In the media and entertainment industry, content is king. The majority of this content is now produced in digital form while virtually all of this content is distributed digitally. Amid a growing demand for higher-quality content, such as HD and 4k, digital data is rapidly growing in size and adding to soaring production costs.
LTO Digital tape – considered a highly cost-effective and reliable option – has increasingly become the archive answer for producers, and since the introduction of Linear Tape File System (LTFS), archiving content to tape in the workflow can be as easy as using drag-and-drop with a USB data stick.
We are in search of cutting edge, thought-provoking presentations for Next|VIDEO Conference + Expo, taking place Oct 1st-3rd at the Pasadena Convention Center.
Next|Video will significantly expand the coverage of video streaming, distribution and enterprise-level creation and acquisition. With an expanded show floor featuring new content pavilions, Next|Video will also feature a new multi-day, multi-track conference, offering the latest in available technology, best practice usage, tools and techniques.
Program Content we are looking for include:
Cinematographer David Leitner gave a presentation last week entitled "Shooting in 4K: Is it Right For You?" where he broke down what 4K is and when it should be used.
He said, "What’s past is prologue. 4k is the resolution of 35mm motion picture negative. Not an arbitrary number. It’s Cinematic, something we all recognize. 4K fits historically in everything you’ve seen coming out of cinema. 35mm projection, however, never delivered that to the screen. At most 35mm delivered 1.3k to the screen, so we’ve never seen 4k before until now. So this is a new era, in the sense that we can see for the first time real 4K – shot well and projected properly – is really stunning.”
Read the full story here on ARCBlog.
As part of their ongoing learning series, RED has posted an article on understanding sensor crop factors.
They write, "The crop factor and size of a digital sensor affects numerous image characteristics, including depth of field, angle of view and cropping. In this article, we explore the relative trade-offs as they pertain to cinematic capture."
Read the full story here.
AJA’s Io 4K capture and output hardware offers a range of professional video and audio connectivity, supports the latest 4K and Ultra HD devices, and allows real-time high-quality scaling of 4K to 2K and Ultra HD to HD. Io 4K connects to any Thunderbolt 2-enabled device (such as the new Mac Pro) and offers an additional Thunderbolt 2 port for daisy-chaining peripherals in supported workflows. It integrates with broadcast, postproduction and delivery tools such as Apple Final Cut Pro X, Adobe Creative Cloud, Avid Media Composer, AJA Control Room and Telestream Wirecast 5.
Sound technician Robert Maxfield just wrapped Season 4 of The Walking Dead. He admits that it is one of the hardest shows he’s ever worked, but that it’s made a little easier because he utilizes his K-Tek 18’ Klassic boom pole with a straight internal cable. “I chose this pole for my work because of its length, durability and rigidity,” he explains.
On The Walking Dead, it is common to have to make quick cues between the numerous and spread out actors in various scenes. “We work outside a lot on this show,” he explains. “The actors are typically spaced far apart. The cameras, three on average, are usually spaced over a broad area and are placed at a great distance from the talent, many times throughout wooded forests. This requires that I be on a long ridged pole, that allows me to move quickly and precisely”.
ThinkBreatheLive (TBL) helped more than 80,000 spectators at MetLife Stadium play a role in the Pepsi Super Bowl XLVIII Halftime Show. The creative agency conceived and executed a dynamic LED experience that turned the entire stadium into an immersive, panoramic concert screen. People in the stands wore specially designed hats equipped with LED technology provided by Montreal-based PixMob. The hats were remotely controlled to collectively form a massive LED screen on which TBL’s media was projected.
Running Man in New York is using MTI Film’s CORTEX Dailies to manage dailies for the fourth season of FX Network’s Louie and the debut season of Comedy Central’s Broad City.
The facility is currently processing in excess of seven hours of footage for the two shows each production day, and is able to deliver dailies media to the editorial teams by late the same day.
Hadley Delaney (Lilly), Louis C.K. (Louie) and Ursula Parker (Jane) in Louie. Photo by K.C. Bailey/FX.
According to gaffer Helmut Prein, much of Wes Anderson’s new film The Grand Budapest Hotel takes place inside the film’s fictional Art Nouveau hotel, which was actually a converted department store in Görlitz, Germany.
Design studio Roger created a teaser campaign for the FX animated series Chozen that offers viewers a taste of the show by employing the same aesthetic, animation style and comedic sensibility.
The challenge for Roger was making sure its original artwork looked like it belonged to the show. Artists created the transitions frame by frame in Adobe Flash as traditional cel animation, combining filmed live-action material with the animated world of Chozen. The Roger creative team integrated the animation with Wacom pens, Flash and Adobe After Effects.
I first learned about ProAm USA’s Iris monitor line when I was putting together a crane kit for a client. Since then, Iris monitors have become an important part of my daily shooting. I use the Iris Pro 2 7” LCD monitor on nearly every shoot. It has excellent resolution and a large selection of picture options to adjust the monitor to match my camera. There is a built-in five-hour battery, and I can get even longer run times with an external ProAm power plate.
TI Broadcast Solutions Group (TIBSG) is a design/build systems integration company in Norcross, Ga., specializing in new facility programming and planning for new or enhanced facilities. One of their current projects is in Anchorage, Alaska, for Denali Media Holdings (DMH). DMH asked TIBSG to design a “lightweight” and flexible media center, as well as a comprehensive high-definition video monitoring system for the media center.
As this is a large plant, the distance from room to room is considerable. DMH needed high-quality broadcast-type monitors in locations throughout the facility, from video monitors at the various engineering stations in the plant to a jib arm monitor that’s used in the operation’s news studio.
Located in Florida’s capitol building in Tallahassee, The Florida Channel is a public affairs programming service funded by the state and produced and operated by WFSU-TV. The public service features programming covering all three branches of state government. It is Florida’s primary source for live, unedited coverage of the governor and cabinet, the legislature (House and Senate) and the Florida Supreme Court.
Here at Azzurro HD, we’ve been using Marshall Electronics’ new M-LYNX-702 dual monitor in our portable transmission system, which is a broadcast-quality transmission system over the public Internet. Our portable transmission system lets us basically do all the things you would do in a satellite truck, but in a suitcase-sized portable rack with wheels and a luggage handle. We can transmit and receive broadcast-quality video, we do IFB and PL, we have VoIP phone lines, and the Marshall monitor is our confidence monitor for audio and video, as well as our troubleshooting monitor for the whole system. We can use it for newsgathering, and for doing live shots from places where satellite trucks are either cost-prohibitive or simply impossible to get into place, such as from the tenth story of a hotel.
Located in Midtown, Manhattan Center Productions (MCP) has been a cornerstone of New York City broadcast production for decades. With two legendary venues on site—the 3,500-capacity Hammerstein Ballroom and the elegant Grand Ballroom—Manhattan Center is a facility with space and technical resources unmatched in Manhattan.
Massive Post Productions started as a boutique postproduction company specializing in commercials and documentaries with a production component, but as our business grew more toward production, we found ourselves in need of more gear. Whether it be a camera, lighting equipment or a production monitor, there is always a struggle to balance important features with a good price.
When we needed a small HD production monitor, we looked at our requirements and researched what was on the market. We wanted it to be small and light enough to fit on our HD camera, but we needed it to be rugged and offer professional features like waveform, vectorscope and SDI/HDMI input.
LAIKA, an animation company specializing in feature films, commercials and short films located in Portland, Ore., has installed more than 110 EIZO ColorEdge monitors for use in the capture, editing and playback of video content. Trevor Cable is the lead media engineer at LAIKA. Among his responsibilities is ensuring that editorial stays up and running. He builds and maintains all of LAIKA’s screening rooms and theaters, ensuring they remain color-matched to the company’s theatrical projectors.
Chances are that if you live in the Northeastern U.S., you are sick of snow. Even if that's the case, you can't help but be awed by this video that combines time-lapse and macro photography to depict exactly how water freezes to form those symmetrical snowflakes you were forever cutting out in elementary school. The video comes from Vyacheslav Ivanov.
Watch below and read more about the science of snowflakes here on io9.
snowtime from Иванов Вячеслав on Vimeo.
Photographer Nicolaus Wegner talks to National Geographic about his fascinating but dangerous work documenting Wyoming's severe thunderstorms, particularly those known as supercells.
He says, "The footage in 'Stormscapes' is shot from all vantage points of severe thunderstorms: inside, outside, in front of, and behind them. The roads play a big part in how I photograph them. Wyoming's county roads are unlike most other states': They meander. And you are limited to photographing from roads for safety reasons."
Read the full story here.
In the below TED Talk, high-speed cinematographer Louie Schwartzberg introduces some clips from his gorgeous macro-cinematography, which gives a rarely seen close-up view of how birds, insects, and bats assist in the pollination process of plants.
He says, "Rarely seen by the naked eye, this intersection between the animal world and the plant world is truly a magic moment. It's the mystical moment where life regenerates itself over and over again."
Watch below. (via Huffington Post)