11 blog posts found matching keyword search for: multi-camera
While the majority of Mainstream Media's live streams are multi-camera configurations, there are numerous situations where only one camera is needed. Events such as online learning modules, press conferences, electronic news gathering, and internal corporate broadcasts can be really successful with a simple one-camera setup.
We asked Jeromy Young, CEO of Atomos for his thoughts on their latest recorders and what happens next for the company.
Larson Studios and Post Haste Digital have recently joined forces to extend audio and video post services in West L.A. Here, they share two perspectives on selecting a post-production audio/video company: the questions that you as a client should ask a company before final selection, and as a company, how you should be responding to those questions.
Many of us “industry veterans” have marveled to see the exponential rate of speed at which our industry has grown. My partner, Mark Schulze, started our video production business “Crystal Pyramid Productions” in 1981. So together we have witnessed the advent of videotape (VHS, Beta (which met with a tragic death), ¾”, 1”, Betacam SP, D2 and DVCam). We moved from 4x3 standard definition to 16x9 HD. Then we abandoned tape and entered the digital realm of discs and cards. We held our breath during the “3D Scare,” thinking we might have to address the need for it with our clients. Fortunately, nobody seems to appreciate wearing those 3D glasses.
I was a bit skeptical when I saw Production Bot, the portable live broadcast studio, earlier this year at the NAB Show. I'll admit that I'm an old school Technical Director and set in my thoughts as to what a switcher was and what a switcher should be. But, I'm always looking for new and exciting gear to make live production easier. Assistant Technical Director and Production Bot guru Nick Walsh showed me the ins-and-outs of the Production Bot Switch 8 — and I must say I'm pleasantly surprised by what this little switcher can do.
by Bradford HillI always find it interesting to see how different cameras and their layouts will function under the many shooting conditions I am faced with on an every day basis. (So when Canon asked me if I wanted to shoot the XF205, I was fairly excited to give it a go.) Being that I am a full time Cinema EOS user, when I am given an opportunity to shoot with a “Documentary Style Camcorder”, it always tends to brings back memories of shooting on MiniDV with GL1’s & XL1’s. Things certainly have changed from those days and it is great to see how far these cameras have come. The Canon XF205 is a creative powerhouse packed with some of the most up-to-date technology in camera function & abilities. I must say, I was blown away by the extensive menu layout and finely tunable controls that don’t often get paired together.
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.
First off, let me preface this review by saying nothing brings me more joy than getting a camera to try out and review. Some of the cameras I get are good and others are (in my mind) fantastic, great and all that. The Sony FS7II falls squarely in the second category. The second and maybe the more important set of questions are simple. I always ask myself, what would make me want to buy this camera? Secondly, what would compel (you) want to go out and buy this camera? Lastly, when it is all said and done, does it fit into what I am doing production-wise?
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.
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?