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While keeping warm in Miami at NATPE this week, we thought we'd share a quick interview with Wayne Scholes, CEO and Chairman of Red Touch Media. He is a panelist on the Platforms Accelerated track at NATPE, titled "Let’s Make a Deal: Trading Premium Content for User Data," a topic he can delve into deeply, in addition to talking about his insight/outlook on the digital content industry.Get insight on the entertainment and technology industries, recent content distribution deals & more.

As any good DP already knows, it’s important to be able to step outside your comfort zone. If you trust your instincts and have flexible gear that you can rely on to support new workflows, these challenges can quickly become opportunities to expand your horizons. It’s just what DP Vance Burberry did at the 2017 iHeartRadio Music Awards, which took place on March 5th at The Forum in Inglewood, California. Vance and his team were tasked with shooting live pre-show and red carpet footage for promos, which aired in near real-time.

by featured blog contributor, Jeremy PinckertSometimes when I’m in the thick of pre-production on a new television advertising spot, I’m tempted to put all of my emphasis on the obvious questions: Who will be the cinematographer? What camera system will we use? What casting decisions need to be made? Who the hell can convert my scribbles into a real storyboard?There’s a step often left out of the above question process, but one that, as a Director or Producer, does have a significant effect on your picture. In fact, this step is the first point of contact between the enigma of a performance and the camera.

One of the best things about being the Technology Editor here at ProductionHUB is having the ability to connect with a lot of really smart people (the best and brightest) from throughout our industry. Shortly after the Hydrogen story broke, I got together with a few RED owners via online and asked them to give me their take on the Hydrogen and the perceived impact it might have on our business.

Red Giant chats with Sandwich Video’s Adam Lisagor (founder, president), Zach Hobesh (head of post) and Jeff Hodges (post coordinator) - here’s what they have to say about producing commercials for some of hottest startups on the scene.

Rooster Teeth’s Director of Broadcast, Patrick Salazar. An Austin, TX-based production company, Rooster Teeth makes podcasts, animated shows, live action shorts and series, redefining what it means to be a “broadcaster” with its Austin and Los Angeles studios broadcasting content across a multitude of platforms, reaching more than 45 million viewers – its YouTube channel alone has 9.53 million subscribers.

Austin Parenti, Director of Digital Media Arts at The King’s Academy in West Palm Beach, FL built the school’s virtual production program from the ground up starting with a single Blackmagic URSA Mini 4K digital film camera. He now has up to 200+ students enrolled in the program and is teaching virtual production to kids as young as 6th grade.

The release of full frame cameras like ARRI's LF, RED’s Monstro, Canon’s C700 and Sony’s VENICE has made it clear that the future of cinema is headed toward larger sensor sizes. Of course, we have been shooting full frame video ever since the Canon 5D Mark II. But it’s only recently that high-end cinema camera manufacturers have brought larger sensor cameras to the market.

SCRATCH v8 is everything a digital cinema or broadcast post artist needs for 2D and 3D productions: One comprehensive and robust end-to-end imaging tool set -- from data management to conform, color grading, versioning, compositing, playback, and finishing -- for nearly all digital workflows, including RED, ARRI, Sony F65 and F55, Canon 5D, Phantom, Go Pro and many more.