Director of Photography Bobby Bukowski (When We Rise, Weeds, The Messenger, Arlington Road) has completed production of the upcoming Netflix series Gypsy, starring Naomi Watts and Billy Crudup. Bukowski shot the 10-episode dramatic series with VariCam 35 4K camera recorders.
Video production company Ethos Media, serving the Dallas and Fort Worth markets, recently purchased three Panasonic AG-UX180 4K camcorders for live event coverage. While a primary assignment for the UX180s has been recording weekly services at the Stonebriar Community Church (Frisco, TX), the camcorders have also been used on a variety of theatrical, concert and corporate projects.
Blackmagic Design has today announced that its URSA Mini 4.6K and URSA Mini Pro cameras were used to produce a live YouTube broadcast during this year’s Ultra Music Festival (UMF). For the first time at the UMF, DJs on the Main Stage were captured and broadcast in stunning 4K.
RTM Productions (Franklin, TN), creators of PowerNation, the country’s most-watched automotive how-to TV programming, is producing its 2017 season of popular tech shows with recently acquired Panasonic gear, including six VariCam LT 4K cinema camcorders, three AG-DVX200 4K handhelds and 10 BT-4LH310 4K production monitors.
Zero VFX's, Meg Bailey began her journey as a production assistant and is now credited with some pretty amazing projects including the visual effects producer for the Denzel Washington and Viola Davis Oscar-nominated film, Fences. She answered a few questions, including how she got her start, what she loves about her job and more.
French born, Aline Sinquin first intended to be a DOP but when she encountered colour grading, she could not let go. Aline’s creative energy and passion is apparent in her entire body of work where she has worked across many brands, and with acclaimed directors. Today she is leading her own specialist colour grading boutique in the heart of SoHo in New York.
Let’s get it straight right from the get-go. Right now there are several very good field recorders/monitors out in the field as we speak. I have had the good fortune of using and reviewing others such as Blackmagic Design Video Assist ($895) and Video Design PIX-E7 ($1695) to name two.
For years, sports video production professionals have been in the unique position of being able to forecast upcoming broadcast trends. From the transition of standard definition to high definition to 4K, sports video production has influenced the purchasing decisions of millions of home viewers with each Super Bowl, Olympics, and UEFA European Championship. Now Vinten, a leading provider of manual and robotic camera support systems and a Vitec Group brand, is proud to announce the release of their new whitepaper “Supporting the 4K Revolution in Sports Broadcasting.” With more global sports networks switching to 4K resolution, this white paper – written by the Vinten Product Manager Philip Dalgoutte – examines the importance of camera supports in 4K and UHD adoption for sports video production.
As the title suggests, Fantastic Beasts and Where to Find Them is all about outlandish creatures—which made it a perfect project for Image Engine and its established creature pipeline. The team worked to bring four mythical beasts to life for this new installment in the Harry Potter universe, along with generating a variety of other vivid visual effects.
In our recent Q&A with Animatrik's Post Production Supervisor, Sara Cameron, we learned a little bit more about motion capture and Sara's recent work on Gears of War 4 and Gears of War Ultimate Edition.
Joe Lamond, NAMM President and CEO, answers a few questions about the history of the NAMM show, what to expect from this year's show, acknowledging industry greats lost in 2016 & so much more.
On December 8th , 2016, Imagecraft Productions became the first rental house in North America to offer the new, RAPTOR prime macro lenses for rental.
The TV and media industry has seen immense advancements in the way consumers watch and engage with video. The rise of OTT, predominance of multi-device viewing and the sophistication of screen resolutions like 4K/UHD are just some of the latest enhancements that have influenced how broadcasters and content providers approach the consumer viewing experience. Concurrently, and unsurprisingly, consumer demand for this content is flourishing as media outlets and platforms proliferate. The content players that can meet this demand and successfully evolve into a multiplatform driver will emerge as the leaders in today’s rich and evolving media landscape – and reap the rewards. Amongst all the necessary operational fixings that need addressing to get there, implementing a unified, end-to- end digital workflow is a fundamental step in the right direction.
The transition to “the cloud” in our industry has been challenging. In order to understand how we address cloud computing, we must follow the history of how we got here.
The advent of 4K has been talked about and talked about in the media world. Well, guess what? It’s here. The discussion has shifted from theory and conjecture to real needs and challenges. Consumers have demonstrated the appetite for it. Now broadcasters, service providers, content owners and content creators must deliver it.There are enough challenges—from bandwidth strains to quality concerns—when delivering 4K content for broadcast TV. And when you consider 4K for internet-delivered channels it seems even more daunting. But it doesn’t have to be. Here’s what you need to know.
The impact of technology today on sports and the fan experience is growing more and more each day. Fans in and out of the stadium want more access to in-game statistics, insights and the vantage points that they can receive from instant replay and slow motion. EVS, the pioneer of instant replay, just scored an Emmy Award for its Epsio Zoom technology. FOX Sports used Epsio Zoom for first-time 4K coverage of key holes of this year's US Open (golf). The solution was integral to CBS' Super Bowl coverage this year and is in use by the Minnesota Vikings, at MetLife Stadium and by broadcasters, other stadiums and arenas around the world. Read our exclusive interview with James Stellpflug, Vice President of Product Marketing, EVS, about the technology, the impact of 4K, and more.
Hot off the back of her Emmy nomination for Beyonce's 'Lemonade,' Hannah Bleacher has hit her stride as one of the hottest production designers at the moment. After working on Creed last year, Hannah is enjoying the praises of director Barry Jenkin’s coming-of-age story MOONLIGHT, and is already set to work on the upcoming THE BLACK PANTHER film. In an exclusive interview with ProductionHUB, Hannah talks favorite sets, challenges with filming and more.
On November 3, Canon filled the ASC Clubhouse in Hollywood with Society members, cinematographers and other production professionals for the unveiling of their new flagship digital cinema camera, the EOS C700. It was exactly five years ago, on November 3, 2011, that Canon first unveiled their EOS C300 and pledged a commitment to the cinematography community to collaborate, listen and evolve new technology designed for filmmaking.
Coming off of a recent review of the Blackmagic Design Micro 4K, I was excited to take on (along with the Micro 4K) the Video Assist 4K Recording Monitor. The Video Assist 4K did not disappoint providing clean, clear, crisp images along with solid recording 4K settings. The dual built-in, high speed UHS-II recorders use off the shelf SD cards to record HD and Ultra HD video as professional 10-bit 4:2:2 ProRes or DNxHD files.
For more than a decade Wright Way Video, Inc. owner Joshua Wright has been delivering professional production services for countless broadcasts such as Soundstage, the long-running live concert TV series featuring new and legendary artists—from Fleetwood Mac and Bad Company to Kenny Chesney and Regina Spektor.
It’d be pretty hard to argue that consumers aren’t getting on board with 4K technology. The statistics make a strong case. Whether it’s actually worth it for consumers to adopt might be more debatable, but they’re casting their ballots in favor of the technology.
Originally from The Netherlands, Anne Jans now resides in Canada, where she is the Lead Animator for The Sequence Group, where she has completed projects like Halo: The Fall of Reach to their new Slack commercial. She discusses how she found her passion and what the life of being a lead animator is really like.
When YouTube started allowing uploads and playback of 4K video in 2010, many thought it was just a gimmick. In 2014, when Netflix launched its first 4K streamed shows, “House of Cards” and “Breaking Bad”, there was more acceptance that the new standard was becoming the real deal. By the end of 2016, the analyst firm IHS projected that around 10% of US homes will own a 4K TV, which they estimate will rise quickly to a third by 2019.