84 blog posts found matching keyword search for: Remote
Over the past several years, two major technological developments have occurred in tandem, both of which have made wide-ranging and revolutionary changes in the world of media post-production. One of these developments is the explosion in sophisticated yet affordable software; the other is the exponential growth of cloud computing.
Whilst computer-generated special effects and stunt driving make for impressive watching, remote-controlled vehicles allow filmmakers to push the boundaries of what is possible to create bigger, bolder and more elaborate scenes.
As technology continues to progress at a rapid pace, post-production is set to change dramatically. Besides great new software features, compute (and therefore render) power continues to increase with faster processors and more powerful xPUs (GPUs, TPUs, etc.). This means real-time editing of HD, 4K, 8K, AR and VR is fast becoming a reality, ultimately shortening post-production timeframes.
The demand for live televised college sports has never been higher. From all of the biggest and best college football programs to sports that you may never have seen before, the heat is on to produce the type of high production quality that viewers expect. With colleges and conferences building their own networks, it's no wonder that crews are busier than ever. Where do we start?
Learn the social media secrets of top networks at Lost Remote- The NYC Show, April 24 in New York City. Executives and professionals from HBO, NBC News, CNN, The CW, MTV, Bravo, and USA Network will address attendees on the importance and future of social TV.
In my previous ProductionHUB column, Remote Production: The World is Your Oyster, I discussed the emerging trend of remote production. Increasingly, we’re seeing post-production companies create infrastructure that spans the globe rather than just the length of a building.
Thanks to small, high-quality digital cameras, professional and personal drones have completely transformed the production industry, letting filmmakers capture shots that were previously unattainable to non-studio filmmakers. To capture aerial footage a few years ago, you had to either book time in a helicopter containing a professional operator, remote head, and bulky HD camera, or, for lower altitudes, rent the services of a small remote helicopter and operator from a company like Flying-Cam or Coptervision. As you can probably guess, helicopters don’t come cheap.
There has never been a better time to be a freelance video editor. Thanks to the rise of the gig economy, the demand for more video content in marketing, and the advancements in tech that make remote collaboration easy, more and more talented video editors are turning away from their day jobs to set out on their own.
Whether you plan to shoot in a remote scenic landscape or in a tasteful residential home, location scouting for professional video production is a vital component of pre-production. Although location scouting can have a sizable cost, leaving it to a local expert will yield immense dividends in the long run, ensure your production avoids common pitfalls, and help you stay within budget. When we consider locations for professional video production, we take into account four main factors: appearance, availability, accessibility and cost. There are other smaller factors, but we’ll deal with the big hitters in this article.
Over his 30 years in production, Alan Lennox has worked in many capacities leading up to camera operator and then specializing in Steadicam. He is currently an active member of the Society of Camera Operators, IATSE 667Toronto, IATSE 669 Vancouver and other industry associations. Alan was one of the first operators to adopt the ARRI Trinity -- the first hybrid camera stabilizer that combines classic mechanical stabilization with advanced active electronic stabilization. He then joined ARRI as the Camera Stabilization Systems (CSS) Specialist for the Americas. Currently, Alan shares his time between supporting CSS sales, demonstrations and tradeshows and also leads ARRI’s CSS workshops for the ARRI Academy for Maxima, artemis, Trinity and Stabilized Remote Heads.