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9 Steps to Take Before an Outdoor Location Shoot

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There are different types of videos you can create for your client. There are also plenty of factors and costs involved in corporate video production. The success of a video project will greatly depend on the time and effort you have allocated toward properly planning the project. If you don’t have an outstanding idea and solid plan in place, no amount of production expertise can save your project.

To Buy Camera Equipment or Rent?

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It’s a lasting dilemma for film crews, production houses, and freelance camera people: Do I buy camera equipment or rent gear on a case-by-case basis? You may purchase the latest and greatest only to find it sitting on the shelf when the next best thing replaces it a month later. We talked to Pierre Habib of Dunia Films to take some of the mystery out of renting camera equipment.

Reflections on AbelCine's Behind the Lens: A Look at Documentary Zooms

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I was lucky enough to serve as the technical advisor on AbelCine’s Behind the Lens project, a web series looking at 11 professional zoom lenses covering the indispensable 3x wide-to-tight range, perfect for handheld shooting in run-and-gun documentary situations. New York-based cinematographer Matt Porwoll graciously agreed to helm Behind the Lens: A Look at Documentary Zooms, which launched in April. We just posted the final episode in the series and wanted to look back and highlight some key findings about each lens.

IBC 2017: The “Must See” List

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There are a lot of IBC preview lists (including our own) but I wanted to wait until the last minute so I could get you some of the latest info about IBC. So now, with IBC here, it is a perfect time to check out some of the latest gear that will be on display in the exhibition halls in Amsterdam. It is true that almost nothing beats actually getting on the floor to get some hands on time with the new stuff. But sometimes you just can’t get there. We get it. So if you can’t be there, don’t worry, ProductionHUB has you covered. But don’t think we are going to stop there. We plan to continue on extensive coverage during, and after IBC too. Make sure you are checking out the latest show updates on IBCHUB.com. Let’s Go!

Primestream Dives Inside Storage and Media Asset Management

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The introduction of new technology can bring a combination of benefits and challenges for both manufacturers and customers. For instance, the shift towards digital-file based systems has sped up processes, multiplied creative options for production tools, and enabled collaborative workflows that would not have been achieved with film or tape. Even though broadcasters now have the ability to capture more media than ever before, this movement has brought new challenges to storage and asset management retrieval.

Workloads WILL Go to the Public Cloud - It Can Be Easier than You Think

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Whether for functional need, budgetary alignment, or due to top-down pressure, any media and entertainment companies will benefit by executing parts of their workflow in the public cloud at some level. If an organization has less than, say, 50 terabytes of data to manage, it’s easy to move everything there. For those of you in this minority, you can stop reading this article and proceed directly to the cloud, and collect $200. The majority of organizations creating media have capacity needs that are at least one if not two orders of magnitude larger, i.e. multiple Petabytes.


Smaller Productions Receive a Bigger Infrastructure Boost with the Introduction of Single-Node Storage Solutions

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Like other market segments, the motion picture and video production industry is dominated by smaller productions and facilities. Until now, the only option for this portion of the market to take advantage of the performance, fault-tolerance and ease of management of a modern scale-out storage platform was to invest in a storage cluster consisting of three storage nodes and at least one metadata controller. While this configuration is ideal for mid- to large-sized productions, the typical 96TB capacity of the smallest three-node cluster was often far beyond the requirements and financial means of smaller facilities and media shops.