Chicago-based post-production house Filmworkers Club has upgraded two of its facilities with three da Vinci Splice post-production systems, which enable its existing da Vinci 2K Plus systems to be used for nonlinear, in-context color grading.
Because Splice accesses digital images directly from SAN, DAS or internal storage, it eliminates the need to search rolls of film or to cue up video to find the right shot. The 2K user interface synchronizes and controls Splice so it can move instantly to any scene or rearrange shots on the timeline, while also adding alternative shots.
Built with the same Transformer II technology as the da Vinci Resolve digital mastering suite, Splice shares Resolve's basic conform and I/O features. Its session and operational compatibility with Resolve accelerates film, TV and commercial workflows. Splice is also available with object tracking and can handle 4K files.
This eBook provides both new and veteran shooters an in-depth understanding of the technology that lies between the camera lens and the recording medium and how to maximize a camera's performance.
File-based technologies have replaced video tape methods for a majority of production and broadcast operations. The worlds of AV and IT are coalescing to create new methods and workflows for media
Video compression, editing and displays is an in-depth tutorial on MPEG compression technology, editing MPEG content and evaluating color video monitors written by long-time video expert, trainer and writer Steve Mullen, Ph. D.
2012 will be the year of mobile DTV. That’s the view of Erik Moreno, who along with Salil Dalvi, senior VP for Mobile Platform Development at NBC Universal, is co-general manager of the Mobile Content Venture.
Hear snippets of podcast interviews done throughout 2011 with Pat McDonough of The Nielsen Company, Glen Friedman of Ideas & Solutions!, Danny Wilson of Pixelmetrix and Greg Herman of Watch TV. Pictured is Danny Wilson, Pixelmetrix.
