My journey as a filmmaker began with a select number of enthusiastic BBC reporters picked out and trained in the concept of Personal Digital Production by the American Video Journalist Michael Rosenblum.
IBC feels like a bit of a dim and damp memory now, but a few over-riding memories do remain however, not least of which was the Arri party to celebrate its 100th year. It was like an old-school manufacturers IBC/NAB party, back when manufacturers had marketing budgets, and lots of sales people. It got IBC off to a great start; thanks Arri.
Swim with bears, run with the bulls, get a pads-eye view of a rocket launch: 360 degree video production, also known as cinematic VR, makes these and many other bucket list-worthy events more accessible than ever. The format has evolved into a powerful storytelling tool, and one that changes not only the way in which visual experiences are shaped, but also the way in which media consumers perceive and interact with video content.
Like other market segments, the motion picture and video production industry is dominated by smaller productions and facilities. Until now, the only option for this portion of the market to take advantage of the performance, fault-tolerance and ease of management of a modern scale-out storage platform was to invest in a storage cluster consisting of three storage nodes and at least one metadata controller.
IBC 2016 was very much a launching show, with more new products and updates than in many recent IBC's or NAB's. With so many of these announcements directly in the remit of a cameraman, blink and you'd miss the next big thing in camera and lenses news. With this in mind, this review focuses on camera and lenses only.
I really enjoyed IBC this year. The fact that I barely set foot on the show floor is, of course, entirely coincidental, and I should take this opportunity to apologise to all those people I did not see in Amsterdam.
It's been 20 years since Microsoft founder Bill Gates uttered the words "content is king," and never has that statement been more true in media production environments. And yet, ask producers in any high-pressure broadcast operation to name their biggest challenges, and you can bet that managing video assets - finding them, accessing them, and using them efficiently and effectively - is high on the list.
Professional wireless sound solution specialists, Raycom, were asked in summer 2015 to specify, supply and commission a huge new RF wireless distribution system for ITV's popular reality television show, "I'm A Celebrity Get Me Out Of Here!"
The objective of most studio production is to cost effectively create live or as live television to which audiences will be drawn. During the process of creation, recording into media servers can either be a separate process used only for immediate replay, or can be part of a media workflow serving multiple target audiences in parallel. Rohde and Schwarz have invested heavily in its Venice Media Production Hub to ensure it is able to fulfil the requirements for the latter. A media production hub is a central component of media workflows, managing movements and transformations from one media type to another.
With 2015 now upon us what better way to start by being in the know with all the latest gear for video editing? We all know the editing process can be a stressful one, so having the right equipment and being organised will help you to become more productive this year.
Video post-production has long been one of the fastest developing subsets of the broadcast business. It was among the first to lead the shift from hardware into software, bringing huge advantages in terms of affordability and ease of use. I can still remember the high cost, heavy weight and low quality of the early analogue tape to tape video editing systems. The expression 'colour comes later' returns to mind. IBC will see the introduction of quite a lot of new video-post kit including a respectable amount designed to handle 3D content which I will start off with.
The brand new VariCam was launched at IBC in September. Above all else that means extra choice for high end episodic dramas, advertising and movies, where it has to be said the choice has been limited for far too long.
Now showing on Channel 4 is Endemols new and highly popular Secret Eaters series. Based round a fixed rig production, the series uses newly developed mobile fixed rig technology and incorporates a number of recently introduced technical innovations, vital for fast turn-around TV.
DSM has been manufacturing batteries for the TV and Film industry for over 35 years and have always been at the forefront of new technologies, the new 84Wh direct fit BPU-60 replacement batteries are no exception.
NAB 2013 will go down in history as the event where the broadcast industry took to the Cloud in a big way. Perhaps it was the number of start-ups that have been successfully operating cloud services for a year, but more likely, these moves have been in the pipeline for a while.
In the world of remote working, cloud storage and instant news, the ability to edit on location at a shoot has become a pre-requisite. Only a few years ago, field editing used to be merely about the quick rough cut, the assembly of proxy files or simply the ingest of media in an edit-friendly format. These days, however, energy efficient, high performance processors allow for the complete post production process on a laptop. Now, programme turnaround times can be slashed with editorial decisions made on the spot.
Teradek began the wireless monitoring revolution at last year's NAB show. Its Cube wireless encoders are no bigger than a pack of playing cards. They compress a camcorder's video feed into an H.264 signal for transmission to either a WiFi-enabled laptop, iPad or tablet or to a Cube decoder. Straight-away live, remote and affordable monitoring was born. At the same instant, low-cost miniature streaming devices direct to the Net was born.
So pre-NAB we are all very busy organising interviews with 70 exhibitors over 4 days covering 4 halls and in our case around 28 miles. Late last year we developed an online interview booking system at www.broadcastshow.com which allows exhibitors to book one or more 15 minute slots, enter stand information and questions they may like asked during the interview. Over the month preceding the show the fill up and we are left with a spreadsheet of who to see and when to see them. Thankfully the slot booker is intelligent enough to know which days we will be in which halls so dashing is kept to a minimum.
If you read TV-Bay regularly, you will already be aware of the main trends in video and audio product development. BVE 2012 reflected these very accurately, notably the ongoing transition to file-based content capture and the growing interest in compact cameras. A good way to identify hot new products at any trade event is to identify which stands are attracting the biggest flock of visitors. Lets look at some of the key BVE crowd-pullers.
Over 1,300 exhibitors will be supporting IBC2011, each bringing perhaps one, two or three new or enhanced products. My task is to distill these down to the 20 devices likely to be of greatest interest to TV-Bay readers......
When award winning film maker and photojournalist Fiona Lloyd-Davies announced her latest project to embark on a journey to The Democratic Republic of Congo, she described the place as probably one of the toughest environments that a camera can work in - very hot and very, very dusty but, this was to be just one rigor amongst many during her latest extreme film making mission.
The limitations of bandwidth mean that today, video over IP is a strangled, muffled affair. Have a look at the printed magazine or the online copy to view the full image results and comparisons. www.tv-bay.com/imag/issue_055/66.htm
James Cameron and Sky TV have stolen the stereoscopic 3D limelight. Events such as football cup finals and royal weddings have seemingly been produced with no expense spared in order to show 3DTV at its best. The Ryder Cup, for example, employed an incredible 21 3D Polecam rigs, supplementing the main camera systems.
Assignment: To film 24/7 the six week decay of a dead five tonne adult elephant in the wild.
Reason: to learn how the death creates six million calories of fat, meat and guts, feeding a whole new cycle of life.
My first direct experience of video post-production involved hauling a heavy Sony U-Matic tape machine up a flight of stairs before going back for an equally heavy playback deck, a bulky CRT monitor and a large box of interface giblets. That was in 1978. 33 years on, an Apple Mac does the whole editing job a great deal better, faster and more economically.
Three years ago a convoy of white vans arrived at the Faculty of Arts at the University of West of England in Bristol. An hour later its entire stock of SVHS camcorders, linear editing decks and analog tape were history.
The true portability of modern HD mini-cameras and flash-RAM video recorders is encouraging programme makers to go way beyond reach of tethered power supplies. But are the battery-makers living up to the demands being placed on them?
Founded in 1982, the Wildscreen International Film Festival is claimed to be the world's largest event of its kind. It attracts several hundred delegates from more than 30 countries, all of whom (if they register early enough) get their contact details listed in the festival directory........
IBC saw the first working prototypes of the AF100 being shown to the public. Barry Green (some of you will be familiar with Barry from the US Forum DVXUSER) had the pleasure of working with the pre-production AF101 while at IBC. Incidentally the AF100 & AF101 are the same basic camera for different markets, all of them are NTSC/PAL switchable.
JTS has launched the KA-10 a new wireless microphone system designed for the video camera market . The system comes complete with an omni-directional microphone, a rechargeable beltback transmitter and camera mounted receiver, charger and cable adaptors for most cameras.
I was somewhat crestfallen to receive the advice 'Lay off 3D' when I rang TV Bay for guidance on the theme for this month's Eye to Eye. For better or worse, 3D looks set to be a major part of sports television in the coming years. But I picked up my crest, closed one eye and carried on running.
If ever there was a technology that has taken its time to mature, it is that of stereoscopic (3D) production and transmission. It is well documented that the mechanics behind the technology has been around almost since the inception of the moving picture itself and in fact stereoscopic stills technology was developed in the 1840s.
Back in the days of the Audio Fair which annually graced London's Russell Hotel, my co-hack Frank Jones of Hi-Fi News put his head into the KEF Electronics demonstration room and bellowed the time-honoured question "What's new?"
SIS LIVE provided the production facilities for BBC Sport at the O2 Arena during the four day event and were on the floor introducing a number of innovative new camera positions for the coverage of the finals.
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