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This piece explores insights on digital storage for media and entertainment applications based largely on the 2020 SMPTE Technical Conference. This includes looking at increasing use of cloud storage and other services for media and entertainment applications as well as VR/AR content including 360 degree and volumetric imaging

In a world where everybody has a high resolution camera right inside in their pocket, freelance photography has been a challenge for many. Fortunately, there are ways to make it easier. Let me explain.

The Cloud itself is pretty simple, but for broadcasters, leveraging it can be complex. It isn’t that difficult technically, but Broadcast still straddles requirements that demand real time, high resolution, quick turnaround solutions; and this is coupled with the need to connect geographically separate locations, reduce costs, and extend access to assets for multi-format distribution. All of this has meant that the conversation about the Cloud has evolved rapidly from asking the basic question “What can I do in the Cloud?” to trial projects and implementations that are now underway or under evaluation.

Flash memory is finding increased use in client and enterprise applications because of its higher performance compared to hard disk drives. As the $/GB price of flash memory declines these applications are increasing. For professional media and entertainment projects dealing with higher resolution and higher dynamic range workflows, performance matters. We will look at developments in flash memory in digital media content capture and creation, post production, content distribution and even in archiving.

Schneider adds 18mm, 25mm and 100mm lenses to its popular Schneider-Kreuznach Xenon FF-Prime family that already includes the 35mm, 50mm and 75mm focal lengths. They are purpose built for digital cinematography with cameras including RED Dragon, Canon C100/C300/C500, Arri Alexa, Sony F5/F55 and HDSLR cameras, and cover the full 45mm image circle usable on Canon 5D Mark III and Nikon D800 cameras. These compact lenses are designed for 4K and beyond resolution (4096 x 2304 pixels).

Based in New Zealand, The Rebel Fleet provides a wide range of digital workflow services for television and film production crews, including on-location color correction and quality control, archiving, content delivery, and more. To meet the rigorous demands of a large-scale film project, the company implemented scalable, high-performance storage from Quantum. The solution enabled The Rebel Fleet to reliably support real-time processes involving high-resolution content in the field while maintaining a small footprint for a mobile rig.

by Kholi HicksBlackmagic Design’s first Cinema Camera offers great value in a small package: 13 stops of dynamic range, 2.5K Resolution, Linear RAW data in an open-source format (Cinema DNG), options to acquire in high quality, straight-to-the-edit industry standard formats such as DNxHD and ProResHQ, as well as both PAL and NTSC options in one single unit.

A recent trend for cameras has been lightweight and compact bodies with large image sensors. The ability to capture a cinematic shallow depth of field and to position the camera in any situation are must-have features for most indie filmmakers. But let’s face it, cinematic shallow depth of field and fast prime lenses will not cut it for next year’s Super Bowl. Viewers are accustomed to watching the news, sports and live events from a certain broadcast perspective.

It’s no secret that virtual production is continuing to gain momentum across the industry. As technology has advanced, filmmakers have been able to rethink their approach to production and post, finding new ways to increase real-time collaboration while saving time and costs.

Mike Fuller, with CSS Music gives us a few quick tips on how to best utilize stock music in your next production project.