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Metamorphosis at NAB and AdTech?
The National Association of Broadcasters branded their convention this year under the theme Metamorphosis, which describes a conspicuous and relatively abrupt change usually accompanied by a change of behavior. The mostly male, white, middle aged to older executives certainly didnt look or act conspicuously different from past NAB attendees, nor did the focus of the event reflect a significant change in behavior. By contrast, few of the 10,000 attendees and 200 exhibitors at AdTech in San Francisco have ever worked in the TV, radio or print media business and theyre increasingly young with a growing base of females. But AdTech remains an over-weighted celebration of early and mid-stage companies struggling to establish themselves in a cluttered competitive environment. This weeks Media Business Network video recommends how both NAB and AdTech can achieve true metamorphosis
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Content Insider # 280 - NAB Revisited
Most meaningful conventions can't be covered in one shot. NAB is certainly no exception, especially this year when the industry is struggling to get people all the content they demand on all the devices they use and still monitize all their investment, their work. It was drama on the screen, on the stage, on the show floor. People are watching more of the content on all of their screens. Doesn't matter if it's available on the huge HD set in the family room they'll watch it somewhere else in the house or watch a different show on their device while they're watching the big screen. But the goal for industry players is the same regardless of what, when, where you watch it. Making money...that's getting trickier.
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Replay XD: "A POV Camera Designed for Professionals?"
In the earliest days of sport POV production, photographers were excited about the advent of the "lipstick camera" for its small form factor and ease of use. The camera(s) could be mounted on a wing, helmet, or other foundation, cabled to a recorder, and used for new angles in production. These bullet wonders helped create the sense of "being there." They were also horribly expensive and fragile. In modern times, we've seen the camera shrink in size, and dramatically improve in image quality. In many cases, this size-shrink inspires kludgy form factors, and this is where the Replay XD camera shines.
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Content Insider #279 - NAB 2013 Wrap
Every time I come away from a big show I have to give myself a reality check and recall it was only a few years ago I waxed on and on about 3D TV and netbooks. Saw where that went right? Right. But NAB this year was freakin awesome. Cameras are getting to the point that any indie can afford them. The industry fatcat days are gone and they ain't coming back so the people who will survive are working harder/smarter. Broadcast folks welcomed the telcos in with forced smiles and there were some who weren't happy with competition at all. But with all the 4K-8K content it is still all about storage and that cute thing called "the cloud." We'll tie up all the loose ends...next week.
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Eternal Word Television Network Connects Its Global Catholic Network with Teranex 2D Processors
When Eternal Word Television Network (EWTN) launched on August 15, 1981, few thought there was enough demand for a Catholic network. However, EWTN proved differently as now in its 32nd year, it is the largest religious media network in the world, with programming in more than 144 countries and territories supported by Blackmagic Design's Teranex 2D Processors. EWTN operates nine SD television channels broadcast in English, Spanish, French and German throughout the U.S., as well as one feed in Canada. The organization also has HD English and Spanish channels and AM and FM radio stations with more than 200 affiliates in the U.S., as well as an online presence that consists of nine channels of 24/7 live streaming and video on demand..
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Bread & Butter 3D
Here's why Zax Dow created Zaxwerks and why his software is so valuable even if you already have another 3D program. 3D work can be divided into two main categories: Bread and Butter work, and Custom work. Everyone would like to get custom work but it's the bread and butter work that keeps food on your table. The big mystery here is why most people use custom software on bread and butter jobs? Do they even realize there is a difference? Doing that is like drawing animation by hand; the result can be completely custom but boy does it take a lot of time and skill to do.
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FlyingS3D sets Le Crazy Horse on Fire with Pablo
FlyingS3D opened its doors early in 2010 as France's first dedicated stereoscopic 3D post production facility. FlyingS3D is the brainchild of managing director Audrey Bourdiol, who had spent her career up until then looking after the technical side of one of France's largest post houses. With already more than 30 major S3D projects under its belt, in 2012 FlyingS3D won the full post production for 'Feu' (Fire) - a 3D film by Le Crazy Horse - one of its most ambitious projects to date. Le Crazy Horse cabaret was founded in 1951 by the avant-garde artist Alain Bernardin and has delivered its own special brand of glamour entertainment to millions of men and women for more than sixty years. 'Feu' is designed to bring Le Crazy experience to cinema audiences worldwide; 3D was "the natural choice" to achieve this aim, says Audrey Bourdiol.
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Q&A with Sorenson Media CEO Peter Csathy on Partnership with Sony Creative Software
Sorenson Media and Sony Creative Software have formed a new partnership to offer the Sorenson Squeeze video encoding software to video professionals through the Sony Online Store. With this offering, video professionals will benefit from combined workflow capabilities of Squeeze and Sony Vegas Pro, including access to Squeeze 8.5?s professional features.
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Q&A With Rob Chipman, Founder of BizVision
Rob Chipman, founder of Salt Lake City-based BizVision, talks about the company's February 5 announcement regarding the availability of their nationwide videographer network and the state of online video in corporate and professional America.
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Mark Syncs the Spot
One of the most missed features of legacy Final Cut Pro is persistent in and out marks. That is to say, once in and out marks are set in a clip, they remain exactly where they are, as a part of the clip, until explicitly changed or removed. Unfortunately, this arguably essential feature for digital video editing did not make it into Final Cut Pro X. If you set in and out points on a clip then deselect that clip and reselect it, the in and out marks are gone. While it is true that you can use ratings, like Favorites, in FCPX to create persistent clip selections, in and out points have valuable uses beyond just marking a usable portion of a video clip.
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