Calumet Pro Video Group

Training Webinar #4: HVX200 + Firestore (Part 1)

hvx200+firestore (part 1) from Joe Seif on Vimeo.

Panasonic HXV-200 Vs. Sony XDCAM EX1

As many of you know, there has been considerable demand for the Panasonic HVX-200 over the last year. With Sony's new camera, the XDCAM EX1, many of you will have customers debating between the HVX-200 or an EX1. The cameras are similar in that they both capture to solid-state memory cards. Since we won't be carrying the EX1, you are encouraged to recommend the HVX-200, which in my honest opinion is still a better camera.

At first glance the EX1 is a very impressive camera. It uses three 1/2" CMOS sensors with an effective pixel count of 1920x1080. It seems to work very well in low light. The built-in lens is a fujinon HD lens with two focus wheel mechanisms, it is capable of 24P native encoding, as well as variable frame rates (for slow and quick motion). It records to cards that are compatible with Express Card slots available on Apple MacBook Pro's. The camera is jam-packed with features such as an intervalometer, shutter angle controls (like traditional film cameras), a depth-of-field indicator, and a switch for time travel (just kidding!)

I got to handling an EX1 at DV Expo in L.A. a few months ago. Despite all the bells and whistles, my trained eye was telling me that what I was seeing on the LCD display and the HD-SDI looked mediocre at best. The highlights were completely blown out and unrecoverable, the image felt lifeless, the colors on the pop-up LCD looked extremely different from the image on the external monitor- and this was based on an HD-SDI connection to a broadcast monitor, which is by far the best quality one can get with that camera.

Here's why I would still vouch for the HVX-200 (many of you who know me will say "go figure"). First and foremost- it's all in the file format. The DVCProHD is an intraframe codec, which means you get to keep every single frame you shot. This is crucial when working in a broadcast environment. Even with much smaller chips, the HVX-200 handles 24P beautifully, and somehow generates images with relatively high latitude and resilience in the color-correction and compositing phase of production. Basically, you get 4:2:2 color sampling (a wider color gamut) that is perfect for green and blue screen work, a larger file (but shorter recording time), better compatibility with high-end broadcast systems and a file that is ready for delivery right off the card. With the Sony EX1, you get an impressive array of new features, but you get an inferior 4:2:0 sampled Mpeg-2 file that will have to be converted to- you guessed it- DVCProHD or a comparable intraframe format for broadcast and film-out delivery.

Basically, you'd be doing your customers a favor by saving them hours of render and conversion time in post production to get the same file (after some generation loss) as the HVX-200's native format. Though the HVX-200 does have its issues, such as excessive noise in low-light and upscaled 1080i, I would only recommend the EX1 to customers in closed studio environments who would be tethering the Sony camera via HD-SDI and converting the uncompressed files to the Panasonic DVCProHD format for editing and delivery.

JVC Adds 1080i to the HD200 (sort of)

An upgrade to the GY-HD200 to allow selectable 1080i or 720p output from the FireWire connector for recording on the DRHD100GB100 hard-drive recorder is coming this month. Below are details on this improvement, but it is also possible to get a free upgrade for any HD200’s purchased since February 1st, 2008. It is unclear if earlier purchases will be upgradeable for a fee. Details on the upgrade will not be available until May 1st. However, this means that our current stock of just one body-only (JV35031) may be sold and the customer will get the upgrade for free. Trevor will create new item numbers for the new “B” version of the HD200 starting near JV3503. Here is JVC's press release:

JVC is pleased to introduce the new GYHD200UB and GYHD200CHUB ProHD Professional HD

camcorders, now with live transport stream output capability of 1080 60i and 50i signals as well as 720p

through the IEEE 1394 connection. The newly selectable 1080i output signal can also be recorded into

the ProHD DRHD100 Hard Disk Recorder as either .m2t or .mov QuickTime™ files, making the GYHD200UB

the fastest and most efficient “shoot-to-edit” professional HD camera system in the industry!

Now a broader base of customers – those requiring a high quality 1080i camcorder – can take advantage

of JVC’s unique performance advantages including progressive CCD imaging, interchangeable lenses,

compact shoulder form factor and Native File Recording with the optional DRHD100 Hard Disk Recorder.

Switchable IEEE 1394 720p/1080i output is a capability not available on any other shoulder mount

camcorder in this price range. (Please note that the 1080i mode cannot be recorded onto video tape.)

For our end users that have purchased either a new GYHD200U or GYHD200CHU non-B models on or

after February 1, 2008 and would like to have the 1080 50i/60i IEEE 1394 output capability, JVC will offer

a free modification of their camcorder through JVC Professional Service until June 30, 2008. Specific

details of this modification will be posted on May 1st, 2008 at the JVC Professional web site: pro.jvc.com.

We encourage you to simultaneously notify your customers of this free limited time offer.

CCD sensors Vs. CMOS

By Aaron Willman,
Calumet San Francisco

A CCD (Charged Coupled Device) image sensor chip works by transferring a pixel’s charge through an output node, where it is converted into voltage, then stored (buffered), and sent out of the chip as an analog signal.

On a CMOS (Complimentary Metal Oxide Semiconductor) image sensor chip, each pixel has a charge-to-voltage converter, and CMOS sensors can have noise-correction, amplification, and digitization circuits, so the sensor outputs digital bits of information. Because of this complexity, the area on a CMOS chip where light is converted is typically smaller than a CCD.

CCD sensor’s image quality is often very high, due to whole pixels being devoted to light capture, where on a CMOS sensor, quality is often lower than that of a CCD. This, and the fact that for a long time, CMOS chips required technology that wasn’t available yet, had rendered CCDs the top choice in imaging for many years. However, now that silicon chip technology has advanced enough, and the chips are more affordable, CMOS has once again become an option in digital imaging. The allure in a CMOS sensor is that it requires less power to operate, requires less off-sensor circuitry, and generates less chip-level heat than a CCD. What’s more, designers of CMOS chips are working on the sensors also being programmable, which will add to the flexibility of the device.

CMOS chips, for all of their all-in-one abilities, often require extra components to improve image quality, thus, making them more expensive. CCD manufacturing also tends to be a bit cheaper, so this is something else to consider in the end price of a camera.

CMOS chips have speed on their side, making them excellent choices for industrial applications. In camera, the two have nearly imperceptible differences, except for the fact that with a 3 CCD camera, each sensor if devoted to a color (Red, Blue, Green), while in a CMOS sensor, all colors are gathered on one chip in a grid of pixels in a Bayer pattern. However, there tends to be more sensitivity to green light, which lends a slight greenish shift in color. This is correctable only through filters and work in post. CMOS chips have this greenshift due to the human eye’s sensitivity for green light, and that it offers a (perceptably) higher resolution picture and color quality.

Currently, SONY is using 3 CMOS “ClearVid” sensors with 45 degree rotated pixels for a few of the newer model cameras, namely the. The rotated pixels allow for greater size of the pixels and more light-sensitive area in general. On the SONY ClearVid CMOS sensor, there are an increased number of green pixels to enhance color and image quality on the camera level.

CCD and CMOS don’t seem to be better or worse than one another, they seem more like different roads to the same place.

Training Webinar #3: Tungsten Fresnels (Part 4)

Training Webinar #3: Tungsten Fresnels (Part 4) from Joe Seif on Vimeo.

Training Webinar #3- Basic Color Theory (Part 2)

Training Webinar #3- Color Theory (Part II) from Joe Seif on Vimeo.

Training Webinar #3- Basic Color Theory (Part 1)

Webinar#3: Color Theory (Part 1) from Joe Seif on Vimeo.

LitePanels

The new LitePanels daylight balanced lighting system employs ultra-efficient LED technology to produce soft and “projected” output—ideal for interviews, car interiors, or any tight spot. Compact LitePanels; mount easily on a camera, a stand, or elsewhere. Fully flicker-free, this 5600K head offers output that is 3 times more efficient than a conventional tungsten camera light! Plus it's heat-free, and infinitely dimmable
from 0 to 100%, with virtually no shift in color.

These lights can run all day on one Lithium Ion V-Mount battery!

Key Features

• Heat-Free, LED technology
• Produces bright projected soft light

• Integrated dimmer! 0-100%

• Absolutely flicker-free 5600K

• Highly Efficient: 0.6 amps at 12V DC

• Snap-on base plate

• DC—Run from battery, camera
or car (5-24v)

• AC—Run from adapter (100-240v)

• Lightweight: 12 oz (.5kg)

• Handsome rectangular design

• Integrated heatsink

From Trevor Anonsen:

Initially we will only stock the new Micro light (see the light in the Sennheiser MKE400 video Joe posted). It is $339.99 and uses 4 AA batteries. I'm told to expect 1.5 hours from alkline or NiCad AA's, and up to 7 hours from lithium AA's. I don't know exactly when they will arrive because it is a brand new product. I would guess late February based on what they've told me.

We are setting up an additional 170 skus from LitePanels so that everyone will have easy access to pricing to place orders. They will ship direct to our stores, so it shouldn't take long to get for a customer. I have priced everything to match B&H, and we are still making a reasonable margin on this line-up. The only item I didn't have set-up is the Cinema Ringlight because it's $9K and too large for our customers. However, the Rightlite Mini works well with our level of equipment.

You can see all of their products at www.litepanels.com. To see the contents of a package, or optional configurations you need to click on the "buy now" button. A pop-up window will show everything along with the list price. It appears that most dealers are discounting about 10% off list.

Training Webinar #3 (Part 3)- Video Lighting Elements

Training Webinar #3 (Teaser) from Joe Seif on Vimeo.

Training Webinar #2: Choosing a Microphone

Training Webinar #2- Choosing a Microphone from Joe Seif on Vimeo.

Picking a Microphone

Every electrical circuit has three physical components - resistance, capacitance and inductance - that determine how much current will flow in the circuit. Changing any one of these three will change the amount of current. Micophones work by transforming the changing air pressure of sound into a changing electrical current. We can divide microphones into three groups, based on what physical component of the circuit they change.
Microphones that change the resistance of a circuit are found in museums more than anywhere else, so we won't discuss that group here.

Microphones that change the capacitance of a circuit are called condenser microphones. "Condenser" is the old term for what is now called "capacitor". Condenser mics require a power supply to work. This is because the changes in the electrical circuit that a condenser mic makes are so small that an amplifier must be placed in the microphone housing itself, or within a few feet of it. Some condenser mics are powered by batteries, or from "phantom" power. It's called "phantom" because it has no effect on other types of microphones (except one - see below).

Condenser mics give a higher degree of fidelity than any other type. Certain models are also capable of offering a continuous change in pattern from omni directional to cardiod just by turning a knob. Some models can change pattern by changing the front element of the microphone. These systems have heads in all five microphone patterns, as well as some with special features. For example, a long thin gooseneck between the microphone element and the case/amplifier housing, a type popular in televison and other places where the microphone needs to be as unobtrusive as possible. Condensers are the most common type found in a studio environment because of their fidelity and flexibility. They also tend to be found in studio environments because they are generally more fragile than other types (except one - see below) and need the protection from rain and humidity that a studio offers. However, they perform so well that certain models have been designed with field work in mind.

Microphones that change the inductance of a circuit are called dynamic microphones. Dynamics are further divided into two groups: ribbon microphones and coil microphones.

Ribbon microphones have no diaphram like other types, but suspend a small piece of foil between two magnets. There is no physical connection to the foil, the suspension is strictly by magnetic force. Changing air pressure moves the foil back and forth, creating the changes in inductance. Ribbon microphones are extremely fragile. A sharp gust of air can blow the foil out from between the magnets. They are very susceptible to the effects of moisture and humidity. Plugging a ribbon microphone into phantom power will destroy the magnets that suspend the ribbon. For all of these reasons, ribbon microphones are rarely used in field work, and infrequently in the studio. But they do have a uniquely transparent yet warm sound that keeps them in demand for certain applications.

Coil microphones, usually just called "dynamic microphones", are by far the most rugged type. I have witnessed a factory representative drive a nail into a piece of wood with one and have it still work afterwards. (I would not suggest trying this yourself, however) Dynamic microphones are available in all patterns. Some dynamics can switch patterns, but not on the continuous basis of some condensers. Dynamics also do not have the type of interchangable head system found on some condensers. The fidelity of a dynamic microphone can be very, very good, with a top-quality dynamic outperforming a cheap condenser. However, as group, dynamics are not as good as condensers in this regard. But their ruggedness makes them the most popular for video news and rough location work. They are also cheaper to manufacture than other types, which also contributes to their popularity.

Training Webinar #1: HD and SD video

Untitled from Joe Seif on Vimeo.

New Sony HVR-Z7 and HVR-S270

Sony  latest HDV™ products include two new camcorders that feature

1)  Interchangeable lens systems,

2)  Native progressive recording, increased sensitivity for low-light conditions,

3)  Hybrid solid-state recording and other features designed for video production professionals and pro-sumers.

4)  1/3-inch 3 ClearVid CMOS Sensor™ system enhanced by Exmor™ technology.

The new models are the HVR-Z7 (handheld) and HVR-S270 (shoulder-mount) camcorders.
Sony is also introducing the HVR-M35U playback and recording deck. These new products expand Sony’s line-up of HD production technologies, which includes the recently introduced PMW-EX1 XDCAM EX™ solid-state memory camera and the soon-to-be-available HVR-HD1000 shoulder-mount HDV camcorder.

“These new tools enhance the versatility of our professional HDV lineup, and open up a world of possibilities for HD digital video production,” said Bob Ott, vice president of professional video and audio products for Sony Electronics. “Sony’s new HDV camcorders and decks are ideal for documentaries, electronic newsgathering, independent production, music videos, web streaming, and more.”

The new camcorders use Sony’s 1/3-inch 3 ClearVid CMOS Sensor™ system enhanced by Exmor™ technology. With a 45-degree rotated pixel layout, the 3 ClearVid CMOS Sensor system offers sufficient pixel surface area while maintaining high resolution. The Exmor technology features a unique column-parallel analog-to-digital conversion technique and dual noise canceling, resulting in high-quality digital signals with extremely low noise, similar to the imaging technology used in the PMW-EX1 camera. The two new technologies combine to allow the new camcorders to perform significantly better in low-light environments with sensitivity of 1.5 lux. *

This imaging technology is complemented by Sony’s Enhanced Imaging Processor™ (EIP) system to achieve high resolution, high sensitivity, wide dynamic range, and excellent color reproduction.

Users can attach different lenses for extra flexibility, and both models have a universal standard 1/3-inch bayonet mount mechanism for easier lens changes.

Each camcorder comes standard with a 12x high-quality, multi-purpose Carl Zeiss lens for HD video, with a Vario-Sonnar™ T* coating to reduce reflections. A specially designed 8x wide-angle lens is also available as an option.

These new lenses give the camcorders the same functionality as Sony’s popular fixed-lens camcorders like the HVR-Z1 and HVR-V1, thanks to built-in features such as auto-focus, optical stabilizer, and automatic back-focus adjustment.

Using a special adaptor, users can also attach the α lens series designed for Sony’s consumer digital SLR still cameras.

The camcorders offer 1080, 24p and 30p native progressive recording. The 3 ClearVid CMOS Sensor system and EIP technology create true 1080p images, which can then be recorded as progressive signals by the HVR-Z7 and HVR-S270 camcorders in the HDV format. The progressive HDV streams can be output from an i.LINK® interface and used for progressive editing with compatible NLE software.

The HVR-Z7 and HVR-S270 can switch between 1080p, 1080i in the HDV format, DVCAM™, and DV recording, and both can down-convert material from HD to SD, and output the video signals through its i.LINK interface and other SD output connectors. The HVR-Z7 has an HDMI output. The HVR-S270 is available with HD-SDI or SD-SDI connectivity, and also supports embedded audio and timecode.

The HVR-Z7 and HVR-S270 use Sony’s XtraFine™ LCD and XtraFine electronic viewfinder for high-resolution and high-contrast images with remarkable color reproduction. The HVR-S270 features a new LCD/EVF configuration named “Dual Finder,” where the LCD located on the EVF enables multiple styles of operation.

The new camcorders offer the option of hybrid recording when using a supplied memory-recording unit, which attaches directly to the back of the HVR-Z7 or the side of the HVR-S270 and eliminates the need for cables. The unit automatically synchronizes with the recording action of the camcorder and a special shoe connector inputs and outputs an HDV/DV stream and supplies power to the unit.

This unit captures the HDV1080i, DVCAM, or DV stream output from the camcorder and can record HDV/DVCAM/DV files to a standard CompactFlash® solid-state memory card, while users are simultaneously recording to tape.

It will be compatible with Sony’s Professional 306x CompactFlash card as well as standard CompactFlash cards (2GB minimum capacity, 133x minimum speed). The recording times on an 8 and 16 GB CompactFlash card in HDV, DVCAM and DV format are approximately 36 and 72 minutes**, respectively.

The HVR-Z7 can deliver more than 60 minutes of recording time on miniDV videotapes, and approximate recording times of 63 minutes with Sony’s DigitalMaster™ cassettes (PHDVM-63DM). The HVR-S270 also accepts standard-size cassettes to provide more than 4.5 hours of continuous recording, with approximate recording times of 4 hours, 36 minutes** on Sony PHDV-276DM videotapes.

It will be compatible with Sony’s Professional 306x CompactFlash card as well as standard CompactFlash cards (2GB minimum capacity, 133x minimum speed). The recording times on an 8 and 16 GB CompactFlash card in HDV, DVCAM and DV format are approximately 36 and 72 minutes**, respectively.

The HVR-Z7 can deliver more than 60 minutes of recording time on miniDV videotapes, and approximate recording times of 63 minutes with Sony’s DigitalMaster™ cassettes (PHDVM-63DM). The HVR-S270 also accepts standard-size cassettes to provide more than 4.5 hours of continuous recording, with approximate recording times of 4 hours, 36 minutes** on Sony PHDV-276DM videotapes.

Sennheiser MKE400 part# SH3301

The Sennheiser MKE 400 Compact Shotgun Microphone is a professional audio solution for handheld consumer video cameras and larger video cameras alike. The integrated shockmount conveniently mounts the MKE 400 onto any camera accessory shoe while effectively suppressing handling and vibration noise.

Switchable sensitivity aids in capturing long and short distances, resulting in pristine detailed audio and low noise. Additional features include all metal construction and up to three hours of operation on a single AAA alkaline battery. The MKE 400 offers a simple solution to achieving high quality audio and is well suited for consumer and professional video applications.

Sennheiser MKE400 and Litepanels LP Micro on a Canon HV20 from Guy Cochran on Vimeo.

HD drop-outs

Are you experiencing drop-outs when shooting HDV material using standard MiniDV tape stock? The mpeg-based HDV format consists of an elaborate compression algorithm that causes drop-outs when interrupted by a physical imperfection in the tape. We recommend HDV tape stock for important shoots due to their higher manufacturing standards and their lower likely-hood of causing drop-outs.

1080p Camcorders

Does anyone know of any 1080p camcorders?

Optical vs Electronic Image Stabilization

Optical image stabilization (OIS) uses optics to remedy most instances of camera shake. OIS relies on motion sensors to stabilize the image. Once information is gathered about pitch (tilt), and yaw (pan), the optical system counterbalances for the undesired shake. So what is behind all of this? A quaint technology known as variable bend, or active prisms. These prisms consists of two glass elements with optical-grade silicon in between them. When the two elements are lined up, the light travels straight through. But if the OIS sensors detect camera shake, one of the four sides of the mechanism is squeezed, effectively turning it into a prism. A little squeeze on the left sends the light light to the right, compensating for horizontal camera shake. A set of tiny gyroscopes is housed in the lens to detect shake. Every time the camera moves, the gyros send a signal to a computer chip that in turn sends a signal to the OIS, telling it when and how to squeeze the sides of the active prism.
Electronic Image Stabilization (EIS) systems stabilize the image artificially as it is being electronically processed. The EIS system is activated as light hits the CMOS or CCD chip(s) in your camera. The EIS system is programmed to detect camera shake and responds by gently repositioning the image so that it remains in its proper position on the chip. For instance, if the lens or camera shakes to the top, the image is repositioned to the bottom to compensate, thus counteracting the shake.
Though many advanced have been made in EIS technology, optical stabilization (OIS) is by far a better, more precise solution. OIS is great for shooting in low light at slower shutter speeds and without a tripod.

Picture: OIS Lens Components

How to decrease DOF using only filters/aperture/shutter

It's a nice sunny day and you're trying to shoot a beautiful close-up of the supporting actress with your 1/3" chip HD camera. Your light meter is telling you to expose at f/8, But you would rather shoot at f/2 to get shallow depth of field, thou you'd also like to keep your shutter speed at 1/60 for consistency. What to do? Here's an old camera trick, if you don't know it by now. Use Neutral Density filters! Doing so will allow you to shoot wide open or at f/2 without changing your shutter speed. Many camcorders come with built-in ND filters that prove handy in such bright outdoor conditions.

Solid-state Video Recording

Since the advent of the Panasonic P2 system, solid-state recording is changing the way video content is shot and edited. When the P2 cards were first introduced, the largest capacity available was 8GB, which records about 8 minutes of DVCProHD video. With 16GB and 32GB cards available, many filmmakers and videographers are seriously considering solid-state recording as the way of the future. The Panasonic HVX-200 camera has two P2 card slots, and thus the workflow consists of "hot-swapping" the two cards while shooting. For instance, a videographer would record to the first card, fill it to capacity, eject it and download it to a P2 store or computer. Meanwhile the second card would have already started recording video data, with the first card returning to the slot after download just as the second one nears capacity. The cycle is repeated and becomes much less strenuous when higher-capacity cards are involved. Sony's new XDCAM EX camera also takes two SxS Pro cards (which are are ExpressCard/34 compatible) to record the very efficient "Mpeg-2 Long Gop" codec. At the consumer level, Panasonic and Sony offer solid-state cameras that record AVCHD on high-capacity SD cards or MemoryStick media.

What is Genlock?

The Canon XL-H1 and the Canon XH-G1 both have Genlock capabilities. But what exactly is Genlock? When using multiple cameras in a live switching environment, the horizontal and vertical timing of the camcorders should match. Otherwise, the image will likely jump when switching between sources. Genlock, or Generator Lock, is a reference signal used to sync multiple cameras by locking one set of signals to a second set. It is carried by BNC cables connected to the "jack-packs" of the XL-H1 and the XH-G1 and is generally only used on live multi-camera shoots.

Why AVCHD?

With HDV-1080i, HDV-720P, DVCProHD, and now, AVCHD, picking a camera can be a daunting task. Sure, you’d like to see crystal-clear HD video on your HDTV, and to preserve your most cherished memories in high definition for generations to come with minimal editing and without having to capture from a tape. The good news is that it’s all possible. AVCHD is a recording format that allows you to shoot HD video to solid state flash memory, DVD discs, and hard drives. No more tape to capture (boring), you can depend on this great format to deliver extremely high quality (H.264) AVC video right to your home entertainment center. Simply connect your camera to your HDTV using the HDMI connection, and you’re ready to show off your stint in the Australian Outback.  You won’t have to rewind or fast-forward. You can jump from clip to clip, just like a DVD. If you’re really interested in turning your adventures into a Hollywood-style production, be sure to check out the supporting editing software available- there are many options available for both the novice and the pro.


HDV-1080i vs HDV-720p

The HDV format allows you to record high-definition video on standard MiniDV tapes originally designed for standard definition DV. Considering that HD video is substantially higher in resolution, something’s got to give. That comes in the way of compression. In order to make use of MiniDV’s limited (25 Mbps) bandwidth, HDV uses MPEG-2 compression and interframe (temporal) techniques to store a fraction of the frames as independent pictures called “i” frames, and encode the remaining frames as variants relative to the “I” frames. With HDV-1080i, one in every 15 frames is an I-frame. The “i” in 1080i stands for “interlaced,” which means that 1080i has twice the frame rate but half the actual resolution of a 1080p (progressive) signal using the same bandwidth. HDV1080i uses a resolution of 1440x1080 pixels but is displayed with a 16x9 aspect ratio. By contrast, HDV-720p uses a native resolution of 1280x720, which means that it is recorded in 16x9 without “stretching” out the image. HDV-720p runs at 19.7 Mbps,  also natively progressive and can accurately mimic the “film look”. HDV-720p is inherently compatible with HDTV technology such as newer LCD TV’s, which are progressive and must deinterlace 1080i material for viewing. All things considered, the main difference between the two formats is that HDV-1080i shows more detail in stationary shots at the expense of a lower effective refresh rate and the occasional interlacing artifacts during quick pans and jib shots.

Did you know: In the USA, 720p is used by ABC, Fox and ESPN because the smoother image is desirable for fast-action sports telecasts, whereas 1080i is used by CBS, NBC, HBO and Discovery HD due to the stunning detail particularly in static shots.

Welcome, Video Specialists

January 22, 2008

Welcome, Video Specialists

I would like to personally welcome you into our new training program and look forward to working with all of you on a weekly basis. This blog is an important communication tool, as it offers a platform for your weekly video training, an archive of reference materials, and a forum for discussion. A training video will be posted weekly, along with supplemental reading materials. You are expected to log in and submit a relevant blog entry that pertains to the video, and to participate in forum discussions. A link to a very short weekly quiz (on the week's topics) will be provided as well.

Joseph Seif
Technical Trainer
and Product Specialist- Video