The Society of Motion Picture and Television Engineers committee at work on a new standard for professional video over IP is nearing the stage where its work can be put to the test. Many are hopeful the SMPTE 2110 standard will deliver what’s needed for the industry to coalesce around an IP protocol that broadcasters and others in the industry can support.
Camera technology is not the only reason it’s an exciting time to be a filmmaker. Manufacturers such as AJA, Atomos, Blackmagic Design, Convergent Design and others offer increasingly inexpensive solutions for bolstering and customizing camera workflow — especially when it comes to external media recording and monitoring. Some of these devices provide functionality shooters have long sought after, and still others bring capabilities some of us may never have even dreamed of. The Teradek Cube is one such device, and here is the first part of my full review.
We spoke with 15 publishers including PBS, The YES Network, and TechCrunch to find out exactly how they’re broadcasting to Facebook Live, and the technology they’re using to do it.
NewTek NDI’s first third party sign-up, NewBlue’s Titler Live Broadcast, boasts advanced titling and lower thirds graphics and could be the first in a wave of NDI-compatible applications.
Replacing traditional SDI systems with IP technology is something that promises to save big pots of gold, although it principally applies to those of us who are involved in big live studio installs or OB work. It’s a tool of the live or as-live production world, which is understandably interested in building video infrastructure out of commodity-priced information technology hardware, as opposed to the industry-specific SDI routers and switchers that are normally used.
MONTREAL — January 18, 2017 — At ISE 2017 (Amsterdam RAI, Feb. 7-10, Stand: 12-E38) Matrox® will be presenting its lineup of video end-user products; including the dual-streaming Monarch LCS™ lecture capture appliance and the complete Monarch family of H.264-based video streaming and recording appliances, alongside the VS4Recorder Pro™ multi-camera recording app.
The benefits of embracing shared storageWhat’s the most inefficient part of your workflow?
It’s a big question with answers that can range from the very simple to the exceedingly complicated. Everything from render times to client feedback to transcoding logistics can impact how quickly or slowly a project is able to get through a post-production workflow. These elements plus countless others can have a major effect on the deliverable and overall production schedule.
Encoder offers NewTek proprietary IP inputs, world-class color correction, and an integrated Wowza Streaming Engine for live delivery.
First announced at IBC in Amsterdam last September, the NewTek/Wowza Media Systems MediaDS (Media Distribution System) is now available for immediate purchase. The MediaDS unit comes in a one rack-unit (1RU) form factor and is priced at $11,995.
At the CES show Atomos CEO Jeromy Young ran me through the functions of the Atomos Shogun Inferno recorder when combined with the new Panasonic GH5. The combination of GH5 and Inferno gives the option for 4K 10-bit 4:2:2 at 60P external ProRes recording from a prosumer mirrorless camera for the first time. Jeromy also confirmed that you also record 4K 10-bit 4:2:2 at 24,25 and 30P with the older Atomos 4K recorders.
Press Release PARIS, January 12, 2016 – Firefly Cinema, a developer of affordable color grading and dailies processing applications, today announced V6 of its comprehensive color grading software suite which includes: FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). Used on hundreds of feature films (Planetarium, The History of Love, Belle and Sebastien), FireFly Cinema solutions provide an integrated and production-wide approach to managing color workflows on-set, through dailies and postproduction.
Taking a look at the big picture for media & entertainment professionalsWe’ve already taken a look back on the biggest articles and series that were published on PVC in 2016, but the New Year provides us with an opportunity to further explore some of the trends, topics and technologies that changed things for professionals in production and post