37 blog posts found matching keyword search for: show package in Bloomington
The Super Bowl Halftime production is simply like no other. Imagine taking most of your tried and true production practices and chucking them out the window. You know, things like days to set up, rehearse, tweak cameras and lighting and all of those good “normal” practices that you have done for years.
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.
by featured blog contributor, Jeremy PinckertSometimes when I’m in the thick of pre-production on a new television advertising spot, I’m tempted to put all of my emphasis on the obvious questions: Who will be the cinematographer? What camera system will we use? What casting decisions need to be made? Who the hell can convert my scribbles into a real storyboard?There’s a step often left out of the above question process, but one that, as a Director or Producer, does have a significant effect on your picture. In fact, this step is the first point of contact between the enigma of a performance and the camera.
Each year in New York City, Fox like all networks, bows to their advertisers with their annual Upfronts Presentation. It’s a chance to plug their lineup, introduce new shows, explain old decisions and entertain, pulling out the stops with a star-studded show featuring top celebs, star-style execs, and wow ‘em video footage-all in the name of marketing their upcoming season.
A review of DTV Audio Group's 2013 AES programby Chris SanchezThe DTV Audio Group is a trade organization whose mission is to help the industry meet the potential of digital television audio. Its membership is comprised of "network operations and technology managers and the engineers and consultants who support them. At the 2013 NY AES show, DTV A/G held a 5-part symposium that examined some changes that we can anticipate in the broadcast-audio landscape in the coming years.
Designing a set for a blind character, for a show featuring blind actors is no easy feat. This is what production designer Naz Goshtasbpour was tasked with when creating the story world for the CW's upcoming drama, In the Dark, which premiered April 4.
From Rawson Marshall Thurber, the writer/director of Central Intelligence and We’re the Millers, comes the YouTube Red comedy series, Ryan Hansen Solves Crimes on Television*. In the genre-bending show, the LAPD creates a task force that partners actors with detectives. The series was shot by cinematographer Charles Papert (Mary + Jane, Key and Peele) with VariCam LT cinema cameras.
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.
Thursday, March 19th - It was a rainy evening in downtown Los Angeles and we were setting up for Day 2 of Production on my new TV show Limited Edition. I had spent the past 15 months getting to this point; writing, securing funding, casting, location scouting, rehearsing, shot listing. I had successfully grown my commercial company Vitascope Arts into a six-figure business over the course of only a few years but this was going to be my first big step into creating fully produced original content, completely in-house. I had a lot riding on the show and I was more prepared for this project than anything I had ever done in my life. On this Thursday, most of the state had already been ordered to begin social distancing, to stay home, and all large gatherings had been banned. We were on set working, payroll had been financed, equipment had been paid for, insurance covered, locations booked, yet we all knew our production could be shut down at any moment. And then, just like that, one of my crew members scrolled their phone and announced “The Mayor just shut down all of Los Angeles. We have until midnight.” Full lockdown. It was a surreal feeling. Not only would the production have to shut down indefinitely but we weren’t even supposed to be outside of our homes. Everything was immediately put into perspective and the world would be changed forever. Let’s go back a few months.
Virtual Reality has made a lot of progress working into the production cycle. The ultimate goal is to then get the show or product to the end user. Setting up for the production of a VR program, whether being live-streamed or recorded, takes on some challenges that are different than traditional production.