Freyburg

It was inevitable that the expanding world of online video would hit the wall that every other industry in America (and elsewhere) has run into, and with that decline has come rounds of layoffs. Revision3 has turfed three of their employees, including some TechTV alumni, and discontinued its distribution deal with Smashface Productions, the creators of Epic-Fu. Not to mention Seesmic, the video commenting service, though I’d contend video commenting is a dumb idea to begin with. Heavy.com, 60Frames…the list goes on.

But the difference between this round of cost-cutting and the tech bubble is that these companies weren’t throwing around masses of worthless stock and spending beyond their means, and the fact that the economic malaise isn’t isolated to the tech sector this time around. And online video is, at least for now, much cheaper to produce than regular broadcast television. Standout shows like Epic-Fu get their start through people screwing around with a camcorder, not a big production deal…so one way or the other, there’ll always be a place for online video. It just might not have venture capital attched to it.

The NFB is branching out from Hinterland Who’s Who (actually, I have no idea if they have anything to do with HWW, I just love the music at the beginning of the mini-films) and other cold Canadian fare to present RIP: A Remix Manifesto. It looks like an interesting take on the copyright battle, though unfortunately there’s no way (as of yet) to view the whole film online. Here’s the trailer…

Canon HV20/ Letus Extreme mini test HD from Philip Bloom on Vimeo.

Wow. I have this camera, but not the lens adapter. Still amazing to see what tis little $1000 wonder is capable of. Check out Philip Bloom’s other stuff on his blog and his Vimeo page (he normally shoots with an EX1 or more recently, an EX3).

RED, the company created by Oakley founder Jim Hannard, has sent the SCARLET back to the woodshed. Why? Apparently the emergence of DSLR cameras like the Nikon D90 and the Canon 5D MkII that can shoot in HD (though in the case of the 5D, at the indie-unfriendly frame rate of 30p) has forced RED to rethink what they’re trying to accomplish in the prosumer video space.

Honestly, it’s about time all camera manufacturers took a step back and figured out how to merge SLR and HD video in a package that serves both filmmakers and photographers. There’s no reason, with the emergence of fast and plentiful hard drive space, huge memory cards for on-camera storage, and lens adapters that already graft SLR lenses onto HD camcorders, that a new class of camera shouldn’t emerge that doesn’t follow the old paradigms of tape-based shooting. The 5D and D90 are an important first step, and RED’s backtracking looks to be the next step in a saga that I’ll be very interested to see come to fruition.