The final season of the 1980s-set Cold War drama The Americans is now on DVD, following its run on the FX Network. Wrapping up the story of deep-cover Soviet agents posing as American citizens, the series was colour graded in 4K Ultra HD and HDR on a FilmLight Baselight system.
The “Electric Dreams” anthology of Philip K. Dick sci-fi stories was produced on both sides of the Atlantic - which is fitting for a series that spans so many worlds of fantasy.
Innovation in technology is rarer than you’d think. What is the mark of ‘good’ technology? Technology that endures, inspires and enriches?
Editors have used mezzanine codecs to save on storage and network requirements. The two favorite codecs have been Apple ProRes and Avid DNxHD and more recently DNxHR. The codecs are supported right back to the camera in many cases. However, since Apple have stopped supporting QuickTime for Windows the support for the export of ProRes files from applications running on Windows has been seriously curtailed. This leaves DNxHD/HR as the codecs of choice for any workflow that is using the Microsoft platform.
For editors, production and post technology will be the focus of their interests at 2017 NAB.
While they displayed a wide range of new technology and systems for broadcasters and content distributors, many established broadcast equipment suppliers exhibiting at the 2017 IBC Show in Amsterdam, groused publicly (and privately) about the state of the industry in terms of new revenue and profitability. Many see customer confusion regarding the exact technology strategy to take going forward (IP?, 4K? 1080p60 HD with HDR?) and a crowded field of competitive products as the two main culprits.
As the IOC prepares the largest 8K UHD production yet, from the Winter Olympics in South Korea, it’s worth asking if this ultra-high resolution format will ever be broadcast wider than the shores of Japan. In short, the answer is negative, but that won’t stop vendors developing a full production chain, just in case.
Digital Audio Workstations (DAWs) are now everywhere — ranging in cost from free of charge to the sky is the limit. But which DAW is right for your application? It can be a difficult question, especially because cost has little to do with the right choice. Here are some thoughts on the subject of DAWs.
Depending on your point of view, the Eurovision Song Contest (ESC) is either a cheesy pageant of songs that have no relevance to today’s music scene or a fun, well-intentioned attempt to celebrate national identities while at the same time trying to bring together the countries of Europe and beyond through the power of song. Either way, it is the world’s biggest televised music event, this year pulling in approximately 186 million viewers through a TV production that involved an extensive wireless microphone, commentary and sound distribution set-up and the first trial of immersive audio technology for a live broadcast.
Losing media content is a disaster. Yet, there are multiple technologies designed to store content, some for short-term and others for long-term. In the expanding world of content development, everyone has the same question; “How best to store it?”