TV

“We Don’t Have a Script, But We’re Working on It”: Michael Pressman on Doctor Detroit and Transitioning from Film to TV

By Jim Hemphill

One of the most interesting filmmakers to emerge from Roger Corman’s New World Pictures in the 1970s – a period in which great directors like Jonathan Demme, Allan Arkush, and Joe Dante were making their first movies for the company – was Michael Pressman, whose 1976 action-comedy The Great Texas Dynamite Chase remains one of the smartest, funniest, and most energetic exploitation pictures of its era. Throughout the late ’70s and early ’80s, Pressman directed one distinctive film after another, exhibiting astonishing range – the only thing his movies of the era have in common is that they have nothing […] → continue…

From:: Filmmaker Magazine

“We Don’t Have a Script, But We’re Working on It”: Michael Pressman on Transitioning from Film to TV, Doctor Detroit and

By Jim Hemphill

One of the most interesting filmmakers to emerge from Roger Corman’s New World Pictures in the 1970s – a period in which great directors like Jonathan Demme, Allan Arkush, and Joe Dante were making their first movies for the company – was Michael Pressman, whose 1976 action-comedy The Great Texas Dynamite Chase remains one of the smartest, funniest, and most energetic exploitation pictures of its era. Throughout the late ’70s and early ’80s, Pressman directed one distinctive film after another, exhibiting astonishing range – the only thing his movies of the era have in common is that they have nothing […] → continue…

From:: Filmmaker Magazine

Da Sharp arriva il primo TV 8K da 70 pollici e risoluzione 7680×4320 pixel

By News

La Sharp ha annunciato il lancio del primo tv 8k sul mercato europeo, il modello è il LV-70X500E ha un pannello 70 pollici, con risoluzione 7680×4320 pixel, cioè approssimativamente 33 milioni di pixel. Lo spettro dei colori migliorato rende le immagini più simili a quelle dal vivo e più vivide. Lo stesso vale per il contrasto.

The post Da Sharp arriva il primo TV 8K da 70 pollici e risoluzione 7680×4320 pixel appeared first on ProAV News e informazioni Foto, Cine Video .

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From:: Pro AV

The 10 Most Analyzed Movies of All Time

By Woodson Hughes

2001 A Space Odyssey

There was a time, not all that long ago, when films, or “movies”, were not taken too seriously, certainly not as an art form. Perhaps cinema, as a viable art form, can thank television for coming along and taking the place at the bottom of the cultural arts heap. (However, artistically, TV is coming into its own, perhaps because such new video mediums as YouTube can now take TV’s old position.)

There was definitely a time when the only thing a college or university might have to do with a film was the showing of some foreign, classic or avant-garde film as a student cultural event. Most certainly, there were no courses about film. When those did start, they mostly concerned film history. Only slowly and at certain institution’s was film taught as a viable career choice and a topic worthy of in depth study.

One of the things that changed how film was viewed, at least in certain circles, was the pioneering work of the writers of the French periodical Cahiers du Cinema and those of the British periodical Sight and Sound. Added to these important voices were some excellent US writers such as James Agee, Andrew Sarris, and Pauline Kael.

All of those who contributed helped to waken people to the idea that when a film was past its box office “sell-by” date, it didn’t at all have to be just an “old movie”. (However, the fact that the US was undergoing a profound wave of interest in recent past decades, the “Nostalgia Boom”, didn’t hurt, since many older films were rediscovered and championed during that time.)

In the odd way the pendulum has of swinging wildly from one extreme to another, where many films had been overlooked and superficially judged, now many of the same films were subjected to virtual → continue…

From:: Taste Of Cinema

PXW-FS5 II Secret Sauce and Venice Colour Science.

By alisterchapman

FS5II-1-1024x564 PXW-FS5 II Secret Sauce and Venice Colour Science.

At NAB 2018 a very hot topic is the launch of the FS5 II. The FS5 II is an update on the existing FS5 that includes the FS Raw output option and the HFR option as standard. So out of the box this means that this camera will be a great match to an Atomos Inferno to take advantage of the new Apple ProRes Raw codec.

Just like the FS5 the FS5 II can shoot using a range of different gamma curves including Rec-709, HLG, S-Log2 and S-Log3. So for those more involved projects where image control is paramount you can shoot in log (or raw) then take the footage into your favourite grading software and create whatever look you wish. You can tweak and tune your skin tones, play with the highlight roll off and create that Hollywood blockbuster look – with both the FS5 and the FS5 II. There is no change to this other than the addition of FS-Raw as standard on the FS5 II.

The big change, is to the cameras default colour science.

New color science from the Sony PXW-FS5 II

Ever since I started shooting on Sony cameras, which was a very long time ago, they have always looked a certain way. If you point a Sony camera at a Rec-709 test chart you will find that the colours are actually quite accurate, the color patches on the chart lining up with the target boxes on a vector scope. All Sony cameras look this way so that if you use several different cameras on the same project they should at least look very similar, even if one of those cameras is a few years old. But this look and standard was establish many years ago when camera and TV technology was nowhere near as → continue…

From:: XDCAM-USER

Riptide Music Group Expands Team with Two Major New Hires – Janine Kerr Named Creative Director & Taylor Amazan Named Creative Manager for Trailers

By Asbury PR

Culver City, CA

Riptide Music Group (Riptide), a leading synchronization, rights management, and creative company that provides music to advertising, movie trailers, TV programming and promos, major motion pictures, videogames, and multi-media productions, has expanded…

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From:: Shoot OnLine

AMP VISUAL TV Equips Newest 4K HDR OB Van With Extensive MediorNet Installation

By Dundee Hills Group

LAS VEGAS April 9, 2018 — TV coverage specialist AMP VISUAL TV, an innovator in the design of outside broadcast (OB) vans for remote video productions, has outfitted its newest 4K HDR OB van — Millenium 6 — with an extensive complement of Riedel Communications equipment. Following the successful deployment of its Millenium Signature 12 (MS12) OB van, AMP VISUAL TV has again invested in Riedel gear to ensure flexible, reliable communications and signal transport within Millenium 6.

“By basing our OB vans on MediorNet and other Riedel systems, we enjoy a great deal of freedom in creating the sophisticated media infrastructures critical to modern productions,” said François Valadoux, Chief Technology Officer at AMP VISUAL TV. “In our experience, Riedel gear delivers the performance we require and the flexibility we need to address the demands of working in 4K. It was an obvious choice for our newest OB van.”

AMP VISUAL TV has one of Europe’s largest and most innovative fleets of OB vans engineered to meet the requirements of global entertainment events, television studios, and sports competitions. The company has given Millenium 6 the benefit of beautiful workspaces with wood-paneling highlights, as well as a robust Riedel MediorNet real-time media network supporting as many as 26 wired and wireless cameras, a multiviewer monitor wall, and Artist (wired) and Bolero (wireless) intercom systems.

Designed to handle most major productions, AMP VISUAL TV’s Millenium OB vans boast a rich blend of space, comfort, ergonomics, and power — the perfect conditions for producing any kind of program. With a modular design and mobile partition system adapted from its older sibling, MS12, the new van is an extensible semitrailer that incorporates flexible workspaces. For example, using a partition system, the production area can be split into two spaces. Their RF-12 fly packs can then be → continue…

From:: Student Filmmakers

RED Gemini Real World Test “iPhone Only” ;)

By Vincent Laforet

So – what does the #Gemini look like at high ISO in the wild?
i.e. in “real world” use – vs a studio test?

That’s likely what every RED Digital Cinema​ user, filmmaker and DP is asking right now, especially a few days before #NAB2018

I too was curious … so much so that I took the fresh off the assembly line body with me to Sedona, AZ and the Grand Canyon during spring break with the kids… and natch: I put everyone to work. (Thanks to Bruce Dorn​ for being such a wonderful champ, guide, model!)

In many ways this video re-defines the “iPhone Only” term to some small degree – as a series of scenes is shot purely with iPhones … which I thought said everything one needs to know about the Gemini.

The fact that this was shot POST sunset for the most part – and in the 30-90 minute + range is what is exceptional to me specifically. That’s something I’m only used to when I shoot time lapses on DSLRs. Until now. (And we had to turn the iPhone screen brightness levels down!)

Filmmakers, TV shooters, doc, and pretty much everyone will be pleased with the excellent low light performance of this body as well as the smaller 5K size. I noticed I was filling up those SSDs much more slowly than in 8K… I was able to fill 5 days of footage on two of the new tiny G-Technology Europe​ 2TB SSDs and filled them each only 60%. That’s cool!

The results are incredible to me. I think the body easily sees 1.5 to 2.5 stops more into the shadows than any RED I’ve used to date and any 4K or above camera that I’ve used → continue…

From:: Vincent Laforet

SMPTE Fellows Robert Ross and Richard Friedel Earn Lifetime Achievement Awards From NATAS

By Dundee Hills Group

™

April 8 Awards Presentation in Las Vegas Will Recognize Ross and Friedel for Their Industry-Changing Innovation and Vision

WHITE PLAINS, N.Y. April 4, 2018 SMPTE®, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced that SMPTE Fellows Robert Ross, senior vice president for East Coast operations at CBS Engineering, and Richard Friedel, executive vice president at FOX Engineering, will receive Lifetime Achievement Awards from the National Academy of Television Arts & Sciences (NATAS) at the 69th Annual Technology & Engineering Emmy® Awards on April 8 in Las Vegas.

“Robert Ross of CBS and Richard Friedel of FOX have had a hand in many of the innovations enabling today’s advanced media formats and the availability of television anytime, anywhere,” said Chuck Dages, chairman of NATAS. “For their vision and their many significant achievements, the National Academy is pleased to honor them both with our Lifetime Achievement Award in Technology.”

The Technology & Engineering Emmy Awards honor technology companies and individuals whose innovation and vision have materially affected the way the audience views television and have set the standard for technological excellence in the industry.

“Bob and Richard have made exceptional contributions to SMPTE’s standards development work and have led the way in bringing key technological advances into the realm of reality,” said SMPTE President Matthew Goldman, senior vice president of technology, TV and media at Ericsson. “We’re proud to be closely associated with two esteemed leaders in the motion imaging field. We congratulate them both on this latest honor and look forward to celebrating with them at the 2018 NAB Show.”

About Robert Ross
Ross has served as senior vice president for East Coast operations at CBS Broadcasting since October 1998, and he has led the engineering and technical teams and overseen → continue…

From:: Student Filmmakers

NCam’s Augmented Reality speeds up TV production

By noreply@redsharknews.com (RedShark News Staff)

ESPN have been using Ncam's technology to enable live overlays on their sports broadcasts

With NAB just around the corner, it’s looking like one area of technology that’s breaking through into mainstream importance is the use of computer gaming engines (like Unreal and Unity) to create photorealistic virtual objects and scenery in real time.

  • Ncam
  • virtual sets
  • AR
  • augmented reality

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    From:: RedShark News

    Pond5 Enterprise Suite Combines Exclusive Access, Efficiency, and Administrative Tools for Large Media Organizations and Production Companies

    By Zazil Media Group

    NEW YORK

    Pond5, the world’s leading creative content marketplace, today announced a new enterprise-level suite of tools designed to make content production easier than ever for TV and film…

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    From:: Shoot OnLine

    Snapchat’s first TV commercial calls the app ‘a new kind of camera’

    If you’re over the age of 30 (and I’m being generous here) Snapchat probably isn’t one of your go-to apps. In fact, you might not even know what it is. Is it a social network? Is it like Instagram? Isn’t it that app that Instagram copied a bunch of features from after the company refused to sell to Facebook for billions of dollars?

    In this order: sort of, sort of, and yes.

    But if you asked Snap, Inc. CEO Evan Spiegel what Snapchat is, he’d probably point you to the video above. It’s the company’s very first TV commercial and an attempt to re-brand the app as “a new kind of camera.”

    The commercial is the latest in a series of attempts by Snapchat to fight off Facebook—who has been shamelessly copying the app’s features into Instagram—and position itself as something better than a social network: a camera. Better yet, a camera “where how you feel matters more than how you look.”

    In a way, it feels like Snapchat is trying to become the digital photography version of Lomography: where capturing snapshots is more important that proper photography—don’t think, just shoot. It’s point & shoot photography reborn, except as point & shoot & share… but maybe add a puppy dog mask or flower crown first because why not.

    Maybe Snapchat—with its app and its wearable Spectacles—will become the digital Lomo LC-A or Diana: an imperfect outlet for imperfect pictures that takes some of the pressure out of photography. Not what I would call “a new kind of camera” exactly, but not a terrible idea either.

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    From:: DPreview

    Beware the LC709 LUT double exposure offset.

    By alisterchapman

    The use o f the LC709 Type A LUT in Sony’s Cinealta cameras such as the PXW-FS7 or PMW-F55 is very common. This LUT is popular because it was designed to mimic the Arri cameras when in their Rec-709 mode. But before rushing out to use this LUT and any of the other LC709 series of LUT’s there are some things to consider.

    The Arri cameras are rarely used in Rec-709 mode for anything other than quick turn around TV. You certainly wouldn’t normally record this for any feature or drama productions. It isn’t the “Arri Look” The Arri look normally comes as a result of shooting using Arri’s LogC and then grading that to get the look you want. The reason it exists is to provide a viewable image on set. It has more contrast than LogC and uses Rec 709 color primaries so the colors look right, but it isn’t Rec-709. It squeezes almost all of the cameras capture range into a something that can be viewed on a 709 monitor so it looks quite flat.

    Because a very large dynamic range is being squeezed into a range suitable to be viewed on a regular, standard dynamic range monitor the white level is much reduced compared to regular Rec-709. In fact, white (such as a white piece of paper) should be exposed at around 70%. Skin tones should be exposed at around 55-60%.

    If you are shooting S-Log on a Sony camera and using this LUT to monitor, if you were to expose using conventional levels, white at 85-90% skin tones at 65-70%, then you will be offsetting your exposure by around +1.5 stops. On it’s own this isn’t typically going to be a problem. In fact I often come across people that tell me that they always shoot at the → continue…

    From:: XDCAM-USER

    High end cinema cameras enter the world of live TV [sponsored]

    By noreply@redsharknews.com (RedShark News Staff)

    High end cinema cameras enter the world of live TV [sponsored]

    The Panasonic Varicam is well known for it’s versatility in TV drama and film, but what you might not know is that the very attributes that make it excel in those areas also lend themselves to live television production.

    • panasonic
    • varicam
    • LT

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      From:: RedShark News