The Brother range of labelling machines has always had portable units for electricians, engineers and technicians. This promo highlighted the new range of machines from Brother.
We edited the Black Magic Cinema Camera and 5D promo footage you can see here using Premiere and after Effects.
The behind the scenes video here, edited in Avid Media Composer and the Activideo Communications opening animation created in after effects.
One new technique used involved the interview being shot at 4k and the close ups were just zoomed in on the timeline. This will be used much more going forwards to enable better editing of budget material. You can’t beat a perspective change with your angles but cutting in for close ups when you only have one take of one shot is invaluable…
Unfortunately we have had to shut our suite in Liverpool as the building we were in has now gone up for sale.
But we are putting in another in Manchester, initially it will be another HD/2k suite but in the next phase we think it will be 2.5k/4k capable.
Still unsure as to the MacPro or PC route, the new MacPro didn’t blow away all concerns… Really we are waiting to see what reasonable grading monitors are coming through in the near future too. The additional suite will facilitate more space for clients to view material and free up the others for existing commitments.
Sublime having two suites for SD/HD Edit 4 and 3. Two suites (1 and 2) for HD/2.5K editing.
Tea Time In Haworth had the honour of being shown before the Steve Coogan/Judy Dench film Philomena in Hebden Bridge Picture House over about a week , a lovely old cinema. About 1500 people saw the film over a week. Initially we had provided a Blu-ray with an HD copy for the showing and although it looked great on screen we wanted to provide a Digital Cinema Package.
To do this is quite involved but essentially you have to get all your frames individually as JPEG2000 in XYZ colour space and then wrap them as MXF files both audio and video, then you combine them with metadata into a package that a digital cinema server will recognise. These may be a Dolby or Doremi server. Generally they prefer a linux format hard drive in a special caddy that can slide straight in but there is a USB socket on the front.
All the staff and the two projectionists were very welcoming and helpful at the cinema. Initially I took the DCP on a memory stick that was Mac formatted and this didn’t seem to work however that may be because the stick didn’t seem to fit properly so that isn’t a definitive statement. I also tried to format it as eXfat but that didn’t seem to work.
Eventually I formatted a portable hard drive as NTFS and put two versions of the film on the drive. I had read that some projectors don’t like anything except 24 frames per second material. So I made a 24fps version by using the same number of frames but tagging them as 24fps and slowing the audio down by 4% to match.
I posted the drive and crossed my fingers. The projectionist told me that both copies had ingested and invited us over to view the result at the final matinee performance. After a battering drive over the tops through a storm my assistant Olivia and I arrived in Yorkshire!
The 25 fps was used as the server played back both and of course it was the original speed. The audience was very receptive to the film as virtually all those present seemed to be senior citizens. Lots of laughs and the DCP on screen was fantastic.
When the festival circuit is done we will be releasing a Blu-ray with all the material and stills and unseen footage and possibly even the rushes so people could edit their own version, just an idea, stay tuned! This complements the trailer that has been out for some time but you will have to catch it in a festival to see the film.
Here is the BTS video.
Here is the trailer if you have not seen it before.
Photoshopping written and directed by Mark Davenport was finished at Sublime Pictures in Manchester on Final Cut and graded in Colour. See the trailer in our portfolio section here.
The film was submitted to the Aesthetica Festival in York and selected as one of five films to show on the opening night. Mark and I had a great evening at the opening but unfortunately could not stay for the whole event.
Photoshopping won the Best Comedy Award at Aesthetica Short Film Festival 2012. Here is what the panel and judges said:
A brilliantly dark comic tale about a woman who is obsessed with photographing celebrities and breaking a world record. The film’s narrative is creative, engaging, and above all funny. The acting and cinematography perfectly capture the obsessive world that the main character inhabits, not to mention there’s a scene with Fern Brittan running through a shopping centre. Magnificent!
Below is the Aesthetica trailer, it is an excellent festival.
Edit 2 played host to the first video edit in Liverpool. Cutting the rushes of a three camera shoot was no easy feat in the time given for the production by Punchline. Three medical case studies were edited with a spectrum of codecs from a Z1, (a real pain digitising tape again) EX1 and GH2 and ingest took until late at night to enable editing to start early the next day. Jamie an ex Lime Pictures editor now freelance and working on Casualty claimed he was getting used to editing medical topics! Final cut pro used to ingest, cut and basic grade.
The system was a temporary rig as the new equipment is still being specified but it is thought that edit two will be an HD video and Pro Tools HD suite.
As a well-established business we at 3D Broadcast Sales have over 35 years worth of experience in selling 3D broadcast tools to the broadcast and corporate market place. Now more than ever, broadcasters are moving away from tape and are instead adopting the transition to file-based workflow systems.
Every single year when the time of Wimbledon arrives the world’s attention falls on the UK, lapping up some amazing tennis from all of the world’s very best tennis players. Now every single year of being televised Wimbledon has been great however in 2011 we saw the tournament get 3D broadcasting for the very first time from the BBC, of which won numerous industry awards. In total, around 18,000 UK viewers watched Wimbledon in 3D in 2011, with the 2012 numbers expected to exceed this.
This 2012 then there has to be something equally as impressive within the broadcast industry in order to make this years’ tournament as impressive as ever, and we recently got wind of something that has happened.
All of this comes from CAN in partnership with Sony, who have seen fit to adopt some of the very latest innovations in the broadcast production industry. Of course, we are talking about ditching the tape here in favour of a more advanced file-based system, and as such Wimbledon 2012 is the first ever tournament to see this advancement.
Sony has ditched the tape for a fully working system it has developed called HDCAM SR Master Technology which allows for all data to be recorded and saved to the highest quality as physically possible.
On this latest advancement in 3D broadcast production, CAN’s Duncan Humphreys said: “Last year’s 3D production ran incredibly smoothly which allowed us to concentrate on the production values of the coverage and on the creative aspects of telling the story of the 2011 Championships. This year we will again be looking to heighten the viewer’s experience of the event and give them a true on court perspective of the tournament.”
So far numerous television networks around the world have announced their intentions to broadcast this live 3D feed to people around the world.
Ditching the tape and opting for a more advanced file-based system is nothing new. Currently, hundreds of production companies across the UK have adopted a file-based system replacing tape, and to simplify this to the average consumer image this; when was the last time you saw anybody use a traditional film camera over a digital one? It is that advancement that is not only happening on a consumer level but is also making its way down the professional broadcast level also.
At 3D Broadcast Sales we stock a solid range of high quality 3D Broadcast tools to suit any production need. In terms of ditching the tape, check out our AJA Ki Pro Rack which features 10-bit full raster recording, RS-422 control, an easy to use control system and dual media drives with built-in FireWire 800 connection.
To find out more about how 3D Broadcast Sales can help your production needs, simply contact us.
Adobe have redefined post production over the last few years, they have slowly crept up on Apple and taken over the space where Final Cut Pro was dominating. How Apple let that dominance slip is beyond me. I know they took their eye off the pro market to concentrate on the domestic arena but didn’t need to. They are extremely rich and I am sure that Pro market sales of software and hardware would have justified itself, there is now a Facebook page for users crying out for a new Mac Pro and it has 16000 likes already. I really want a new high end Mac Pro becasue at the end of the day I like using them and it is great to be able to use Apple software tools and Avid and Adobe on the same workstation.
I don’t want to go back to the Dark Side but the HP 820 or even a HP Z1 as an alternative to an iMac is looking pretty sweet at the moment…
Especially for corporates and owner operators or even agencies bringing post in house a Studio product with the ability to deliver all areas of post at an attractive price is too desirable to resist. The people and talent to operate it is another subject!
Now Adobe are offering a monthly fee to use the whole suite of products and as an existing user you may qualify for the low rate of £27 per month!
You have to sign up for a year but if you don’t like it you have a 30 day money back guarantee.
To get all the Adobe suite of products including the new speed grade (previously Iridas) including new updates as you go is amazing. with the right workstation you can be ingesting, encoding, mastering 4k/5K material, producing special effects, dubbing and authoring discs all for Yorkshireman price! 🙂
I signed up straight away, use photoshop once with the new content aware tools and you can justify the expense in time saving alone but with all the creative options here it is a no brainer. It seems Adobe’s strategy is hook customers in for the long haul, a good strategy that Apple started and perfected then ditched!
I have not had time to absorb all the benefits of creative cloud but I’ll report as I do.
The edit suites in Liverpool took a step nearer completion as the worktops went onto the desk chassis. Also we were measuring cable runs to fit the cables from the central apparatus room to the suites. Slow but sure progress, the plan is for edit one to be PC based and 4k/2k/HD capable for finishing on Premiere Pro, Avid Symphony and Da Vinci Resolve. Edit 2 will be a PC that can finish 2k/HD using Premiere Pro and Avid or work on editorial, edit 3 editorial on Avid.
We will keep you updated and also let you know when the launch party is.