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)
Now that the Blackmagic Production Camera 4K is finally shipping, all sorts of test videos have been popping up. The latest comes from Emmanuel Sapolsky and pits the camera against its little sister, the Blackmagic Pocket Cinema Camera.
He explains about why he would compare a 4K camera to an HD one, "I intended this test as buying advice for the DSLR market price range, with a brand comparison: do we really need to spend the extra money for the 4K."
Cinema5D has put the Blackmagic Production Camera 4K through its paces by comparing it to the Canon 1D.
They write, "The first thing that strikes you is the pricetag. $3000, for a 4K camera that shoots the Apple ProRes (HQ) codec. Wow. And yes, that is a wow, it can’t be neglected. The camera we compared it to costs $12,000 and that’s a whole different league indeed, but it’s our reference camera in 4K, producing beautiful results."
Read the review here.
Record attendance for last November’s NewBay Media-produced webinar on live event safety opened a lot of industry eyes on just how important a topic this is. So I thought it useful, as we prepare for the next March 19 Webinar, to interview the key player in the live events industry for all things safety related. Jim Digby is the Executive Director of the Event Safety Alliance, that he founded in 2011 (www.eventsafetyalliance.org). The scope of the Event Safety Alliance is the standardization of safety practices within the staging and live event industries.
Here's a fun one. Rick Young posted a compilation video of his work shot over a number of years with a number of different cameras. A week later, he revealed which camera had shot which segment.
Can you figure it out? Here's the original video.
And here's the one with the answers. (via Movie Machine)
Time-lapse photographer Dennis Hlynsky, whose stunning work depicting the migration patterns of birds and insects has been recently gaining traction, talks to The Atlantic about the inspiration for his pieces.
He says, "There's a process that I think is very scientific but I don't feel like I'm doing science. I'm making artrworks, I'm living my life as an observational human being."
Digital Video, along with several sibling publications owned by NewBay Media, has announced a new awards program for products introduced at the NAB Show. The NewBay Media Best of Show Award will replace several award programs including the Digital Video Black Diamond Award.
“Awards will be given by NewBay Media publications TV Technology, Digital Video, Video Edge, Radio and Radio World magazines, and all nominated and winning products will be recognized in a post-show, digital Best of Show Program Guide delivered to readers of these top industry publications,” the company announced in an email to manufacturers.
“NAB Show exhibitors may submit a product for consideration by one or more of these publications, and may submit multiple products.” Companies pay a fee to nominate a product.
Peter J. Haas and Keif Roberts have put out one of the first completed projects shot with a Digital Bolex D16, short documentary "Peter Pan Bakery."
Haas writes about his experiences with the camera on RedShark News, writing, "The uninterruptible daily hustle and bustle combined with the very limited space we had available at the bakery provided a particular challenge. It was unlikely that we would be able to use any conventional camera, tripod or lighting setups. The D16 ended up being a perfect match for this scenario for several reasons. The form factor alone allowed for hand-held shooting without the use of any rigs. It was a bit of a rocky start as my body got adjusted but I quickly became very happy with how little space I took up operating camera."