Apple as they prepare their software for both powerPC and Intel chip architectures.

Final Cut Studio box image courtesy of Apple.

Apple Delivers First Intel Mac

It’s 2006 and the wait is over for the next generation Intel and Apple products. The many months of anticipation brings some interesting news. Intel used the International Consumer Electronics Show (CES) as it’s launching point for the Core Duo processor, based on the Pentium M processor. The two cores can process information simultaneously, or used by the operating system to extend multitasking for rapid media creation.

The Core Duo was designed for high performance, but at low power, extending the life of a portable computer, or reducing the cooling load on a lightweight desktop. At CES 2006, Paul Otellini, CEO of Intel, announced the rapid adoption of the Core Duo technology. It took Intel one year to ship the first one millionth Pentium processor, but plans to ship the one millionth Core Duo processors in just three weeks.

Core Duo will land in Microsoft Windows PC’s, the new media platform called VIIV, and the newest family of Apple Computer products called MacBook Pro and iMac. In previous incarnations of high penetration desktop and laptop computers, the highest volume processors included the Pentium and PowerPC lines of chips, but with Apple coming aboard the Intel train, only AMD stands alone.

In June 2005, Steve Jobs, CEO of Apple, announced that every version of Mac OS X since its inception has been compiled and performance tested to run of both PowerPC and Intel processors. In order for Mac developers to reap the full benefits of the Intel transition, a new type of application called a Universal Binary will have to be delivered, which will have the ability to run natively on either a PowerPC or Intel architecture. Applications from legacy PowerPC systems will run using a code translation technology called Rosetta.

At Macworld 2006, Apple released the Core Duo iMac and Core Duo MacBook Pro. Each machine shares the same family of graphics engine, the ATI Radeon X1600 GPU, and both have memory expandable to 2 GB. Both systems have a built in iSight cameras for video conferencing, quick snapshots, or rudimentary podcasting. The performance increase from previous systems is astounding, with at least 2X performance increase on the iMac and perhaps as much as 4X increase on the MacBook Pro as compared to the PowerBook G4. Apple has two major product leaps.

macworld 2006 intel universal binaries
macworld 2006 intel universal binaries
macworld 2006 apple booth banner
macworld 2006 apple booth banner
iCES 2006 intel keynote dual core advantage
iCES 2006 intel keynote dual core advantage
macworld 2006
macworld 2006

Terabyte Tyranny

In an all electronic workflow, producers and directors cannot rely on video tapes or film as an emergency backup. Previously, a still photography or filmaker would keep their negative or positive, and strike new prints as needed. With the advent of digital photography, and soon in affordable digital filmmaking and video production, there is no physical backup, but only the bit buckets, which when arranged properly would describe a vast landscape, a human face, or an airplane landing.

In the still photography realm, image makers have embraced the new workflow, because they realize the potential for new creativity:

    Every copy of the image is an original
    Since the image is already digitized, it is easily shared
    Digital photos are more easily manipulated and cropped
    The arduous process of scanning film is eliminated

However, since the bits become supreme, over the film strip or video tape, special storage considerations must be analyzed and scrutinized. Also, still photography describes a single moment in time, while moving images records that same scene but at 24 to 60 frames per second, so a 2 MB still frame file, can become a 48 MB file per second for video, and with Panasonic DVCPRO HD codec 60 GB per hour. How does one store that much data for archiva purposesl and retrieval in the future?

Today, we have current technology, and very soon the future will be now (Blu-Ray Disc, holographic storage, VXA 3, etc). It used to take a simple trip to the Comdex trade show in Las Vegas, to get a bead on storage, but for all practical purposes Comdex has ended, and may never return. Instead, we need to look to manufactucturer events and niche events like Macworld Expo, Storage Networking World, or AIIM Expo.

To manage and harness the growing terabyte requirements in entertainment consider these storage solutions:

Archival Storage Mechanisms
Storage Media Native Capacity (GB) Transfer Rate (GB/hr) Drive Cost* Media Cost*
LTO 1 100 57.6 $1725 $29
LTO 2 200 72 $1750 $30
LTO 3 400 245 $5015 $109
VXA 1 33 10.3 $467 $59
VXA 2 80 21.6 $922 $75
AIT 1 25 10.5 $670 $47
AIT 2 50 21.1 $996 $54
AIT 3 100 42.2 $1809 $60
AIT 4 200 84.4 $2942 $60
AIT-E 20 20 21.1 $437 $17
AIT-1 turbo 40 21.1 $535 $23
SAIT 500 105.5 $6474 $207
SDLT 600 300 126.6 $3506 $47
DVD+R 8X 4.38 37.2 $80 30ΒΆ
CD-R 24X 0.68 12.4 $30 12ΒΆ

* prices from summer 2005 survey

iSCSI on the Mac

On the Microsoft Windows OS, iSCSI has reached a very mature level. On Linux, the Linux-iSCSI project has a refined iSCSI initiator. On the Mac, there are only a few vendors, and most are on their first generation iSCSI protocol drivers for Mac OS X Panther 10.3 and Mac OS X Tiger 10.4 OS. This is all going to change in the next several months.

Apple Computer has a SAN solution, compatible with ADIC’s StorNext File System called xSAN, a new disk paradigm that supports Mac OS X application only. In order to use the xSAN file system, one needs to erase completely and reformat any attached drives, including RAID subsystems.

Currently xSAN is supported through fibre channel networks only, and requires a dedicated ethernet port for metadata. iSCSI allows a traditional gigabit ethernet (GbE) network to become dedicated to storage with a moderate performance decrease. One can install a dedicated single or multiple port PCI card for dedicated GbE storage networking and internet traffic.

ATTO Technologies offers the Xtend SAN and Studio Network Solutions offers the GlobalSAN product. In the near future, expect D-Link to have products ready for market that go beyond the 1 GbE connection, stretching the storage platform to 10 GbE, beyond the range of 4 Gb fibre channel.