18 blog posts found matching keyword search for: end-to-end in Visalia
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.
Learn how to become a part of this experience, while gaining knowledge on becoming a better cinematographer, even if you're on a budget.
Well, that didn’t take long. Atomos dropped an early announcement prior to the show open. The calibrated Sumo 19” Recorder/Monitor/Switcher has all the potential to be a real game changer for maybe every segment of the production market today.
MPA decided to upgrade its production and editing systems and looked to integrator Sunset Studios for help. The integrator specializes in planning for and setting up production facilities that meet clients’ media workflow requirements. Working with Sunset Studios, MPA created a complete, modernized studio that includes four-camera recording in a two-bay garage facility supported by a high-performance data sharing and archiving storage capability.
Shared storage that spans location and time is becoming increasingly common in modern digital media workflows. Cloud storage in data centers fills this role and it is finding many applications in media and entertainment from post production to content delivery and archiving. This article will look at some developments in cloud storage and moving content on the Internet from the 2015 NAB show.
Significant Others, the creative finishing arm of UK-based creative editorial company Final Cut, is a bi-coastal collective of visual effects artists and other creatives specializing in commercial finishing. Best known for its commercial work, Significant Others also has a penchant and talent for finishing feature films, including the Academy Award-winning film “Moonlight.” We got the chance to speak with Producer Alek Rost about his experience working on the film, including what it was like to collaborate with Director Barry Jenkins and the tools his team used to give the film its unique look.
Smaller Productions Receive a Bigger Infrastructure Boost with the Introduction of Single-Node Storage Solutions
Like other market segments, the motion picture and video production industry is dominated by smaller productions and facilities. Until now, the only option for this portion of the market to take advantage of the performance, fault-tolerance and ease of management of a modern scale-out storage platform was to invest in a storage cluster consisting of three storage nodes and at least one metadata controller. While this configuration is ideal for mid- to large-sized productions, the typical 96TB capacity of the smallest three-node cluster was often far beyond the requirements and financial means of smaller facilities and media shops.
SMPTE was hosting a major push on the IMF specification (SMPTE ST2067) with the Digital Production Partnership (DPP) out of England. The IMF specification was created to make the Interoperable Master Format (IMF), interoperable, so vendors and customers could use it. The IMF standard requires changes in the way that content is created in order to make greater efficiencies for broadcast and online content distribution. In addition to SMPTE and DPP, the North American Broadcasters Association (NABA), The European Broadcasting Union (EBU), several manufacturers and end users have been involved in making the IMF specification.
Large and unstructured data, such as that obtained with video, is often 50 times larger than the average corporate database. This “unstructured” data is projected to surpass 100 Zetabytes worldwide by 2020. Out of the several influencing factors driving this trend, the fact that content resolutions are rapidly rising is fuelling this growth even further. Not only is 4K going mainstream, but 8K and high dynamic range (HDR) content are becoming a more likely choice for a variety of applications such as corporate video, sports, and VR/AR.
With the popularity of live competition TV shows continuing to increase and attract bigger audiences, the production levels required to make them have never been higher. Consequently, it’s now common practice to employ a second technical director or “screens TD” along with the lighting department’s graphics server operator to create the look and feel of the extravagant LED video tile-intensive sets. For most live productions today, a “screens team” along with the LED tech is usually needed to manage the LED tiles, as many of the stages have millions of LED pixels and countless lighting rig configurations.