Articles

Astro A30 Headphone Review

Tue, 10 Aug 2010 12:31:35 -0700

Astro A30 Review

Price: $99.95
Website: AstroGaming.com

Astro Gaming has set its sights on creating equipment for Video Gamers of the highest caliber. They create more specifically, headphones, for which Gamers are able to perform more competitively, and with greater precision. However, we have be able to test and critique Astro’s newest “system” of which they name the A30.

In May of 2008 Astro released the Astro A40, the headphones that put them on the map, especially when MLG picked them up as a client and has had gamers using them on a competitive level. The A40’s standing out above the crowd because of their great quality as well as their ability to give full Dolby Digital 5.1 Surround Sound, with the use of an extra device they call a MixAmp. Final Cut King had an opportunity to test and review this system in December of 2009. However, with the release of the A30’s, Astro has a new theme and is targeting a completely new market, this market being for anyone that uses a mobile device and is “on-the-go”.

The A30’s are a re-vamp and are night and day compared to the A40’s, for one to consider purchasing one for the same reason as another would also have a difficult time putting on socks or shoes first. The A40’s having full ear coverage and enclosing the ears for crisp and sharp sound, while the A30’s are on-ear headphones that are much smaller and more practical for regular use. However, just by looking at the two sets of headphones it is clear Astro has not lost their sense of beauty, style and finesse. Both headphones having crisp lines and sharp color, even down to the customizable plates to which the user can order their own logo, crest or nickname to make the pair their own.

But from an editors standpoint, why by the Astro A30’s? Is it practical? Would it be worth the money? And would it be worth it to purchase a pair of A30’s if it meant not breaking the bank on the A40’s?

Starting with the good, the A30’s are some of the best sounding headphones that I have had the pleasuring of using for the price. The sound pops and the headphones provide a deep and solid bass, while the mid’s remain seemingly untouched, and the highs to which remain crisp and sharp for music that may demand. From an editors POV, the A30’s are much more practical for editing spoken word as the voices remain sharp, and with the compatibility of the MixAmp those of you editors who are editing for 5.1 systems, you can still throw the sound from one side of the theater to other as a car races by. Astro also includes a small boom mic to which you can record audio or plug into your phone while you edit incase you tend to get caught up in your work and miss those important calls. The Astro’s also claim to have incredibly high compatibility with the iphones 3 and 4, for which one can use as a talk device or a rock device. And lastly, I would say the price, is also a plus, Astro giving this device to buyers for 99.95, or 199.95 to include the optional MixAmp in order to take full advantage of the Dolby Digital Surround Sound.

And finishing with the bad, the headphones are well designed structurally, and they have been created very light for those long plane rides or short bus rides. However, when it comes down to it, Astro needed to sacrifice some conformability in order to gain the on-the-go nature that the A30s hold. The On-ear feeling that most headphones grant will almost always leave users with the feeling that music is escaping from their ears. And unfortunately the A30’s do have a similar feeling. The fabric on your ears is incredibly comfortable, however the user will almost always instinctively cup their hands around the headphones in order to remove that feeling that the A30’s tend to give. None the less, if you prefer the on-ear style rather than the over-ear, we would highly suggest them to a user who would have that preference.

However, your Final Cut King Staff, after using these headphones for the past couple weeks, would suggest them to anyone who finds themselves editing on the road, or the editor who would rather have a lighter headset than those that cover the ears completely. We suggest you visit the Astro website and possibly order a pair to decide for yourself, as these headphones do have a degree of preference to their design, purpose and function.

The Final Cut King Team
*special thanks to Aaron Poladian

Zaxwerks Review/Tutorial

Wed, 26 May 2010 00:48:58 -0700

Check out this video tutorial/review of what the Zaxwerks Proanimator software can do as a plugin for Motion and Final Cut Pro. Enjoy -

Headphone Reviews

Mon, 14 Dec 2009 17:33:50 -0800

The Final Cut King team recently reviewed 4 different headphones that were suggested to us to be used as editor headphones. As filmmakers, we don’t always have the preferred option to be using nice speaker systems and will always need a reliable and quality pair of headphones. So we researched a few different pairs that we have listed below.

Hope these reviews help you!

Bose QC 15- 299.95
These headphones really shine because of a noise reduction system that blocks out outside noise replacing it with only what YOU want to hear. Comfortable to the ear, enjoy a comfortable material that won’t hurt your ears for long sessions. Using only 1 AAA battery, you can enjoy an average of 35 hours of noise reduction before having to replace the battery. Perfect for any professional editor to the average frequent flyer.

Comes with:
QC 15 Headphones- 1/8th inch cable.
AAA Battery
Online adapter
Carrying Case
More Info Here

Astro A-40- 299.95 with MIXAMP.
Featuring 5.1 Dolby digital surround sound, if you’re editing for home theater systems, this will make your life so much easier. Being able to test and re-test the direction of sound for your movie. Comfortable for this generation of editors, as the ear pads are fully enclosed around your ears. The material being comfortable and durable for the long haul, as well as custom plates for the exterior to place your company logo or name, for you sound mixers out there, your editor will never forget your name again. Is perfectly compatible with Mac and PC, so no matter the system you can take full advantage of the microphone and digital surround sound. Comes with every cable you would ever need, with multiple ways to set up your system, you won’t be needing anything more than what’s in your box to get yourself set up and ready to roll. Don’t be caught stuffing these baby’s in your backpack ever again. Protect your equipment with the carrying case that is molded for your headphones and mixamp, to keep them safe when you’re on the go.

Comes with:
A-40 Headphones with microphone
MIXAMP
Carrying case
Cables for all possible functions
More Info Here

Sennheiser HD555- 170.00
Are like the Astro’s in the sense that they are a larger pair of headphones, fully enclosing the ears and giving what is, out of the four, the best feeling fabric to the ears. And second in matter of ear space room. They also have given an excellent sense of the uses by giving them a 5.1 surround sound system. Like the Astro’s, giving a distinct sense of where the sound comes from, being in front of, behind or what not. Sennheiser has also done an excellent job of matching up the clarity of the sound. Because of the space between the ear and the speakers, it doesn’t feel so much like the sound is in your ear as much as it is around the user.

Comes with:
HD555 Headphones
1/4th inch to 1/8th inch adapter
More Info Here

Audio Technica ANC7- 220.00
These headphones have a really great design for storage, as they fold flat in order to fit in the case or into a bag. The hard carry case is also very helpful as it is very often that you will travel with these headphones, being a smaller pair and a little less im-wearing-huge-headphones-and-i-want-you-to-know-it esque. It also includes the airline adapter for travel further making this a on the go pair of headphones.

Comes with:
ANC7 Headphones
1/8th inch to 1/4th inch adapter
Airplane adapter
Carrying Case
More Info Here

Myths About Rendering in FCP

Thu, 26 Nov 2009 23:01:59 -0800

by Zach King

1. It is a common myth that more RAM speeds up rendering. Unfortunately, Final Cut gets maxed out at 2GB. If you already have that much RAM, then adding won’t help your rendering go faster.

1. Let me address another real important issue about RAM for laptops and towers. When you install new RAM into your computer the placement is crucial depending on the situation. It needs to be placed in matched pairs for the tower. This is not true for laptops though.

1. A myth I have heard a lot is that updating the graphics card will also speed up rendering, but that is not true either. There is a rumor going around that suggests that Apple might be changing that in the future though.

SOLUTION:
So what can speed up rending?
A computer with a faster CPU is the best solution for this problem. There are a lot of myths out there above how to speed up rendering, but the best option is getting a computer with a faster CPU.

Video Terms You Must Know

Thu, 29 Oct 2009 22:57:49 -0700

analog media -- Audio sources, such as audio cassettes and microphones, and video sources, such as VHS and 8mm VCRs and camcorders, that must be digitized and converted into digital format for processing by a computer. Newer digital formats such as DV and DVD have higher resolution and quality than older consumer formats like VHS, and also do not degrade in quality when they are copied from one generation to the next.
composite video -- A video signal that combines the brightness (luminance or luma) and the color (chrominance or chroma) video information into one signal. Because the signal is not modulated, composite video provides higher quality than RF video. Requires a separate audio signal and connector. Also called Baseband video.
progressive video -- Video consisting of complete frames, not interlaced fields. Each individual frame is a coherent image captured by the camera at a single moment in time.
progressive scan -- Video display in which the entire screen in refreshed (redrawn) at once. Typically used for computer monitors and high-end video systems.
interlaced video -- A technique used for television video formats, such as NTSC and PAL, in which each full frame of video actually consists of alternating lines taken from two separate fields captured at slightly different times. The two fields are then interlaced or interleaved into the alternating odd and even lines of the full video frame. When displayed on television equipment, the alternating fields are displayed in sequence, depending on the field dominance of the source material.
deinterlace -- To process interlaced television video, in which each frame contains alternating pairs of lines from two separate fields captured at slightly different times. The motion between fields can cause visible tearing when displayed on a computer monitor. Deinterlacing uses every other line from one field and interpolates new in-between lines without tearing.
2-3 / 3-2 pulldown -- Process used to convert material from film to interlaced NTSC display rates, from 24 to 30 frames per second. This is done by duplicating fields, 2 from one frame and then 3 from the next frame (or 3 and then 2). Both terms are often used interchangeably to describe the effect.
inverse telecine -- The process used to reverse the effect of 3-2 pulldown, removing the extra fields inserted to stretch 24 frame per second film to 60 field per second interlaced video.
alking head -- A clip that shows just the head and shoulders of a person who is talking. This tight focus is often used in interview situations where the background is not as important as the talking subject. It is also convenient in a movie destined for the Web because the small amount of movement in a talking-head shot compresses well for the Internet.
freeze frame -- A technique in which a particular frame of video is held onscreen. Sometimes the audio portion of the scene continues playing.
still frame -- A single image or single frame of a video clip. See also freeze frame.
leader -- The beginning of the physical tape on a videocassette or extra material before the beginning of a clip. A tape leader is a strip of nonrecording material that connects the actual recording tape to the spindle on the cassette. Most cassette tapes have about five seconds of leader before the actual recording media portion of the tape begins.
preroll -- To start a tape spinning up to speed before beginning playback or capture to ensure that the operation is synchronized properly.
stripe -- To prepare a new videotape for a recording by prerecording a consistent timecode over the full length of the tape.
dub -- To duplicate or make a copy of a production, traditionally from one tape (usually a master tape) to another tape.
timecode -- An exact time used to identify a specific frame in a clip or production. Measured in hours, minutes, seconds, and frames.