472 blog posts found matching keyword search for: live in New Hampshire
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!
While currently, most productions are shutdown, it’s not too early to think about how we can conduct interviews and live streams in the future. This may apply to limited video productions going on right now, which may be justified on an essential business need. It will most certainly apply to most productions once things ease up and social distancing still must be practiced for the foreseeable future.
It’s almost the Fourth of July and many of the production pros are loading up for the big outdoor production runs of the summer. But let’s face it — in reality, working outdoors can be a year-round challenge. From freezing rain and blistering heat too long days and nights, executing live multi-camera outdoor productions can be a daunting, yet exhilarating experience.
From concerts and plays to exhibits and conventions, live event production designers do it all. With the wide variety of venues and client demands, production designers operate in a high-pressure industry where they have to be flexible and able to adapt to given settings, which can be difficult when you’re hundreds of miles away from the site and your design associates are unable to travel to the venue and see what you’re working with. Traditional documentation can help designers gain an understanding of what they’re working with, but it’s not the same as experiencing a physical space for themselves. However, with the rise of virtual reality (VR) technology, there is an improvement to this problem.
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.
Adding music to a film can add power and interest to the production. And when the music is an integral part of the story, the power is multiplied. Filmmakers, creative editing company editors and sound engineers need to work together to realize the full advantages of using music in their film.
At the 2016 NAB Show, from April 16 - 21 in Las Vegas, many companies eagerly displayed all kinds of new gadgets and technology, promising a very successful, game-changing year for the broadcast media industry. This show signaled how much technology is changing - and more so, how content consumers are planning to keep up.
The recent Fortnite World Cup Finals, staged by Epic Games at the Arthur Ashe Stadium in New York City, was a landmark event for the esports movement. Its $30m prize purse saw what is already forecast to be a $1bn esports industry next year truly break through to widespread mainstream coverage. And one of the key elements to its sophisticated broadcast operation was a ground-breaking deployment of Ncam technology that allowed for an unprecedented level of augmented reality coverage rendered in real-time at 1080p60 in Unreal Engine 4.
On the heels of Sundance and SXSW, Adobe Premiere Pro made a splash at Tribeca and supporting filmmakers. ProductionHUB exclusively talked to the editors behind American Factory, This is Not Berlin, CRSHD and STORM – a few spotlight examples amongst the dozens of films that used Premiere Pro at the festival, exemplifying Adobe’s commitment to the filmmaking community and ongoing mission to build innovative post-production tools that help filmmakers tell one of a kind stories.