KitPlus | Articles

Finding a Flexible Post Workflow

In the heart of London's Shoreditch is the award winning post-production house – Splice. Specialising in broadcast, commercial and corporate post production, the boutique studio is home to forty full-time employees and a grand display of state-of-the art technology spanning three floors including: two Baselight grading theatres, Avid DS suites and...

Submitted by KitPlus

Published 01 February 2013

The joy of field editing

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 perf...

Submitted by Kieron Seth#

Published 01 February 2013

Loudness measurement: One year on

By Jon Schorah, creative director, NUGEN Audio. With, much of Europe and the U.S. now producing broadcast audio to meet loudness standards, Jon Schorah, creative director of NUGEN Audio, reflects upon the current state of play, the lessons learned along the way, and what’s to come. Playout or Production Normalisation?Commonly there are two ways to...

Submitted by Jonathan Schorah

Published 01 February 2013

Off Trax interview for TV-Bay

TV-Bay interviews Off Trax partners Crispin Kyle, Jonathan Dennis and Doug Urquhart. Tell me about Off Trax:Off Trax was set up in 1995 to fill a gap in the market as a specialist light grip company offering a unique dry and wet equipment hire service to the television and film industries. We are three partners, Crispin Kyle. Doug Urquhart and myse...

Submitted by KitPlus

Published 01 February 2013

Is film a brand

In 2000 George Lucas announced he wanted to make Episode 2 of the Star Wars Prequel Trilogy. It was going to be about 90% CGI so he wanted to shoot the live action sequences using video. It is said that as he had just had a very expensive divorce and needed some money which is why he embarked on making these prequels! Then there was no video camera...

Submitted by Will Strauss#

Published 01 January 2013

The Future of 3D

Over the last 3 years I’ve worked in more than ten different countries on stereo 3D; and no matter where in the world I am I’m continually running across the rumour that 3D has done its dash and will soon be heading the way of the dodo. As with most rumours though I have yet to see any evidence of this. One of the most anticipated releases for Fran...

Submitted by Will Strauss#

Published 01 January 2013

To cloud, or not to cloud

Almost ever since it began, there have been two parameters that have played a big part in shaping broadcast television – bandwidth and storage. Admittedly, storage was not an issue at the start because there was no way to do it, but Ampex changed that in 1956. Bandwidth dictates many aspects of infrastructure and broadcast picture quality, the amou...

Submitted by Bob Pank#

Published 01 January 2013

Ask the Experts - 3d with BSkyB

This month we had an exclusive opportunity to talk to Cara Cheeseman, Post Production Supervisor for all 3D content, both internally and externally, at BSkyB. The 21 questions are gathered from a variety of industry professionals with an interest, some sceptical and some fanatical, in 3DWhen it comes to 3D conversion... creating 3D images from 2D s...

Submitted by Bob Pank#

Published 01 January 2013

Twas the issue before Christmas;

As it’s nearly Christmas, I figured, what better way to honor the end of anther year than to celebrate everything that has gone before? To do that, I’ve picked my favourite production technology innovations of 2012. But, as we’re fast approaching the festive season, I’ve compiled them in the form a Christmas shopping list. Yes, I know. It’s genius....

Submitted by Will Strauss#

Published 01 January 2013

Ask the Experts Monitoring sound in the stdio

1. Why do I need monitors? And why can't I just use my Hifi speakers?It may sound like the most obvious thing in the world, and it is, but along with your headphones your monitoring system is the only thing in your mix room that actually makes sound. All the decisions you make in relation to mixing, mic placement, balancing and more are coloured by...

Submitted by Will Strauss#

Published 01 December 2012

Loudness Monitoring: Complacent Wont Get You Compliant

Stricter regulations across the globe, the worldwide need for standardized audio level loudness processing, the need for logging and graphing mixed with long-term records maintenance for compliance verification, and the convergence of SDI/IP and ASI technologies all make for a challenging time in the broadcast industry. Identical and obligatory com...

Submitted by Bob Pank#

Published 01 December 2012

Monitoring: Cutting the Wires

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 b...

Submitted by Kieron Seth#

Published 01 December 2012

IT Broadcasting

Magdoos Media is the archetypal early 21st century broadcaster. The company televises live events for such clients as Codemasters, ArabicGamers, 2K Games and Russell Investment, webstreaming and narrow-casting programmes on behalf of niche markets, from gaming conventions to corporate events. “Delivery channels vary from public access networks such...

Submitted by Kieron Seth#

Published 01 December 2012

OMNEO Networking Technology

Why are digital media networks becoming more and more important? For two main reasons. First, if designed properly, they allow plant communications infrastructure to be used for multiple purposes: the same “pipe” can carry audio, video, control, and other needed signals. This reduces costs of materials and installation. Second, if designed to pub...

Submitted by Kieron Seth#

Published 01 December 2012

Part 2 following the Ravensbourne 3

Last month in the intro issue I described what I did in the past as a hobby and a hopeful branch of my career. Time-lapse is an integral part of what I do and I am eager to develop my skills in it. I had such a chance at the end of October when I got my hands on a ‘Dynamic Perception Stage Zero’ 6ft Dolly track with MX2 Controller. I felt this was...

Submitted by Kieron Seth#

Published 01 December 2012