NYC Production & Post News

Get to School at the Ghetto Film School

2010-09-07T00:00:09Z

Photo credit: Yana Paskova

In his article "A Bronx Film School Tale", the Times' Larry Rohter offers his take on the Ghetto Film School in the Bronx. While some see it as a parallel to the City's storied High School for the Performing Arts, the school's name directly appropriates a term that was once a slur—perhaps to both acknowledge how far the kids must travel even while taking on the slur to lessen it's power.

The folks at the Ghetto Film School also helped with founding the Cinema School in the Soundview section of the Bronx: it's the first such NYC public high school.

The Mayor's Office for Film, Television and Broadcasting, here after affectionately referred to as MOFTB, is a good place to check for updated news on these and other available newbie schools, classes, and jobs.

We're well into what some would label the digital media age. At least some folks in academia are thinking hard enough to give kids a grounding in their real world environment.

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Leitner Looks at LEDs and the Lit Environment

2010-08-11T04:20:57Z

D.W. Leitner delivers another one of his well, enlightening, encyclopedic tours of media technology in this posting on millimeter's site.

Looking over the most recent developments in LED production lighting from top vendors, David knows how to put things into context, moving from Edison to CFLs in the politic environment on to the wide range of light emitting diode-based portable lighting rigs introduced at NAB 2010.

Check out his blog Leitner's Cinematography Corner for more.

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Learning DAM at Henry Stewart

2010-08-10T14:12:41Z

For most folks working day to day in film and video production, digital asset management is a concept they may have heard about, but don't necessarily keep in mind.

After all, it's tough enough to raise the money, do the production and post on budget and on time, and finish far enough ahead of the game to do it again.

But if properly understood and implemented, digital asset management (DAM) brings a set of added, useful capabilities to both the production and distribution of film, video, and other digital media. Besides grunt work like helping track the myriad files and folders that get generated in today's productions, DAM can help you best control future monetization of your creative efforts.

(You'll also see the term MAM or media asset management used. While it's a bit more specific in targeting media as the main asset you'll be managing, the term DAM has become more popular. We'll use both interchangeably for now.)

That brings us around to the annual Henry Stewart confab, held this past May in the City. The London-based Henry Stewart group holds DAM conferences on a regular basis, with New York and Los Angeles being the most relevant to this readership. New York, of course, because it is here, and Los Angeles, well… unfortunately for those living here, the LA event in the fall always has lots more presentations relevant to actual film production and post. New York's emphasis is understandably most centered on the publishing and broadcast industries, with enough on digital media and video postproduction to make it a worthwhile visit.

But there is still plenty to learn from attending the New York event. Besides offering a chance to see some of the top vendors side-by-side, this still modest sized show is also a great opportunity to spend enough time to dig deep with one or two particular systems that might interest you.

Just getting a sense of what's involved with considering an asset management system is a good place to start. That's just what Amit Kumar does for companies as the senior business development manager for media and entertainment at Paramus, New Jersey-based ITC Infotech. Rather than sell any one package, ITC Infotech helps advise companies before they make what can be a considerable investment.

"The first step is to clearly understand what the company does step by step as it runs its business," says Kumar. "The actual work begins with information architecture modeling and taxonomy design, controlled vocabulary design, and finally developing the metadata models themselves."

"Asset management give you a means to control your content,” says Kumar. "Besides embedding metadata, you can also embed things like copyright information such as to what length of time the asset can be used and in what particular geographical areas."

Taking a look at all the new, relevant products at the show would make for a very long article, so instead I'll just note some of the more interesting projects and technologies. We'll be presenting other articles on digital asset management soon, so stay tuned.

North Plain's chart shows how all inclusive a DAM system can be.

One long-time player in our industry, Toronto-based North Plains Systems, continued building out its TeleScope Video Manager, said to be one of the most popular DAM systems in the broadcast industry.

TeleScope Video Manager 3 debuted at the show. It enables secure archiving of video productions, simplifies rights managed access to your video archive and makes distribution across organizations and third party agencies seamless, according to the company.

Integration with the rest of post is key: it configures easily with third party non-linear editing software (think Apple Final Cut Pro and Avid editing systems) as well as various archiving, transcoding, and delivery systems.

One growing area of concern—can you take advantage of new ways of distributing content? A DAM will help reduce channel complexity, says North Plains, meaning you can approach getting your work out via HDTV, IPTV, mobile phones, iPods, iPads, and video-on-demand without reinventing the process at each step along the way.

One neat capability: you can edit and annotate hi-resolution, 16-track audio proxies via a web browser.

The new release also includes full support for two Telestream products, FlipFactory 7.0 video transcoding software and Telestream Pipeline video capture system. North Plains TeleScope DAM and Video Manager use the popular FlipFactory to extract video metadata, transcode and deliver video, and create storyboards. Video Manager 3.1, in concert with FlipFactory 7.0, can create high definition H.264 MPEG 4 proxies with 16 channels of compressed audio (AAC) for reduced file size while maintaining high resolution and time-code accuracy.

If you don't want to be bothered with installing and maintaining the software yourself, you can also take advantage of North Plains' software as a service offering and just use it its online version.

Berkeley-based Xinet released Video 4.0 for WebNative Suite at the show. Better management of multimedia files has to be on anybody's must do list so the new version does just that by adding control of Shockwave Flash and HTML files while expanding its Video Reel Generator app to include soundtracks and previews of all files in the videos generated.

Working solely via a web interface, with Video users can search, view, annotate, approve and distribute video files, as well as create video reels seamlessly.

NetXposure helps MoMA keep track of its soup cans.

Portland Oregon based NetXposure released NetXposure 5.5 at the show. This is the first major update to the fifth version of NetXposure’s web-based Digital Asset Management (DAM) solution, and so updates that apps incorporation of an Adobe Flex user interface.

Adobe's Flex is a Rich Internet Application (RIA)—Microsoft's Silverlight is the other major RIA—which are designed to blur the distinction between the desktop and the Internet. Flex delivers a slick user experience more tuned for use in systems that 'point outwards' to the public, pertinent in this case, instead of functioning solely for internal use.

Improvements in this 5.5 version, according to the company, include better efficiency (faster screen loading and file importing) and stability when handling large volumes of files compared to version 5.0.

You can check out the results yourself by visiting MoMA--in person or via their web site--as the museum uses NetXposure’s DAM to build out its centralized image repository. With MoMa's collection of more than 150,000 pieces and over 22,000 film and media works, the initial database (not a DAM app) had become ungainly, not to say incapable of handling all the new sorts of information the museum now wanted to track.

Thankfully, NetXposure was able to incorporate the existing legacy collection's database; the company claims that MoMA now "saves $200,000 a year in production costs" by relying on the DAM software, which runs on a Mac OS X server and Apple Xserve RAID combo.

This is just a light overview, a look at some of the DAM asset management products available today. Check back for our coverage of other DAM products and approaches. Next up: Leipzig-based Ceiton Technologies, which recently sold systems to A&E, Warners, and Sony.

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Vimeo Gets Social (Networking)

2010-08-07T15:18:55Z

You don't need me to tell you that the call for you and your business to become active participants in the social web--ruled over by Facebook and Twitter at the moment--comes up with regular frequency these days. The title of an upcoming event Bill Sobel will host next week--"The Future of Digital Media: How Wireless/Mobile Changes Everything"--just reinforces that thought once again.

In any case, you can now include video in posting on these sites. On August 6th Chelsea-based Vimeo announced it had enabled its users to automatically publish their uploaded videos to Facebook and Twitter. It's a straightforward matter: just adjust your settings page to connect to the social web that, we are told, is the future.

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Zeitbyte Builds a Better Video Player

2010-08-10T17:10:59Z

Zeitbyte's latest zeitCast video player handles multiple languages.

While Steve Jobs might be bad-mouthing Adobe's Flash, the flexible code still plays most of the video found on the web. That popularity is one of the reasons that Zeitbyte Digital Media recently debuted zeitCaster 2.0, a Flash-based video player for the web.

This Chelsea-based media services company also shoots, edits, hosts, and streams video besides developing custom video players for top clients such as Universal Music Group. I previously wrote about Zeitbyte growing and adding staff which you can find here.

Zeitbyte wrote zeitCaster from the core on up so that they could include unique capabilities such as a CMS (content management system), which allows users to add metadata to stored data for enhanced search, etc. Over the next few weeks, Zeitbyte promises to deliver a plug-in playlist builder that can tag videos with metadata.

Another new capability—support for multi-bitrate video playback—solves a problem that can lead to confusing the user: you don't want to repeat info for each version of a stored video. Instead, it should only show up once in a playlist, which is what Version 2.0 accomplishes.

The upgrade also adds a modular, plug-in architecture so that clients can build a custom player that only has the features they need; a capability of playing both live and on-demand files (allows you to simultaneously stream both a live feed and non-video info such as a live chat room that comments on the video); and flexibility for complex layouts (including chat rooms, photo catalogs and realtime Q&A).

New clients who will use the player include TDK, Con Edison and the Jeff Buckley Foundation.

By the way, if you are curious about the core arguments over the recent huffing and puffing between Apple and Adobe (i.e. HTML5 versus Flash), you might check out this short but informative interview with Zeitbyte President Gary Kahn.

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How to Shoot & Post 3D in the Real World

2010-08-04T20:15:27Z

Image credit: 3-D Images Ltd.

That's the promise of this free webcast that runs on Tuesday, August 10th at 2pm EST. Instructors run the gamut: Panasonic's Jan Crittenden Livingston (Panasonic's business manager for 3D camcorders); Robert Willox (Director of 3D Business Development, Sony); and Dimitris Athos (3D Stereoscopic Producer) are among them.

Topics include: When to choose 3D; Where will anyone see my work?; and A look at budgets for independent filmmakers in 3D.

More info on the event and the folks involved can be found here

Since the webcast is "limited to 500" attendees, you might want to sign up now. Or at least that's what I gather from the excited tone that's pretty typical of such emails. ("You will not get this depth of expertise ANYWHERE ELSE!")

I don't know how much you can gain from such presentations--hands on is definitely better--though if you're totally new to 3D this might offer a useful overview.

A Q & A is promised after the presentation to "make sure your questions get answered."

You might think of this webcast as a teaser for Createasphere's real product: a series of workshops on 3D production to be held in New York around September 19th-21st, which will cost you a bit to attend. The two workshops currently on tap are part of Createasphere's Entertainment Technology Expo (prior to this it was HD Expo) on September 21st-22nd.

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Shubin Spills the Latest News on 3D Production Issues

2010-08-03T04:34:47Z

Technologist and media history raconteur Mark Schubin, a Renaissance sort-of-guy well regarded in the video industry, will offer a free 3D tutorial this Wednesday, August 4, at 9:30 am, at All-Mobile Video, 221 West 26th Street - that's between 7th and 8th Ave. No need to register.

Mark expects his talk to last under two hours, and if you've never attended one of his learned, wide-ranging lectures that move from the latest R&D to the pre-history of cinema, you'll be in for a treat.

Expect an overview of stereoscopic 3D but with an emphasis on issues faced during production. Also on tap: info on microstereopsis, which "no one else discusses." I'll let Mark describe that technical topic in his own words, but the gist of it is that the technical choices you make on set bake in either an in-your-face-3D of the technology's first few decades or that of today's growing consensus for a just-enough-reality approach, something Cameron chose for Avatar, for example.

Mark discusses some other 3D production gotchas in the most recent posting at his site Schubin Cafe.

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Learn Artemis Camera Stabilization from its Inventor

2010-07-29T17:44:30Z

Photo credit: Sachtler

If you're in too much of a hurry, here's the short form of this article: sign up now (click here) for a three-day, hands-on workshop this September covering Sachtler's Artemis camera stabilization system, taught by its inventor.

Now, if you can spare a little time for context…Most every one knows the name steadicam, the now generic name for a camera stabilization rig. Introduced by cameraman/inventor Garrett Brown in the mid-1970s, the gliding dolly-look became one of the few new methods of holding a film or video camera since the introduction of the tripod.

Now owned by filter-manufacturer Tiffen, steadicam soon sparked any number of competitors; with lighter camcorders coming to market, a number of them have been homebrew. (Tiffen is here, while steadicam is here.)

However, the high-end is still defined by expensive rigs (pricing in the mid teens) that offer great control along with multiple power and live monitoring alternatives. One of the top competitors to steadicam, Sachtler's Artemis system, has gained via its flexibility, the perceived quality name of its maker and on the marketing strength of the Vitec Group, which Sachtler is part of.

Like ballet, top work using a rig isn't a simple skill: training and experience is key. That's why Artemis rig owners, renters, DPs, and camera operators will want a chance to take a three-day workshop in September, sponsored by Createasphere.

The instructor, Curt Schaller, designed Artemis. As an experienced cameraman and steadicam operator, Schaller has lots of tips to share, including the proper methods of setting up and using the rig safely, since such gear places particular stresses on the upper body.

Why put this notice up when the course doesn't start until September 25th? While it does cost $925 (discounted to $800 if you sign up by August 25th), the fifteen spots should fill up pretty quickly, as these courses aren't that common on the East coast. Click here to start the process.

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Abel Cine Sells ARRI Alexa, Offers Simple Editing Solution

2010-08-05T18:48:38Z

ARRI's Alexa camera system, which only recently started distributing, looks like it's already a top contender for high-end professional production. It's getting kudos for its quality output and a production-friendly systems approach.

There's lots to like: the camera's compact form factor, extremely wide f-stop range (a claimed 13 ½ stops dynamic range), hi-res viewfinder, 800 EI exposure range, and low noise output are just some of the specifics that lifts it over competition such as Sony's F35, now a bit long in the tooth. Sony's F35, however, is an accepted partner in high-end production, so that situation won't change anytime soon.

One good move: the Munich-based company didn't pretend it had all the answers, but decided to bring the camera out as part of a production and postproduction ecosystem, a viable strategic approach for any new camera system that hopes to become popular enough to make its investment back. Of course Arri doesn't have the deep pockets or broad product line that a Sony does, so they have to make this work.

Of course Arri products already have a great reputation. Founded in 1917, they turn out gear DPs are familiar and comfortable with, and have a few years of experience over newbies like RED.

Building in Apple ProRes encoding as native, for example, acknowledges upfront that the camcorder fits within a post environment. Too bad so many high-end commercial and feature editors use Avid and not Apple's Final Cut Pro; transcoding between ProRes and Avid's native DnXHD is possible, though slow, dulling some of that advantage.

Arri's partners include Apple (ProRes encoding), Sony (via its small-as-a-stick-of gum SxS storage), and other top names such as Panavision, Avid, Iridas, DVS, Digital Vision, Filmlight, and MTI.

Vince Pace, who designed the 3-D rigs used in Avatar among other projects, is sending Alexa-based 3-D rigs to Martin Scorsese for use in his next project Hugo Cabret.

While Arri will handle most sales through its own show rooms and dealers as well as established rental houses, it selected Abel Cine as an authorized reseller, tapping into that company's status among indie's and smaller productions. Pricing is said to hover around $60k, although that's a variable with add-on options and deals.

Check out this Alexa post on Abel Cine's tech blog to see the future of integrated production and post systems. Based around a direct connection between shooting in Apple's ProRes format directly into Final Cut, this video shows just how straight forward high-end post can become. Sure beats what editors and facility engineers had to go through even recently.

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Only Two Weeks Left to Enter Video for Vimeo’s $25,000 Prize

2010-07-27T01:34:58Z

David Lynch Photo credit: Mark Berry

No word yet on the number of submissions Vimeo is pulling in for its first annual video awards, but with some 20 judges now on tap, the video sharing site must be planning for something big.

The contest—set to close July 31st—just announced four additional judges to join David Lynch, Roman Coppola, et. al. Vimeo, as part of Barry Diller's 50 Internet company empire, certainly has the money to attract marquee names: look no further than IAC's Gehry-designed sailing ship on the West Side Highway, the very site of the awards ceremony this October.

Neville Brody, Ricky Van Veen, Shane Walter, and Ze Frank each swings weight of their own. Brody is a well-known designer who will judge submissions within the Experimental Category; Van Veen, the co-founder of the popular CollegeHumor site, will judge the Original Series category; Walter, one of Wired's current 100 "list of individuals shaping the digital world", will handle the Motion Graphics category; and Frank, who has risen to some fame with his daily “The Show” web series (obviously not to be confused with Harry Shearer's piquant Le Show).

So if you have some project of worth that would blossom with the publicity—well, that $25K could help with the blossoming too—get it in before the deadline…11 days and counting.

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