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The FVW-700.

Mobile TV Group Adds FOR-A Telestrators For Sports November 25th 2020 - 10:30 AM

Colorado-based OB provider Mobile TV Group has bought four FVW-700 telestrators for production on NBA, NHL, and MLB coverage.

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The solution will enable home audiences to virtually join the television show they are watching.

Brainstorm Coordinates European Mixed Reality R&D Project November 24th 2020 - 10:00 AM

AdMiRe, a project co-funded by the European Commission under the Horizon 2020 Programme, focuses on developing and validating MR solutions to improve the interest and engagement of TV audiences.

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Creative Analysis: Part 11 - Cinematographer Stephen Whitehead On An Elephant’s Journey November 17th 2020 - 09:00 AM

There’s a famous saying about working with children and animals. During production of An Elephant’s Journey, cinematographer Stephen Whitehead would encounter both, and face the challenge of depicting the vast African landscape in a manner befitting a story from the grand tradition of children’s adventure writing.

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The virtual sets created by MR Factory and RTVE include the Nautilus submarine

RTVE Uses Brainstorm For Lifestyle Show November 16th 2020 - 10:30 AM

RTVE’s live show Aquí la Tierra makes use of real-time hyper-realistic virtual environments.

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HDR: Part 16 - Creative Technology - LED Vs HMI November 16th 2020 - 09:00 AM

Big movies still demand big setups, no matter what anyone tells you about the battery-powered light they’re trying to sell. Battery-powered lights are wonderful, of course, even if we only use the battery power for long enough to walk a light in and set it up, but popular ideas about just what they’re capable of can be, well, a little ambitious, and that’s occasionally getting people into trouble.

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Creative Analysis: Part 10 - Cinematographer John Brawley On The Great November 3rd 2020 - 09:00 AM

Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja Zamojda and Anette Haellmigk. Ranging from the Royal Palace of Caserta in Italy to castles and estates all over England, the production also built extensive sets at Three Mills Studios in east London.

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