In late 2015, Smock Media, a Venice Beach-based film and VR production company, and the Victims of Communism (VOC), a Washington, D.C.-based human rights organization, came together and started The Witness Project. DP Benjamin Gaskell was brought on to tackle the first episode of the second installment, which would set the tone for the rest of the documentary series. The episode focused on Anastasia Lin, Miss World Canada 2015 and 2016, and her story.
Q What challenges were associated with shooting? Did you have a hard time landing any shots?
A My favorite filming location was on a remote hill that had these beautiful rolling hills of golden wheat. It was quite a logistical challenge to work effectively in the space, and I had a lot of concerns while we were location scouting about making it work. However our skillful producer J.P. Mandarino was instrumental in putting together a plan that made the whole experience a very efficient operation. It was one of those shooting days where the crew had such a good time working in a beautiful location capturing a meaningful story that you could almost feel the disappointment when we called wrap. If only every shooting day was like that! haha! Another moment that stands out to me was towards the end of our first half-day filming together. We ended up shooting past golden hour and deep enough into civil twilight that our overall ambient light levels required me to push the camera to 1600 ISO to get proper exposure. I’ll be honest about the fact that I was nervous about how the grain structure wouldn’t match, however I was pleasantly surprised at how the Blackmagic URSA Mini 4.6K performed. The color rendition and noise pattern of our twilight footage matched up really well with the rest of the project’s look and tone. It’s a nice feeling knowing that you don’t always have compromise the quality of an established look or aesthetic in order to get enough footage in the can at the end of the day. When you work with good crew and the right equipment you can do almost anything.
StarTech takes a look at upcoming 4K video trends including how it's being adopted, what barriers exist, true 4K ecosystem and more.
Learn more about StarTech at: www.startech.com.
Q How is 4K Being Adopted and Proliferated?
A 4K technology opens a world of possibilities for content creation and consumption. 4K UHD augments the viewing experience in applications like entertainment, digital signage, education, sports, surveillance, games and medical applications. Native 4K resolution is significantly better in resolving detail, allowing closer, more immersive viewing and scales down to 2K output with a higher quality picture than if created in 2K. An entire industry has emerged to enable a truly end-to-end 4K ecosystem - from capture, production, initial distribution, and secondary distribution to consumers. Consumer electronics equipment manufacturers, in particular, are embracing this revolutionary display technology and are the driving force behind making 4K mainstream.
Technology is always evolving. In the television industry we’ve moved from standard definition to high definition and now onto, the Ks. Is this a technology trend that is here to stay or is it ahead of it’s time causing the excitement to die out before the rest of the television technology world catches up?
In the following Q&A, Gene Duggan - Director of Sales and New Business Development at Imagecraft Productions, shares his insight on how the Ks have affected his clients and the television production industry, from the rental house perspective.
Q What is the biggest change you’ve seen since 4K was introduced?
A The camera and lens manufacturers have it figured out but the rest of the television community has yet to figure out affordable solutions to support 4k. For example, in order to see a proper 4k signal you need to purchase a $25k monitor. Most clients’ budgets don’t support renting or purchasing equipment like that.
Nela Pertl, Marketing Manager EMEA at Panasonic, talks Video over IP, 4K and more at IBC 2016.
Q What are some upcoming/popular trends from the world of broadcast and content creation that you think might make a big impact at the show?
A Alongside IP, 4K is still a huge talking point and every manufacturer is updating their camera, switching and recording equipment to accommodate the super-high resolution format, which will only speed up adoption across the industry. At Panasonic our 4K range is going beyond the traditional production cameras and in to other formats, such as studio and remote cameras. The increasing capability of network connections and processing power has meant Video over IP is becoming a crucial part of many news workflows. Again this has seen manufacturers updating their hardware to add IP capabilities, and Panasonic is fully committed to seeing out the full transition to VOIP over the next few years.
Available at 7", Cinemartin is proud to introduce the new range subfamily, LT and LT S4K versions of the 2016 Loyal series of Bright monitors. Bomb the market with full of features like native FullHD with HDMI input and output with loop, IPS high quality panel, an astonishing contrast ratio of 1200:1, a brightness of up to 600 NITS, and featuring an extensive array of tools such as Exposure, False Color, Histogram, Peaking, the ability to change aspect ratio, markers, etc., and supporting anamorphing lenses, just at an introductory price of 99€.
LG Electronics (LG) is introducing the first ATSC 3.0-enabled 4K Ultra HD TVs to support this year’s historic nationwide deployment of the Next Gen TV broadcast standard in South Korea. Starting this spring– in advance of the 2018 Winter Olympics – new 2017 models of LG 4K Ultra HD TVs and large-screen LG smart TVs sold in Korea will have both ATSC 3.0 and ATSC 1.0 tuners, the company announced at CES® 2017.