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In 2020, the markerless motion capture market continues to evolve with new industries beyond the core entertainment/videogame creation world, with new sectors such as bio-medical, science and architecture finding the software helpful. Michael Nikonov, Founder & Chief Technology Officer of Moscow-based iPi Soft, maker of the leading markerless motion capture solution iPi Motion Capture, continues to stay true to the company’s motto “Motion Capture for the Masses,” most recently unveiling real-time tracking and live streaming capabilities into popular game engines such as Unity and Unreal.

Augmented graphics have come a long way in the past decade, from formerly rotund weatherman Al Roker obscuring the first two days of the seven-day forecast to reporter Jessica Yellin channeling a holographic Princess Leia while discussing results of the 2008 presidential campaign with Wolf Blitzer. Fast forward ten years and the real and virtual worlds are blending into one.

Filmmaking has frequently been at the forefront of technological advances. Indeed, professionals in the field have frequently utilized their creativity and technical knowledge to cultivate innovations. Over the history of cinema, the emergence of the Steadicam, motion tracking, and green screen have all come from filmmakers utilizing tech skills for problem-solving.

It’s hard enough to find a great job in video production, even with the best resume. Up to 90% of all US employers, including all the major motion picture and TV studios, use a computerized ATS (applicant tracking system) to screen resumes. An employer may use this technology to select the 50 best resumes from a field of 1,000. Hiring executives then spend as little as 6 to 10 seconds scanning each resume to select the best five candidates. Those individuals are contacted for phone interviews and eventually for face-to-face interviews.

Recently we had the opportunity to talk at length with Colorist Juan Cabrera, ASC Associate Member. Juan provided some incredibly valuable insights on his journey and on the art of being a colorist for major motion pictures and television. Juan also shed some light on how everyone at all levels of the production workflow can benefit from learning that the journey from beginning to the end really begins in pre production. Very enlightening to say the least. Check it out!

Warner Bros.’ much anticipated Justice League movie sees DC’s most famed heroes join forces – Batman, Wonder Woman, Aquaman, Cyborg and The Flash — to take down the film’s Big Bad, supervillain Steppenwolf.

I remember the first time I saw a camera on the end of a jib up close and in action like it was yesterday. Do you remember the first time you saw a camera up on a jib or crane or recognized that kind of spectacular shot on the big screen?

Don’t let a lackluster video production resume derail your quest for a better job. Understandably, many people are intimidated by the process of pulling together a top-notch resume. That’s partly because technology has transformed the job search landscape in the last few years.

The action thriller "San Andreas," now in theaters, is packed with catastrophic destruction, achieved in part through 247 complex visual effects shots executed by Method Studios facilities. As one of the main visual effects vendors on the film, Method was responsible for the entire downtown Los Angeles sequence, in which an earthquake decimates the city, and also contributed to the San Francisco sequence.

Industry trends can be notoriously difficult to pin down at the best of times, and given the disruption caused by Covid-19 throughout the past year, matters are perhaps more fluid than ever. However, in the way that the industry has responded to producing sports content in the teeth of a pandemic, we can tease out a few trends. After all, it’s only a year ago that sports and sports broadcasting effectively stopped around the world. The fact that it’s been able to restart and continue, even as subsequent waves of the pandemic have crashed around it, is testament to some fast and creative thinking on behalf of sports broadcasters, leagues, and production companies around the world.