34 blog posts found matching keyword search for: Video Engineer in New Hampshire
If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.
Box, Brunch and Beats. is a virtual fitness event hosted by EverybodyFights (EBF.LIVE), an authentic boxing-inspired group fitness training camp created by George Foreman III. Because of COVID-19, EBF moved most of its classes online so that members could keep active and in touch with the EBF community. Historically, the mission of boxing gyms beyond the sport has been for community outreach: people of all backgrounds come together for advancing the mind, body, and soul. EBF is no different -- they could see their community hurting and wanted to do something to help. Rob Maloof, producer and DP at Gauntlet Films, has his office above EBF and decided to step in to help EBF LIVE with the live stream of this event specifically. He relied on two Pocket Cinema Camera 6Ks and ATEM Mini Pro live production switcher to make it happen.
Our first internal piece was a live town hall on March 20th. It included the hospital president and other leadership discussing COVID-19 policies, workplace changes, future plans, and answering employee questions from the chat. We then continued for five more weeks to hold these meetings, most of which averaged 800 live viewers, with even more watching it on-demand later.
As we've all been living (and navigating) these difficult past few months thanks to COVID-19, we wanted to reach out to our incredible featured profiles to find out what they've been up to, their thoughts on the industry and how they've actively shifted their business during this time.
Audio mixing and mastering is a technical and creative process that gives your narrated commercial video a huge psychological edge on the competition.
HBO Max’s Legendary isn’t the first reality competition series to shine a light on a fascinating slice of LGBTQ+ culture, but series director Rik Reinholdtsen brought a showstopping cinematic look to the Ballroom competition show’s first season that is unlike anything you've ever seen before. Reinholdtsen (Cooked with Cannabis, Inside the Actor’s Studio, Chelsea) shot with the Canon EOS C700 Full-Frame Cinema Camera, EOS C500 Mark II, and Sumire Prime Lenses to create a larger-than-life look that matched the majesty of the Ballroom performances, which blend dance, performance art and fashion. Reinholdtsen used the same gear to shoot in the field for the documentary portions of the show, helping him achieve a cohesive look. We spoke exclusively to Reinholdtsen about his experience on Legendary, why Canon was the right choice for this project, and what inspired the show’s aesthetic.
I'm Luke. Tech fan, engineer, history buff, developer, and closet Sim Racer. I work for Other World Computing as a Product Manager for our networked line of solutions. More specifically, the OWC Jupiter system.
“Well, this looks like things are getting worse,” Definition 6’s Manhattan-based chief engineer, Luis Albritton, recalled nearly a year later. Like almost everyone worldwide, Definition 6, a digital and creative services company with offices split between New York and Atlanta, was staring into the reality of a widespread pandemic shutdown. The future of their enterprise relied on their teams being able to keep working.
Over the past decade, most of the world has adopted some form of loudness legislation for television. This is wonderful news for casual viewers who understandably hate loud commercials, as well as for the Federal Communications Commission (FCC), which received approximately 1,000 complaints and 5,000 inquiries about excessively loud TV commercials between 2008 and 2012. But, for those who work in television post-production, it can complicate matters somewhat.
There are a few ways to have a career in editing for the film / video / new media industry. Film school could give you the training, you could assistant edit for the assistant editor for x years unpaid until someone dies and you move up, or you could grind out your friends’ music videos for $500 until someone takes a chance on you, etc etc. All very available routes, although I’ll be discussing a different approach. Just start editing.