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Blackmagic’s Davinci Resolve 11 is a versatile and multi-featured program. Video editor and instructor Steve Mullen reviews how to get the most from Resolve 11.3.
Steve Mullen continues his multipart series on using Blackmagic’s DaVinci Resolve, version 11. In this article, Part 3, Mullen reviews how to set Resolve preferences, import compressed and uncompressed media and grading goals.
TV meteorologists are used to having the best weather data and technology to develop their forecasts. However, more accurate data is now available from Europe, but it isn’t free like U.S. data.
A growing trend for digital cine cameras is their ability to record in multiple formats. For example, Blackmagic’s new URSA and Mini URSA announced at NAB support several types of RAW formats plus compressed ProRes.
In 2011, the Fox network went on a search for a better parabolic microphone to use in its sports programming. When the company could not fine one, it asked an engineering contractor if he could design and build a better mic.
At NAB 2015, it is a given that many companies will dazzle attendees with stories of how 4K television is virtually here. For those susceptible to such celebratory hype, it might be good to think about the issue for a bit and be armed with some intelligent questions to ask manufacturers who are promoting it.
The use of wide-area audio networking makes possible the remote production of live TV events, where large geographical distances separate the production facilities and the events that are being televised. There is growing interest in this area from broadcasters, both in the potential for significant reductions in production costs as well as improvements in production quality. But there are difficulties to overcome if this is to become practical in a wide variety of circumstances.
World-class learning opportunities abound in NAB exhibits and technical sessions.
