The ACC Network, America’s last over-the-air regional sports broadcaster, relies on Avid post equipment at Raycom Sports to service 90 different stations.
UK-based film processing facility Cinelab has invested £500,000 in a DFT Scanity 4K HDR scanner and 300TB of Pixit Media Pixstor storage. The scanner is for working on both new and archive film.
Japan’s Tokai University has built a UHD studio using Blackmagic Design’s URSA Mini 4K, ATEM 2 M/E Broadcast Studio 4K and 2 M/E Broadcast Panel. The products have been installed as part of the University’s Department of Information Media Technology, and will give students access to being able to create 4K programming.
With ATSC 3.0 poised to change the broadcast industry’s basic signal, we need to understand this signal is poised between HD and true 4K.
Swedish archive house Armé-Marin och Flygfilm [Army, Navy and Air Force film/AMF] has ordered a 16mm Vintage Cloud Steenbeck to digitize its film collection.
The new Elektra Cinematic Color Presets from PolarPro let you see your LOG video in all its glory on the set and carry that look consistently into post production.