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Production

The Movement to 3D

cameron_sfwWhile the last few years have seen a substantial movement toward 3D, it’s now safe to say that 3D projects are here for a long haul as it is the next wave of movie and television entertainment. Most of the television sets that are now being made will be 3D enabled while the advent of 3D theatrical viewing in multiplex theaters sprout up in record numbers — and consumers are forking out the extra cash for this entertainment. Large corporate companies, like ESPN, are also moving into 3D and consumers can now find 3D entertainment in most sports and live-event programming. “They were brave, they were smart, they are pioneers and they’ve done a really good job at it,” says Marty Shindler, CEO of The Shindler Prospective, a management consulting team for companies in entertainment and entertainment technology. Shindler promotes the 3D movement and often holds 3D sessions at trade show events, such as Digital Hollywood and the Consumer Electronics Show (CES).
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Extreme Audio

pro_audio_eadliestcatch_2Working as a production sound mixer in Los Angeles, where it’s consistently sunny, it’s possible to take the weather for granted when recording audio in the field. But what if the job is recording audio for a documentary in the Arctic, like for Discovery Channel’s “Deadliest Catch,” where there’s the incessant pounding of salt water? Or how about recording a reality show during the rainy season in Washington State? Getting clean audio can be difficult in good weather, but harsh conditions can present unique challenges to production sound mixers in the field. Luckily, there are some products that can offer protection for productions in need.
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NBCUniversal Names New Senior Vice President of Marketing...

Jeanne Cordova has been named Senior Vice President of Marketing, PR and Special Events for NBCUniversal Operations and Technical Services.

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Lighting Fundamentals Remain While Technology Continues to Change

ligthinghd_allan1Cinematographer Allan Westbrook’s first HD shoot entailed using a Sony HDC-500 camera in collaboration with HD pioneer DP Randall Dark. "The HDC-500 was faster than the HD tube cameras before it, but its dynamic range was fairly narrow," says Westbrook (pictured left). "We certainly needed more light than we do with a typical camera today. Also, it was so heavy that simply moving it around was a challenge. We definitely used more lights than we would need for the same scenes with many of today’s HD cameras.”

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Documentary Cinematography

 

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Believe it or not, it’s been barely 15 years since high definition made its first appearance in North America, yet most of us — even production professionals — have had little hands-on experience with HD until the past five-to-seven years, the most intense stage in its evolution. Cinematographer Randall Dark caught the high-def bug 15 years ago after watching an HD demo in his native Toronto, and he hasn’t looked back since launching his high-def production company HD Vision Studios in the early ’90s. “The goal of all documentaries is to capture reality without manipulation, and HD captured it especially realistically,” says Dark.

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