Post Production – Display Daily

RGB is Not Enough for Virtual Production

by Bob Raikes

Last week, I went along to an event run by SMPTE UK and hosted by ETC that covered the interesting topic of virtual production using LEDs. I learned a lot! In a ‘small world’ …

The Hunt for Post Solutions at NAB, IBC

by Andy Marken

It’s interesting that with all the creative and craft associations around the globe it’s impossible to attach a precise number to the films, movies, TV segments produced annually. The normal answer is … a …

Tags:Content Creation| Post Production| storage

13 New Technologies for Video Production Part 2: The Other Twelve

by Matthew Brennesholtz

In yesterday’s Display Daily, I looked at the effects of the SMPTE ST-2110 standards on the design and construction of a new production or post-production facility, as discussed by the six experts at the …

Tags:Post Production| SMPTE| Video over IP (VIP)

13 New Technologies for Video Production Part 1: ST-2110

by Matthew Brennesholtz

On January 15th, the SMPTE New York chapter had a standing-room-only meeting at Cisco’s New York office discussing the practical implementation of the multiple new technologies entering the broadcast, cinema and post-production worlds. The …

Tags:Post Production| SMPTE| Video over IP (VIP)

Display & Mastering Tools at the ADS

by Matthew Brennesholtz

There were also four speakers in the Display & Mastering Tools section of the Advanced Display Summit. Mostly, the speakers discussed the tools their companies can provide to the production and post-production industry in …

The Advanced Display Summit 2018

by Matthew Brennesholtz

Insight Media and Samsung hosted the QLED and Advanced Display Summit (ADS) in West Hollywood on June 27 and 28. The agenda included Quantum Dots (QDs), 8K, Display and Mastering Tools, High Dynamic Range …

Ymagis Announces EclairColor HDR License Program for Content Houses

by Andrew Fenn

Ymagis, a European specialist in digital technologies for the film industry, announced the launch of a Professional Licence Program for its EclairColor HDR solution, in favour of independent film laboratories, content services companies and …

Rohde & Schwarz Workstation Supports HDR

by Isaac Oburu

Rohde & Schwarz has produced a new workstation called the R&S Clipster that is designed to support the mastering of video with UltraHD resolution, wide colour gamuts and HDR based on Dolby Vision and …

Tags:HDR - High Dynamic Range| Large Display Monitor| Post Production| Video Editing & Production| Vol 23 - Issue 37

RealD Uses Cloud to Bring TrueImage to Cinema

by Tom Allen

Brian Hawkins, also from RealD, is the inventor of the TrueImage software. First used during post-production of ‘The Hobbit: The Desolation of Smaug’, this software is designed to eliminate artefacts. Filmmakers can use high …

Netflix Deplores ‘Versionitis’

by Tom Allen

Mike Whipple and Sean Durkin are from Netflix and discussed the process of sourcing content, and producing originals, for the service. Because much of Netflix’s content comes from external sources like broadcasters, the company …

Industry Must Pull Together to Promote ‘Ultra Everything’

by Tom Allen

There was an introduction to the display set-up in the auditorium before the next presentation began. Chris Mullins of Sony Digital Cinema came on-stage to tell us about the projector, which was a Sony …

Robust Tech Enables New Scenes for Pixar

by Tom Allen

The Hollywood Post Alliance Tech Retreat, co-organised by SMPTE, is dedicated to the technologies of film production. This year, for the first time, an edition of the event was held in the UK, in …

Tags:HPA Tech Retreat| Large Display Monitor| Post Production| ray tracing| Vol 23 - Issue 28