42 blog posts found matching keyword search for: Mobile Audio in Vallejo
Self-proclaimed “Satellite Guy” Rob McWilliams of McWilliams Productions shares tales from producing multiple live shows at CES, including how he was able to live stream through a massive blackout!
You know sometimes we make such a big deal out of cinematic production that it has been said we forget about the importance of audio. I don’t think that is true at all. If anything, we should spend a lot more time thinking these days about how the audio plays such a big part in the whole production process. Which mics are we going to use? What sound fx? Who is doing the music? Is it an original score? All those questions must be answered because audio matters.
Whenever a year begins, I've always found it beneficial to reflect and prepare for the changes and challenges each new year brings. Today I’m going to focus on something invisible to most, that soon will become a very visible problem. However, with proper planning and awareness, the impact of a problem can often be reduced or eliminated entirely.
In his sports broadcasting career, he has mixed every major sport and traveled all over the world doing it. He worked on the Fox NFL pregame show in Kabul Afghanistan, which he mixed on a Calrec Zeta. He has worked six Olympics (most for NBC), 17 Super Bowls, five World Series, two Stanley Cups, Cricket matches, NASCAR, Indy Car Racing, Goodwill Games in Russia, Great Outdoor Games, X Games, Golf’s U.S. Open, PGA Championships and 25 consecutive years of MLB and NFL games.
The scope and beauty of the Olympics is beyond compare. But how do all of those beautiful images and wonderful audio get produced and sent back to an eager audience? As part of one of the largest productions ever assembled, Glen Levine, Co President NEP Group had a unique vantage point unlike no other for the 2016 Rio Olympics. ProductionHub had the rare and exclusive opportunity to catch up with Glen Levine, Co President NEP Mobile on the ground in Rio.
Live Event Design Trends, Challenges & What Happens When Microsoft Acquires Your Client Right Before An Event
Recently the Xamarin Evolve 16 corporate event took place - the largest cross-platform mobile event in the world, where over 1,500 developers, industry leaders and Xamarin experts converged to advance the state of the art, discuss mobile strategy and define the future app design. And leading live event designer/producer Riverview Systems Group, Milpitas, CA, was there too, in a big way. Riverview’s on site crew of 26 production staff and 60 local technicians ran the show at the Hyatt Regency Orlando, Fla.
Defined as the computer-generated simulation of a three dimensional image or environment via a helmet or other piece of electronic equipment, Virtual Reality is becoming the fastest-growing medium for entertainment. Now virtual reality is joining forces with Hollywood to provide consumers with a brand-new approach to storytelling. With it viewers can wear a special headset or watch via a mobile device and change what they’re looking at, seeing everything that was filmed, in 360 degrees, in real time.
Over the years I have had the opportunity to work with some of the best and brightest minds in sports production. Everybody involved in the production side of things has brought their own unique style and expertise to the table - outstanding producers and directors, technical directors, audio engineers with mad skills, rock solid camera ops, and dare I say hundreds of other technicians, grips, and production assistants, and just a lot of other people that make great sports productions happen. But all of the people I have just mentioned whether they were part of a big crew, or of just a crew of two have one thing in common.
Ok, so lets start off slow so your can (maybe) wrap your mind around just how much time, money, (1.23 billion paid in rights fees alone in the U.S.) equipment, and logistics, go into this awesome spectacle called the 2016 Rio Olympics. But before we can move forward lets go backwards just for a second so one can understand and compare the scope of the production. Lets say you’ve been asked to produce a local college basketball game. Maybe 6 to 8 weeks out. No problem. One or two production trucks, maybe eight or 10 cameras, gfx, transmission, audio, just one venue.
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