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

To try or not to try? Join us as we get an inside look into the inception of Longshot Collective, a team conceived by a group of film students grappling with the uncertainty posed by the COVID-19 pandemic.

Video production is a potentially lucrative and rewarding sector. Video content is a key part of our digital landscape, and businesses are keen to include it as part of their marketing, training, and overall branding efforts. Not to mention that to punch through the noise of the competition, there are opportunities to be creative.

With translation, your films and videos, or those of your clients, can reach an international audience using dubbing or subtitles. For some of you out there in the Production Hub world, adding translation services can mean another stream of income. It also means that you can become a one-stop shop.

The year 2020 presented itself with a different face. One that most of us never anticipated. The pandemic has forced us into a new reality. A lot of team leaders are beginning to realize that the answer to surviving in this new world is ‘flexibility’ – a break from the traditional way of doing things. You would want to know how to boost productivity while working remotely, even when you’re in the film/TV production industry.

If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.

Ultimately, as filmmakers we would all rather spend our time & energy doing something creative rather than tearing our hair out putting in long hours to “fix” the problems incurred during production. That being said, this is a list of tips we’ve compiled over the years to help streamline both your production and post-production.

Recently I wrote an article here at ProductionHUB, Tips For Creating a Solid Production Résumé, detailing the top seven mistakes people make on their Production Résume’s. Here’s a companion piece about the 7 most prevalent mistakes I see on people’s Cover Letters when they apply for Production jobs.

Even though Breaking Bad has come to an end, it seems everyone is still trying to hold on. (We're one of those people.) So we decided to get an interview with the man who made sure our beloved characters always showed up crystal clear week after week, colorist, Tom Sartori.Q: As a colorist for Breaking Bad, what was a major post-production challenge you had to deal with? A: A constant challenge was to maintain stamina throughout the eight-hour session budgeted for final color. Some 500 or more shots had to be perfected within this timeframe, so the procedure, in very rapid succession, was always: identify the game plan, execute, verify color match, and then move on to the next shot.