By the DV Staff, January 15, 2008
In the effort to make some sense of the amazing volume of new tools introduced (or delivered) in 2007 — from camcorders to codecs, from HMI lighting to DI color timing — we asked DV's top writers to each pick their favorites with the proverbial "indie filmmaker" in mind, resulting in this list. As some contributors lean toward production, some toward post and others toward distribution, each came at selecting their personal "bests" from a unique perspective, creating what we hope will be a useful tool in itself (running in alphabetical order by company) when it comes time for you to gear up for your next production. Here is Part III, the final installment of our Best of ’07 list, items 21-30
ABOVE: Clockwise from top, left: Visual Hub software, the FSB-6 head, the PMW EX-1 and Magic Bullet Looks software.
Magic Bullet Looks
Red Giant Software
Magic Bullet has done a total “rethink” on how a plug-in should be designed. The newest version of Looks offers a cross-section of color-grading and effects tools that are intelligently structured in a way to parallel the production process itself — from in-camera and lens tools to lab and postproduction tricks. Looks installs as a plug-in into a variety of NLE and compositing hosts, but also includes the standalone LooksBuilder application. LooksBuilder can be used to create custom Looks files on location and in post, that can be freely interchanged with any Looks user. Few effects plug-ins offer such a wide range of filtering and grading tools in one low-cost package. — Oliver Peters
http://www.redgiantsoftware.com
FSB-6
Sachtler
Designed for miniDV and HDV camcorders, the FSB6S fluid head supports 2.2 to 13.2 pounds (1 to 6kg). It’s engineered to offer low-mass cameras the same smooth pan and tilt movement that operators have long enjoyed with larger camera packages on heavy-duty fluid heads. The FSB6S has three dampening steps in both pan and tilt directions, a zero setting that deactivates dampening, a 10-step counterbalance system, and a tilt range of +90/-70 degrees. — David E. Williams
http://www.sachtler.com
Zoom
Samson
Shooting film required a camera and a separate sound recorder. Being separated meant you did voiceovers and sound effects on the standalone audio recorder. With HDV Handycams this work ethic is lost. Pity. That’s why I use the Zoom, an unbelievably inexpensive digital audio recorder, for voiceovers, room noise and location sound effects. — Stefan Sargent
http://www.samsontech.com
Strata Series Music
Smart Sound
Sonicfire Pro (a.k.a. SmartSound) has been around for a while and has saved many an indie producer from expenses with creating or licensing music. This year, the company updated SFPro to version 4.0 and added multilayer music with “mood mapping.” It is now possible to control each of the individual instrumental or effects tracks within a cut as well as to choose from a variety of “moods” which can accommodate any scenario — lower for voiceovers, emphasis upon percussion or some other track... just about anything you would want. — Ned Soltz
http://www.smartsound.com
BVM-L230
Sony
At $28,600 with HD-SDI interface, this LCD monitor better be good. It is. We have never seen quality like this from an LCD display. Viewing angles, contrast and depth of blacks are beyond anything that has ever been produced on an LCD display. It costs more than my first house, but you can do major production work with it. Truly the best monitor of 2007. — Ned Soltz
http://www.bssc.sel.sony.com
PMW EX-1
Sony, bssc.sel.sony.com
This one just shipped in time to make the 2007 list. Sony’s first entry into the pro solid-state camera market looks like a winner. This is not your granny’s HDV camera; it is XDCAM HD with a full 1920x1080 raster or 1440x1080 in a 25 mps shooting mode for HDV compatibility. Add to that three 1/2” CMOS chips, ultra sharp viewfinder, infinitely variable under/overcranking rates, and excellent low-light ability. This will be the hot camera of 2008 and represents a major leap forward in the under-$10K pro camera department. — Ned Soltz
http://www.bssc.sel.sony.com
Visual Hub software
Techspansion
This is an almost-free software for converting from one video format to another. I bought it as I wanted to use a Flash .flv from a client’s Web site. Here’s how: In Safari go Window - Activity - find the .flv file - right click - download load - import into The Visual Hub - use the Export for FPC setting. Import into Final Cut. Edit away. Amazing! — Stefan Sargent
http://www.techspansion.com
Episode Pro
Telestream
Once upon a time, there was an excellent encoding tool called Cleaner. Now owned by Autodesk, it has languished over the last couple of years and has been difficult to replace... until Telestream purchased Compression Master and renamed it Episode and Episode Pro. (The difference being largely the size of batch that can be handled at a time.) Episode Pro can batch out all formats, including some not supported by Apple’s Compressor, from more sources than most encoding tools provide. The supplied presets are useful as they are, but are easily tweakable by the experienced. — Philip Hodgetts
http://www.telestream.net
ABOVE: From left: Tiffen Dfx software and Red Eye 0.4 Wide-Angle Adapter.
Dfx
Tiffen
Yes, there are plenty of digital filter options out there, but the Tiffen Dfx software actually emulates the Tiffen filters you already know. Use the standalone software with more than 1,000 adjustable filters and gels, or access the Photoshop plug-in for stills, or employ the NLE plug-in for use with Apple Final Cut Pro, Avid Xpress, or Adobe After Effects. — Mark J. Pescatore
http://www.tiffen.com
Red Eye 0.4 Wide-Angle Adapter
VFGadgets
In my 16mm days, my secret weapon was an Angenieux 5.9mm wide-angle lens. It gave me an 85-degree horizontal angle of view and I miss it dearly. Today’s Handycam zooms just aren’t wide enough. The conventional solution is to add a 0.7 wide-angle attachment. The drawback is that the camera is now front-heavy, the lens is too big for the camera’s sun shade and you get only 30 percent more — not enough for me. I go all the way with a 0.4 RedEye. It’s tiny, about the size of a filter, weights nothing and now I get shots that are 60 percent wider and I can use the standard lens hood. I later fix barrel distortion in After Effects with the Optics Compensation filter.
—Stefan Sargent
http://www.vfgadgets.com
Click hereto get Part I of III.
Click hereto get Part II of III.
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