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MESA And SMPTE Develop First Human- And Machine-Readable Language Metadata Table
In collaboration with MESA, SMPTE is bringing the media industry’s first human- and machine-readable Language Metadata Table (LMT) into its public review process, an early step toward SMPTE standardization …Monkey Deux Uses BB&S Lights To Shoot Our Star Wars Stories
The Jordan Hembrough-hosted digital series Our Star Wars Stories now uses remote phosphor Pipeline Reporters lights. …HSC.TV Shoots Kansas City Chiefs Promo “A New Era” For ESPN’s “Sunday NFL Countdown”
hsc.tv, a New York City-based production company, has shot a promotional piece entitled “A New Era” about the Kansas City Chiefs’ legacy that aired on ESPN’s “Sunday NFL Countdown” on Super Bowl Sunday. …HDR: Part 20 - DOPs: Do We Still Need Green?
With the recent advances in artificial intelligence, post-production rotoscope tools are now so good that some DOPs are asking if we still need to use green screen at all, or at least, in quite the same way. Suddenly, it seems any background, no matter how complex, can be replaced inCreative Analysis: Part 16 - DOP Jody Lee Lipes On I Know This Much Is True
Allowing one actor to play two roles in the same scene has been possible, at some level, at least since 1961’s The Parent Trap, in which one of Hayley Mills’ arms disappears visibly behind a soft-edged split screen. To put it mildly, techniques have improved, but keeping the necessary technology outGraham Sheldon DPs Remote Cinematography For ‘Behind Every Man’ Docu-series
When Graham Sheldon got the call from showrunner Johnny Fountain to be his DP for Remote Production on the new Behind Every Man series, he was up to the challenge. Sheldon’s technical background, and his willingness to try new and potentially un-proven shooting methods made him uniquely capable of pHDR: Part 17 - Creative Technology - Is RAW Really Uncompressed & Unprocessed?
It’s hard to object to raw recording. The last thing anyone wants is for the creative intent to be adulterated by unfortunate technical necessities like compression, and the flexibility of raw makes for… well. Let’s admit it: better grading, but also easier rectification of mistakes after the fact, to thHDR: Part 15 - Using Vintage Stills Lenses For Digital Cinematography
In the mid-70s, Canon released the K35 series of primes, based on its then top-of-the-line FD mount stills lenses. It wasn’t the first or last time a set of glass elements designed for stills had been repackaged for movie work, but the K35s won an Academy Award iCreative Analysis: Part 8 - Making A Name By Cinematographer Li Qihang
With the population of China approaching 1.4 billion, it’s perhaps no surprise that it is fast becoming the biggest market in the world for theatrical film exhibition, with the largest number of cinema screens of any single country. Directors such as Wong Kar-Wai and the stars of Chinese cinema – names likCameras Galore At Virtual IBC 2020
In terms of new broadcast cameras, if the recent virtual IBC convention is any indication of how the industry is supporting broadcast and TV studio customers, buyer confusion reigns supreme. Gone are the days of one-camera-fits-all applications. …
