23 blog posts found matching keyword search for: High Definition in Rye
Visual Data Media Services provides post-production services, film scanning and transcoding for a wide range of international customers, preparing content for distribution across the world’s premier broadcast channels and digital platforms. For more than two decades, the company has successfully provided everything from ingest and scanning to editing, captioning and localization, growing to become a premier resource for the entire mastering and delivery process. But last year, with a tremendous increase in 4K and ultra high definition (UHD) projects, Visual Data’s systems were struggling to keep up.
by Katrina Diamond4K is here - what do we do with it? ANC Sports' Chief Technology Officer Mark Stross will join Newtek's Chief Technology Officer Dr. Andrew Cross to explore how to maximize the adoption of 4K. In 2013, ANC integrated a control system to drive a video display featuring physical pixels of 1080p x 3840p at the Seattle Mariners, including dissolving content to effectively playback two HD streams at once. Meanwhile, Newtek's broadcast equipment is found in HD control rooms around the world. They will tackle the most pressing issues in both signage and broadcast control rooms such as how to successfully drive larger, higher definition displays, as well as the challenges of outputting content featuring such large file sizes. Topics such as when to scale content, delivery speed and distribution will receive an open floor discussion as the industry comes together to take greater than HD displays to the next level.
Making any kind of film is time consuming and expensive. A large part of the cost comes from buying, or more realistically for a student crew with just a handful of people, renting high quality equipment. Not least because insurance could make the rental prohibitively expensive.
Delve into Canon's CINE-SERVO Zoom Lens to learn it's functionality and features, along with the future of of the company and it's other new products.
Being in front of the camera is not easy. This is especially true for corporate clients with less experience in the spotlight. When being interviewed on camera, there are small details that can make a major impact on the final video. Makeup Artist Crisger Santley delivers her top five makeup and hair tips for interview shoots.
Whether characters are talking or deeply immersed in action, the car scene has become a staple of movie production. Placing characters in a fixed place against an active, moving backdrop not only advances them in a physical sense but provides unique opportunities for story exposition. Shots like these have now become a director’s staple to transition a film from one plot point to the next.
Wow. There I said it. Wow. The Hasselblad H6D-100c was a camera unlike any I have shot with before. Right from the beginning, I knew that this camera was going to be special. From the spectacular imaging right down to the spot on display this camera rocks. To be honest, I've wanted to own or shoot on a Hasselblad for as long as I can remember. So when I had the opportunity to get a hold of one, I could not wait.
Color is a simple concept for everyone to grasp, even if they don’t understand color engineering or science. Compared to other technical fields-for example, computer security-you can talk about color with lots of people, because everyone can confidently say, ‘that’s red’ or, ‘that’s reddish-orange,’ and can answer questions like ‘What’s your favorite color?’ People are willing to discuss color and color associations even when they don’t know anything technical.
4K has been hyped as the next big thing in video, but unless you are an A/V geek, it is all too easy to get confused about what it means. Yoel Zanger, CEO and Founder of Giraffic gives you the insight you need to understand 4K.
Jurassic World is another in a long line of big-budget tentpole features for cinematographer John Schwartzman, ASC (Armageddon, Seabiscuit, Night at the Museum: Battle of the Smithsonian, The Amazing Spider-Man). With a production scale rivaling that of its dinosaur-sized subjects, this fourth installment in the series served up something Schwartzman had not had on any film prior: the opportunity to create a new aspect ratio.