Captioning, for web videos, has long been an after thought. Web originating video is mainly exempt from FCC captioning regulations. In addition, the immediacy of posting videos precludes the additional manual effort needed for accurate captioning requires.
With NAB 2015 almost upon us, we can begin to brace ourselves for the barrage of technical gobbledegook through the firehose. Many demos will bore us, but if done right, these demos can capture our imaginations and create a customer.
Need your tech fix? I’ve got just the thing – a new web series. It’s called “5 THINGS”, and it’s is an independent web series dedicated to answering the 5 burning tech questions about technologies and workflows in the media creation space. Tech stuff I dig, and how it’s used. Concepts, workflows and products.
Newtek’s TriCaster family has transcended being used solely for live production, and is now found in many creative projects where post production is needed. The hurdle is now getting the media generated by TriCaster into various editorial platforms for editing.
I’ve drawn up a handy-dandy guide for planning and using this media within Avid Media Composer and Symphony. This is valid for any of the current TriCaster models which support Quicktime wrapped ISO recordings.
So, from the michaelkammes.com camp: big news – Kate Miller has agreed in principal to spend the rest of her life with me, and that suits me just fine. It’s a good thing, or so I’m told. I personally think she’s nuts for spending 3 years with me, let alone the next 70. But as soon as ink hits paper, she’s mine and I’m hers, and our geek powers shall set you free.
And while I’ve known for a while she was the one, how I was going to do it that would be good fodder for dinner parties and for post production industry acronym discussions – that angle eluded me. GEEK, NERD, + MARRIAGE PROPOSAL Google searches seemed to pop up cool ideas, but nothing that married (ahem) my life choice of Post Production with my life mate choice of Kate.
Then it dawned on me: 3D. It’s future viability in this world aside, it offers a technical and logistical challenge, and would be something she wouldn’t see coming. 2 things which could be a whole ‘lotta fun to exploit.
Update: You can also view the entire 3 part series here: https://www.youtube.com/playlist?list=PLdrhoSWYyu_WJ7QUOLcBALfCHbS0d6fC2
Shared Storage – the least sexy of the post production technologies. Shared Storage is not the hot chick in class. She’s the quiet librarian with glasses that you end up falling for when the unreliable hot chick loses her sheen. She’s got everything you need: reliability and stability, and flashing lights. (Maybe the flashing lights thing is just me.)
In part 1 of 3 part posting, I’m going to examine shared storage for video – SAN & NAS.
Gonna mix it up a bit with this post, and go video on ya.
In this demonstration, we use a Pro Res timeline in Final Cut Pro, send it to Avid without creating any new media, and have the sequence not only open, but also utilize the same media – all using Automatic Duck & Avid’s AMA feature in 5.0 – via a hidden (undocumented) trick!
This more of a tech note than dissertation.
JVC, Hyundai, Sony, Panasonic, and the like – are all coming out with 3D monitors. And they’re all flat. And they’re all shiny and sleek. Other subjective features aside, many of the ones you’ve been eyeballing don’t quite cut the mustard when used in the edit bay. Here’s why.
The post industry lives and dies around the concept of deliverables. What specifications have to met to appease the viewer, server, or engineer on the other end. Many times, just getting the deliverable out is a chore in itself. The last encoding format sheet I read from a leading encoding manufacturer had 5 pages of supported input / output formats. Being able to decipher these often cryptic encoding acronyms and numeric values appears to need a degree in engineering.