7 blog posts found matching keyword search for: camera reporter in Springfield
Real-time Augmented Graphics that Blend the Real and Virtual Worlds with Marker-less Camera Tracking
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.
Over the last three decades, I have served as both a Camera Operator on various shoots in San Diego and as a Video Editor. It is good to have experience in both realms because as an Editor you know what to shoot, and as a Shooter you keep in mind all the shots that the Editor will want. “Tape is cheap” is an adage popular during the digital tape days meaning that the camera operator shouldn’t feel constrained about shooting a lot of footage. Strive to be the camera op whose every clip is usable.
College sports production is a unique beast. Since schools’ athletic programs (especially football) are often one of their biggest revenue sources, the stakes are high. Meanwhile, during every on-field play or off-field interview, athletes and coaches have scholarships and future career prospects to consider. Anyone on the sidelines behind a camera or a microphone needs to know how to navigate those political dynamics, have superb technical production skills, and maintain up-to-date knowledge of the sport they’re covering. Any misstep could mean an unfilmed play, a botched interview, or a damaged relationship. For the scoop on navigating the many landmines of college sports production I talked to Gwen Brown, who spent over a decade in sports production. Often, she was the only woman on the line, on the sidelines, in the locker room, or in the sports section at the newsroom. Here are the lessons about navigating college sports production she learned the hard way so you don’t have to.
High School Students Use New, Free Technology to Produce Live Election Coverage — Just Like the Networks
As technology advances, it not only expands the palate of creative opportunities but also lowers the barrier of entry, allowing more people to participate. It’s a corollary to Moore’s Law, and television production is no exception. Once the bastion of big companies, specialized equipment, and large budgets, the barrier to entry has lowered enough for high schools with limited resources to operate at a level equal to that of many professional studios.
Currently, Lidia is one of the few creatives pioneering an industry-wide shift to vertical content, as we’ve seen with Spotify Video and the launch of Instagram TV (IGTV). With The Weeknd’s Call Out My Name Spotify music video, Lidia produced one of the first vertical anamorphic videos, which allowed her to increase the field of view while retaining all the textural qualities of the vintage anamorphic glass — the flare, the breathing and the oval bokeh.
There is no doubt about it: a lot of people love to watch sports. Viewership for the NFL alone was up 5% in 2018. That rising number also translates into increased production opportunities for all of us. But who is booking these productions and how are they getting the job done?
Looking down over the city from up on the Corcovado or Sugarloaf Mountain, the city and its topography start to make sense. Forested mountains frame the city, just a few blocks back from its most famous beaches. Wedged in between is the upmarket Zona Sul (“South Zone”), spreading from Botafogo in Guanabara Bay, round to Copacabana, west to the chic beaches of Ipanema and Leblon, and up the steep hillsides, where expensive condominiums and favelas sit side by side. Heading north, around the shores of the bay and inland lies the city center and the sprawling northern suburbs. And way out west, along the coast, is Barra da Tijuca, with its Miami-like strip malls, long beaches, and the Olympic Park.