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Because of the the holiday season, a lot of young people now have new video gear and may be anxious to try out their video production skills. The good news is today’s technology can provide great images at a lower cost than ever. An important, less technical, skill is for the director to bring organizational skill to the shoot.
The race to ever higher pixel counts never seems to end. One result is that consumers now believe that the path to higher quality images is through more pixels. Yet, other technologies like HDR, WCG and HFR can enhance every TV pixel by adding clarity, depth, and realism without requiring more bandwidth or expensive new production and broadcast workflows. The path forward depends choices made by television set makers as well as broadcasters.
The Virtual Reality Industry Forum (VRIF) is presenting its first guidelines at CES 2018 with the initial release focused on the delivery ecosystem and security.
Recording the human speaking voice can be one of the trickiest tasks a professional sound recordist encounters. Even when working with seasoned professional voice artists, problems can creep in. Here are a few of them and how to solve the problem.
One of the stark differences between pro audio and video is the pursuit of vintage technology. As video technology continually improves, most working professionals go after the latest gear as soon as it hits the market. For audio, on the other hand, the pinnacle for many professionals are vintage components from decades ago. Why the huge difference?
As today’s media workflows increase in size and speed, with Big Data analysis and Fast Data processing added to the mix, the need to better manage the entire lifecycle of content becomes ever more important. Building an efficient and effective workflow requires the use of a hybrid storage infrastructure, leveraging the speed benefits of on-premises storage with the distribution capabilities of cloud.
DIT Simone d’Arcangelo and colourist Anthony Raffaele used an ACES production workflow supported by a range of color tools from Filmlight to help create an iconic 1950’s look for Woody Allen’s new film, “Wonder Wheel”.
SMPTE’s publication of the first documents in the standard ST 2110 for professional media over managed networks goes beyond merely replacing serial digital interface (SDI) with IP to giving broadcasters the flexibility to devise a whole new set of applications based on, and leveraged off, IT protocols and infrastructure.
