Born in Connecticut, United States, Allan Tépper is a bilingual consultant, multi-title author, tech journalist, translator, and language activist who has been working with professional video since the eighties. Since 1994, Tépper has been consulting both end-users and manufacturers through his Florida company. Via TecnoTur, Tépper has been giving video tech seminars in several South Florida’s universities and training centers, and in a half dozen Latin American countries, in their native language. Tépper has been a frequent radio/TV guest on several South Florida, Guatemalan, and Venezuelan radio and TV stations. As a certified ATA (American Translators Association) translator, Tépper has translated and localized dozens of advertisements, catalogs, software, and technical manuals for the Spanish and Latin American markets. He has also written many contracted white papers for tech manufacturers. Over the past 18 years, Tépper’s articles have been published or quoted in more than a dozen magazines, newspapers, and electronic media in Latin America. Since 2008, Allan Tépper’s articles have been published frequently –in English– in ProVideo Coalition magazine, and since 2014, he is is the director of CapicúaFM.com. His website is AllanTépper.com.

iMovie Pro?

iMovie Pro?

Even though I have never gone to a Macworld Expo (and now probably never will, since Apple will no longer present there), I have always enjoyed watching Apple’s…

HDMI capture in live multi-camera production

HDMI capture in live multi-camera production

Thanks to the new HDMI input interfaces like Blackmagic’s Intensity and Intensity Pro, it is feasible to connect certain HD cameras with HDMI output live to a computer…

Controlling HDV when capturing HDMI or HD-SDI

Controlling HDV when capturing HDMI or HD-SDI

Most HDV editors are ecstatic when they hear about all of the many benefits of using HDMI capture in post-production, as explained in the two prior articles Why capture…

Universal HDV deck (almost)

Universal HDV deck (almost)

Up until now, post-production facilities that accept HDV footage have confronted a major dilemma: If they bought a JVC BR-HD50 deck (US$3,399 list), the only HD…

Why capture HDV via HDMI?

Why capture HDV via HDMI?

For many reasons explained in my recent article, it makes a lot of sense to capture your HDV footage directly to an editing i-frame códec like ProRes422. One…

Revisiting HDV’s Virtues

Revisiting HDV’s Virtues

Among my clients and friends who are video professionals, many of those who produce commercials, corporate, and music videos have already embraced tapeless acquisition with such cameras as JVC&#8217…

Liberating segregated HDTV sets

Liberating segregated HDTV sets

Unfortunately, many of the latest-generation HDTV sets sold in the USA are segregated, meaning that they cruelly block 50Hz signals on their video input. In some cases, they simply…

AppleTV, WDTV, or Blu-ray: Which one is best to distribute your HD project?

AppleTV, WDTV, or Blu-ray: Which one is best to distribute your HD project?

Even if your HD project isn’t destined to be broadcast over the air, you’ll still want to have your client be able to play it on…

When 25p beats 24p…

When 25p beats 24p…

There are many times when it makes more sense to shoot and edit video at 25p than at 24p, regardless of the final framerate(s) to be delivered to various…

When to edit native, When hybrid, and When pure i-frame… and Why

When to edit native, When hybrid, and When pure i-frame… and Why

Ever since the launch of Final Cut Pro 6.0 (at this writing, we are at 6.04), we have for the first time had the possibility of realtime hybrid…