Learning Languages of the Future


Walking along the exhibit floor at the National Association of Broadcasters’s Conference in Las Vegas was an eye-opening experience. Seeing drones flying around and putting Virtual Reality goggles on was a whole new world I had never yet witnessed. I come from an audio production background, and seeing content displayed in 8K huge curved screens was truly transportive. These tools provide new ways to tell stories, and new approaches to writing will have to be developed and discovered.


While some years I focus on the latest products and technology, this year I felt I needed to brush up on the latest approaches in social media, so I used up most of my schedule attending those talks, learning everything from how (and the important of) changing your cover photo on Facebook, to understanding what an algorithm and how to use it to your advantage.

One of the things that is ever changing is the efficacy and methodology for using social media in getting a message across, but more importantly building a legitimate community with your audience.

At NAB 2015, my first class on social media was taught by Justin Seeley. He ended up being one of my favorites. I was a bit nervous that I wouldn’t really be able to catch on or understand what everyone was talking about, as these talks can get jargon heavy quite quickly, but Justin really broke everything down. He had a great sense of humor and was really great at providing information in a way that would stick with you. There is a lot of language that people may not be familiar with, but it starts out in the wild, and gets cemented in these meeting grounds, proving new methods for communication, to address things for which we once never dreamed of having words to express.

Often people attend trade shows to play with gadgets, like a science center field trip, but do not overlook the value of the conferences, where often, I find, people are really hunkering down and coming together around challenges and solutions that will trickle down into the public conversation. NAB has been consistently valuable on this front, and though some things get repeated from year to year, I can only take that as a sign that some of these ideas, are here to stay.

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10K Video Makes Clear That It’s About More than Moar

Last year, at the the NAB Show in Las Vegas, there was much ado about the workflows for the emerging 4K and 8K resolution cameras coming down the wire. But no one was talking about 10k video resolution yet.

While many scratch their heads wondering why we need Super HD, Mega HD, Ultra HD, Uber HD, HD Plus and whatever else the consumer names will be for 4K, 8K and beyond, and of course – while post production types at the mid range wonder if they are ready to commit to the overhead and storage considerations in switching to these higher resolution workflows – an astonishing new video demoing 10K footage, shot on the PhaseOne IQ180, has been released.

Phase One IQ1-series camera

Phase One IQ1-series camera

What is so powerful about this video is that it demonstrates the real reason that these much higher resolutions will not only be inevitable, but also transform the medium as whole and that is – the ability to capture minutiae that would otherwise be lost, all at once, and then zoom way in to that footage, anywhere, to be able to reframe shots on an unprecedented level. You can even extract 2 5K shots out of a frame, for example. The creative possibilities are enormous, but I will leave them to you to ponder.

Check out the 10K demo here:

10328×7760 – A 10K Timelapse Demo from SCIENTIFANTASTIC on Vimeo.

Source: Creative Planet Network

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Reframing Post

Anyone who has spent typically 2 years or longer in digital media, or television and film post production related activities, knows that one of the fundamentals of the business is ceaseless technology and workflow reinvention.

If it ain’t broke, it’s a certainty that there is someone working on a “fix” right now that holds promise of bigger features, and innovative alternate uses of budget dollars in post.

The movie Gone Girl is a great example of the cutting edge in post production. Two key staff of the movie’s post are Assistant Editor Billy Peake and Post Production Engineer Jeff Brue, who have been making presentations to audiences across the continent, speaking about the innovation of their work editing natively in 6K. Gone Girl post blurred the lines between offline, picture finishing, and visual effects, bringing it all in house as processes under the “editing” line item.


If a method didn’t exist to handle a desired process, scripts were written to take care of things, automatically. There was lesser need than typically what would be handled by going outside to a picture finishing lab, or visual effects vendor, for common enhancements such as motion stabilizing a handheld shot, or repositioning a door in the background a little more to the right. Learning to code was the suggestion when asked what new skills should be explored for those in the feature editorial department.

It all would appear very familiar to those who work in a visual effects environment. What wasn’t said, but still very clear nonetheless, is that the opportunity for this workflow marriage of editing, finishing, and visual effects for a film of this scale has been driven in large part by the hollowing out of traditional visual effects vendors from Los Angeles to other jurisdictions with irresistible tax credits. Left behind is a plethora of highly trained individuals with advanced skills who can’t, or won’t, uproot their lives to follow the vendors, and instead are abundantly available to make a home directly employed in the post department of the television series or feature production.

Yet it’s difficult to tell whether those who aren’t in the business of reinventing wheels will welcome an all-encompassing in-house workflow at all budget levels.

But it’s also worth noting that there’s nothing unusual about workflow mergers like these. Fifteen years ago, another Hollywood marriage was taking place in the independent film scene bringing digital video post production to feature filmmaking as a result of HD technology coming online. Except for a few holdouts, digital media has supplanted film to become the dominant process of acquisition, post production and distribution.

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Acclaimed Filmmakers To Speak on Mythological Storytelling in Film at NAB Show 2014


WASHINGTON, D.C. — NAB Show, the world’s largest annual conference and expo for professionals who create, manage and distribute entertainment across all platforms, will welcome acclaimed film producers Bradley J. Fischer and James Vanderbilt for a Super Session titled “Mythology Entertainment: Innovative Storytelling in Mythic Proportion,” on Monday, April 7 in Las Vegas.

Fischer and Vanderbilt will provide an in-depth look at their production company, Mythology Entertainment and discuss how they have earned a reputation for producing bold entrepreneurial projects while ensuring the integrity of the film and filmmakers.

William Sherak, co-president of content creation at Deluxe and president of Stereo D, will moderate the discussion, drawing from his own successes in visual effects work on acclaimed films “Titanic 3D,” “The Avengers” and “Thor.” The trio will share their insights into the new demands facing independent film producers, who must constantly find ways to leverage evolving technologies in order to improve their content.

James Vanderbilt is a founding member and partner in Mythology Entertainment, along with Fischer and screenwriter Laeta Kalogridis. For Mythology, he is producing futuristic film “Altered Carbon,” written by Kalogridis and David H. Goodman and based on Richard Morgan’s iconic tale “The Brigands of Rattleborge.” He is also writing and producing “The Nazi and the Psychiatrist.”

zodiac movie poster

Vanderbilt’s screenwriting credits include “Zodiac,” “The Rundown,” “The Losers,” “The Amazing Spider-Man” and “White House Down,” which he also produced. Producing credits include “Basic,” “Zodiac” and Showtime’s Suge Knight documentary, “American Dream/American Knightmare.” Vanderbilt is a writer on upcoming films including “The Amazing Spider-Man 2,” “Glide,” “Murder Mystery” and “Solace,” starring Anthony Hopkins.

Bradley J. Fischer, founding member and partner in Mythology Entertainment, began his career at Phoenix Pictures, where he was a producer on Martin Scorsese’s “Shutter Island” and six other films. He served as executive producer on Darren Aronofsky’s “Black Swan” and produced “White House Down,” Mythology Entertainment’s first project. Other producing credits include David Fincher’s acclaimed film, “Zodiac.” Fischer’s current projects include “The Brigands of Rattleborge,” “Altered Carbon” and a prequel to Stanley Kubrick’s “The Shining” that Glen Mazzara is writing.

black swan  movie poster

William Sherak is a prominent figure in post-production and feature development. His film credits as Stereo D producer include “Titanic 3D,” “The Avengers,” “Star Trek: Into Darkness,” “Pacific Rim” and “Jurassic Park 3D.” His credits as a producer with Sony and Paramount Studios came on films such as “Daddy Day Camp,” “Role Models” and “Middle Men,” and the hit TBS TV series, “Are We There Yet?,” starring Terry Crews and Ice Cube.

Stereo D is the recognized leader in high-quality conversions of 2D theatrical content into stereoscopic 3D imagery. The company was formed in 2009 and was acquired by Deluxe Entertainment Services Group Inc. in 2011.

About NAB Show
NAB Show, held April 5-10, 2014 in Las Vegas, is the world’s largest electronic media show covering filmed entertainment and the development, management and delivery of content across all mediums. With more than 93,000 attendees from 156 countries and 1,550+ exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is home to the solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. Complete details are available at www.nabshow.com.

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Adobe’s Bold Move and 3 Common Misconceptions About Creative Cloud

Adobe is all over the tech, design and filmmaking blogosphere after making the bold announcement at its MAX conference in Los Angeles that they will no longer produce packaged software but instead commit all resources exclusively to their “monthly” (actually annual contracts like your phone carrier) paid subscription model. Read more ›

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