At the start of November, the Portland Timbers became the first team in Major League Soccer (MLS) to feature Motion Impossible’s AGITO Sports modular dolly system as part of live broadcast coverage from its home ground of Providence Park.
Cinematographer Isaac Vila, used Cooke S7/i Full Frame Plus lenses for the 8-episode mini-series “The Mess You Leave Behind”, one of the latest Netflix Spanish Originals.
Vista Worldlink has used a pair of Envivo Replay systems to help produce coverage of the National Women’s Soccer League (NWSL) when it returned to action in late June.
The industry experienced futureshock head-on in 2020. The impact will take a long time to unwind but it’s already clear that some changes will be profound and not all of them bad. These changes include remote workflow permanency, virtual production shifts from exotic to routine and genuine efforts to save the planet. Here’s hoping.
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According to International Civil Aviation Organization rules, if an airliner transmits a certain four-digit transponder code, the world should assume that it is being hijacked. The 2019 film 7500, directed by Patrick Vollrath, takes that code as its title and stars Joseph Gordon-Levitt, Aylin Tezel and Carlo Kitzlinger as the crew of an airliner during a hijack attempt.
There’s no way to sugarcoat it: The pandemic has had a highly disruptive effect on video production and distribution in 2020 and many agree it will be felt for several years. The inability for people to gather safely has made it impossible for full-scale video production to go ahead as it did before. Yet, the industry has risen to the challenge in a myriad of ways and learned to be more efficient in the process.
The legacy gamma adopted in 709 and 240M has recently been supplanted by two more approaches to applying non-linearity to luminance, namely the Hybrid Log Gamma (HLG) system developed by the BBC and NHK and the Perceptive Quantizer (PQ) developed by Dolby.
In the mid 1990s, the north of England was a hotbed of film production, with well-known features such as Brassed Off and The Full Monty all produced within a few years and a few miles of each other. The Northern Media School, then part of Sheffield Hallam University, was literally and figuratively a long way from Los Angeles, but somehow cinematographer Stuart Brereton found a route between the two without ever having intended to.
