Yves Klein, l"infini bleu, Atelier des Lumières, Paris © Culturespaces E. Spiller © Succession Yves Klein co ADAGP, Paris, 2020
Caverne du pont d'Arc - Grotte Chauvet - Syndicat mixte du département de l'Ardèche et de la région Rhône Alpes - Architectes : Fabre, Speller Architectes - Scénographe : Scène - Conception lumière © Ponctuelle
L'image au-delà de l-écran, le vidéomapping - Schmitt, Thébault, Burczykowski - couverture © ISTE Editions Ltd
Mass Hysteria, groupe de rock Métal français fondé en 1993 compte déjà neuf albums à son actif. Pour une des dates de la tournée “Maniac”, au Zénith de Paris, nous avons rencontré Thomas “Prince” Desrosier, éclairagiste du groupe et membre du collectif Chirac Design. Lire la suite →
L’article Thomas Desrosiers (Chirac Design) reprend le flambeau sur Mass Hysteria est apparu en premier sur SoundLightUp..
Previously, I wrote about how getting organized can help you to be more efficient so that you spend more time editing and less time managing media. I suggested that if you take the time to create a “master” folder structure, you can copy that structure as you begin each project rather than recreating a new system each time. And in Part 1 of this three-part series, I discussed what’s in the first two folders—Audio and Color—of the Master Folder structure.
Now I’m going to discuss the next four folders: Design, Exports, FromClient and GFX.
The Design folder is where I store graphics I’ve to create outside of the edit software. If I work in tandem with someone on shared storage, this will also be their work area. Also, as with Audio, I use Design for design projects that need to be archived with the edit project.
The Design folder is partitioned into the main types of design content and I’ve found that they cover most of the content that is created. Within some of the folders are sub-folders based on the type of work. For example, 3D might include Texture and Models folders, as well as others.
The Exports folder is pretty straightforward. What might be surprising is that there are both Deliverables and Master QT folders. It’s surprising how often I’m tasked with delivering files that aren’t at the level of a Quicktime ProRes master—just something like an h.264. Even so, I still create it.
The Approvals folder is very busy. When the project is in progress, that folder might be further divided by date-based folders, by episode/spot folders or by both. But I always make sure that the deliverables I create are put into the Deliverables folder. Another step that helps avoid mistakes.
Anything I get from the client needs to be stored with the project. Even if it’s a tiny file delivered via email, I make sure it goes into the FromClient folder. I do this even if it fits into another category, like graphics. This way I know where things came from.
The only exception is music, which I place in the Music Comps folder. This exception is because I’ve been asked, “Remember that music we used on that show in February?” This allows me to look in one place rather than two.
I don’t have a folder for the business aspect of the client—the estimates, contracts, etc. I prefer to keep that side of the business separate from the project, particularly if I’m working in a shared storage environment.
This is different than the Design folder. When I work with a graphic artist on supporting graphics, this is the folder I use to get content back and forth. From_Design is where I put all the finished graphics they created. If I need special compositing or animation added to a cut track, I place files for the graphic artist in the To_Design folder.
Note that within these folders (or any of the folders in my Master Folder) I may create subfolders during the project process. For example, within the To_Design folder, I may create folders for each scene I want the artist to work on. Why do I call it GFX and not Graphics? It’s just a shorthand I’ve always used.
Next time, I’ll cover the folder structure where I put footage.
Place de la Liberté, éclairage dynamique, Brest, France - conception lumière : Soizick Bihen © Mathieu Le Gall
The 2020 Los Angeles Zoo Beastly Ball was a live event that we produced as a live stream event due to the COVID-19 pandemic and subsequent quarantine. The event raised over a million dollars for the Los Angeles Zoo.
Here we are a few months into quarantine in Southern California. Work has been basically non-existent for quite a few months, but I wanted to reflect back on an interesting shoot that happened a little while ago. The assignment was to live stream an auction fundraiser for an organization called GLAZA. What is GLAZA? The Greater Los Angeles Zoo Association (GLAZA) is a nonprofit corporation created in 1963 to support the Los Angeles Zoo and Botanical Gardens. The zoo must retain a staff of animal keepers and trainers to care for the animals in the zoo, and the zoo itself has all kinds of conservation and endangered animal rescue programs. All of this takes funds that would normally be recouped from the normal day to day operations of the zoo in normal times.
My production partner Gregg Hall, through our company www.webcastanbeyond.com, was contacted by GLAZA to help them successfully transition what was once a live annual fundraiser to a fully online live stream fundraiser and auction called the 2020 Beastly Ball. The project presented us with several technological challenges as far as live streaming. The client had partnered with actor and comedian Joel McHale (“Community,” “The Great Indoors,” “The X-Files,” “Santa Clarita Diet,” “Stargirl”) to host the event. The client decided that we would shoot McHale’s host segments live from the Zoo. The show also included appearances from Zoo Ambassadors Lisa Ling, Carolyn Hennesy, Julie Chang, Jackie Chan, Slash, and Lance Bass as well as musical appearances from Dave Matthews and Brian Wilson, each streaming from their homes.
I was charged with setting up and shooting the Joel McHale live host segments from an outdoor location at the zoo. My partner Hall met me at the zoo with the laptop computer and live stream gear that he was bringing for the shoot while I piled our camera, grip, lighting and sound gear into my car. It was a surreal experience to actually drive my car into the zoo’s back service entrance and over the now empty walkways through the zoo. The animals were all home, but no people were there, save for a few staff that take care of and oversee the animals. These were the same walkways where, in pre-quarantine times, I had walked around the zoo with my kids when they were young. It was a strange, unique experience that could only happen in 2020 Los Angeles.
One of the tricky things about shooting outdoors, especially in a location you’ve never scouted, is planning on where the sun would be at our appointed shoot time. I took my best guess at where the sun would be by 6 p.m. when we were scheduled to go live with McHale. Luckily, using a sun tracking app on my phone, I divined the sun’s trajectory correctly, and it went down behind some trees at the time we shot, so I had a nice golden hour ambient glow that I used and filled in with a pair of LED panels. We had arrived at the location at the zoo at 2 p.m., giving us four hours to unload and build the gear and set up our shot.
Luckily, this shoot was just a single camera shot of McHale, so I was able to determine the position of my key light source, how to mic him and what the ambient sound situation was. We ended up shooting near a zoo administration building. This was mainly because we needed access to an Ethernet hookup to the zoo’s internet infrastructure. This brings up a good point of discussion that I’m often asked about by those who are brand new to live streaming, “Can we live stream just using 4G or 5G wireless?” There are products that purport to offer perfectly functioning live streaming with 1080 60p video, up to10 different sources. All just using a small battery-powered wireless hub.
I will say that in our live streaming experience, wireless live streaming isn’t yet ready for prime time in my opinion. To be completely accurate, live streaming is an inexact science, especially when you’re at an unfamiliar location, even with a hard-wired Ethernet connection. There are many things that can go wrong that can cause your stream to slow down, stop working or malfunction, randomly, all of the time. This is my way of explaining that live streaming is still somewhat of a tight wire walk where you could take one small step and have complete mission failure. We are often hired by company and organization IT departments, and even when we interface directly with IT, things can and do go wrong with the live stream. Adding the traffic, polling, bandwidth and interference issues with wireless connections and you have a recipe for likely failure.
We brought our own Peplink Wireless Router system as a backup in case the client’s Ethernet connection had a hiccup during the live stream. This is a $4,000 wireless router that we have hooked up with four different wireless providers. The key to a successful live stream is gear redundancy and having a Plan B and a Plan C in case you’re Plan A fails. For us, this means going to every job with a full set of redundant cameras, audio, a teleprompter if it’s a prompter project and, most importantly, having at least two or three options for the stream itself. Hall handles the live stream and webcast engineering while I handle camera, grip, lighting and sometimes audio if we only have a single talent for the live stream.
While Hall worked with the zoo IT staff and our client with the live stream hookup and setting up our virtual green room so our client could talk to McHale’s team offline while McHale did his live hosting segments. This brings up another good point. Our live streaming system doesn’t have a true green room function, so Hall had to invent one. Our green room can accommodate multiple guests at once and everyone in the green room can speak with and hear each other offline while our program output is live streaming. This is more difficult than you might imagine, but it’s totally necessary. In the case of this job, since it was a live fundraiser auction, our client would go into the green room to speak with and get information about how the auction was going from the staff taking the bids and tracking overall funds raised so she could notify Joel of what was happening during his live hosting segments.
One other interesting point about live streaming in 2020 during the time of the pandemic and social distancing is that most of the projects we have been producing have been remote live streams. What exactly is a remote live stream? For us, remote means that our live streaming hardware is located in Hall’s studio. The camera feeds can come from anywhere in the world. In our case, McHale’s feed was coming from the LA Zoo, about 30 miles from Hall’s studio. The system we use, VMix Call, utilizes the Google Chrome Browser running on a laptop to take the HDMI feed from the camera.
The camera’s HDMI output is fed into an AJA U-Tap to turn the HDMI input into a USB 3.0 signal that the laptop can accept. The laptop then outputs the video and audio signal via Ethernet to the client’s Ethernet input/router. On the other end at our studio, our VMix Call system, which is some very capable software running on a high-end spec PC system. On Hall’s end, the signal coming into VMix Call is then combined with graphics, other video sources, pre-recorded interstitial segments and then live stream output to the viewing destination. In this case, we were live streaming the shot to the GLAZA website, the LA Zoo website, Facebook Live and YouTube Live. We always stream to at least three to five different platforms and destinations whenever possible because things like websites crashing or freezing can often happen.
If you’re only streaming to a single destination and that web host crashes or has issues, your audience is lost with nowhere to go. If you publicize that your live stream will be available on multiple platforms and services, there’s a much better chance of your audience being able to view the live stream if problems occur. Things happen. In the case of this project, the client’s main website was quickly overwhelmed with over 100,000 users trying to get onto their website at the same time and the site went down. Luckily, because we were live streaming to other services, we think that very few actual viewers who were bidders were lost as most joined us on one of the alternative services and continued to bid in the auction
It wouldn’t be an HDVideoPro blog if we didn’t at least obsess about the production gear used at least a little, so here you go:
From our viewpoint, the event went very well. McHale was a total rock star pro, fun and easy to work with, truly hilarious and a wonderful host for the event. All of the switching, graphics, sound mix and roll-in segments went very smoothly. From the president of GLAZA, Tom Jacobsen, “The first-ever Virtual Beastly Ball hosted by actor and comedian Joel McHale took place on May 15 and succeeded beyond our wildest dreams! Attendance was fantastic, with more than 12,000 people participating over the course of the evening, 12 times our record attendance for a ‘real’ Beastly Ball. Since then, an additional 3,000 people have viewed the show, which included a special musical performance by none other than Dave Matthews. In the end, the Beastly Ball raised $1 million, far exceeding our goal. We’re so grateful for the extraordinary support from so many people.”
This was the second live stream fundraiser auction we have produced since the pandemic began, and we’ve seen a growing demand for higher-end, more sophisticated live stream services, so we’re pursuing numerous opportunities.
Matrox UK Announces AVIXA-Certified, AV-over-IP Educational Webinar Series Starting May 26, the Matrox Knowledge Net training program offers AV professionals insight into the latest topics, trends, and best practices in networked AV Montreal — 21 May 2020 — Matrox® is pleased to announce the 2020 Matrox Knowledge Net AV-over-IP Training Program: a free, five-part online ...
The post appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Phoenix, AZ – (June 1, 2020) DigiCAP is helping broadcasters manage deployment of key broadcast equipment technology needed for the transition to ATSC 3.0, or NextGen TV. Before TV broadcasters launched the ATSC 3.0 Phoenix Model Market project, DigiCAP had already completed installations of ATSC 3.0 distribution chain technology for South Korean broadcasters in the ...
The post DigiCAP Helps Phoenix Model Market Advance ATSC 3.0 Transmission Technology appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Umea, Sweden, 01 June 2020 — Intinor Technology, Sweden’s leading developer of products and solutions for high quality video over internet, is working closely with American companies JB&A, a value add distributor specialising in the field of video, broadcast, production & proAV, and NewTek, the leader in IP-based video technology, to connect with the American ...
The post Intinor connects to the American broadcast industry through JB&A and NewTek appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
While Twitch is primarily known for streaming gaming content, you can also stream presentations, tutorials, ceremonies, and events. Here's how.
As higher education institution and businesses in the Middle East begin their gradual journey toward resuming regular operations, small IT teams will be tasked with having to look after huge AV set-ups. To make their task easier – and expand its offer of network-enabled AV equipment – Sennheiser is launching the SpeechLine Multi-Channel Receiver in ...
Les 62e Grammy Awards marquent la première utilisation broadcast à grande échelle du Xtylos Claypaky par les concepteurs lumière Bob Dickinson et Noah Mitz. Lire la suite →
MONTREAL – June 1, 2020 – Grass Valley underlines its leadership in driving innovation through collaboration with the launch of GVX, a council of customers selected from the media industry’s most influential technologists and business leaders. This group of key leaders will work closely with Grass Valley executives to move media technology innovation forward in a ...
Stockholm, June 1st, 2020 – Vionlabs, the industry leading provider of AI-powered content analysis, today announced that its Content Analysis Platform has been chosen by A1 to provide content recommendations on its streaming service A1now. Through the deep insight provided by Vionlabs’ Content Analysis Platform, A1now will be able to understand why customers like certain programming and ...
The post A1now selects Vionlabs’ AI-powered solution for personalized viewing recommendations appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Sur la scène du Dansk Melodi Grand Prix à Copenhague, les 450 m2 d’écrans à LED en forme de triangles étaient alimentés par des média serveurs Hippotizer Karst+. Lire la suite →
The visual elements of a presentation are essential to the work any broadcaster makes when promoting their brand. However, if the audio doesn’t match with the quality of the visual sophistication of the presentation, then the creative might as well as kiss their audience goodbye. The way a presentation is presented on a visual ...
The post Sennheiser’s 6000 Series Offers Broadcast Professionals High Quality Audio Transmission appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Place de la Liberté, éclairage dynamique, Brest, France - conception lumière : Soizick Bihen © Mathieu Le Gall
Pour célébrer la fête des Mères, l’équipe du Royal Women’s Hospital à organisé un événement plein d’amour, impliquant le prestataire lumière Resolution X et des Scenius Unico Claypaky. Lire la suite →
L’article Le Scenius Unico illumine le Royal Women’s Hospital de Melbourne est apparu en premier sur SoundLightUp..
Les organisateurs des Knight of Illumination (KOI) 2020 au Royaume-Uni et aux États-Unis ont annoncé l'annulation de ces deux événements en raison de l'impact de la pandémie de COVID-19 sur l'industrie du divertissement. Lire la suite →
L’article Les Knight of illumination 2020 annulés en Angleterre et aux USA est apparu en premier sur SoundLightUp..
MOUNTAIN VIEW, CA – May 29, 2020 – TVU Networks, a technology and market leader in IP and cloud based live video solutions, today announced the introduction of Partyline, a groundbreaking development for social production. With Partyline, call participants can achieve a unique level of communication and interaction from remote locations as though they were ...
The post TVU Networks’ New Feature for Social Production Enables Real-time Virtual Communication and Interaction Among Production Crew and Talent appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Sound and Vision Entertainment and Freeman Provide Secure Remote Production Needs for Spring Draft With Help from Clear-Com Equipment
The post Sound and Vision Entertainment and Freeman Provide Secure Remote Production Needs for Spring Draft appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
(May 2020) — The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording. An unforeseen technical issue has come to light in the final rounds of beta ...
Previously, I wrote about how keeping organized can help you to be more efficient so that you spend more time editing and less time managing media. I suggested that if you take the time to create a “master” folder structure, you can copy that structure as you begin each project, rather than recreating a new system each time.
So, what might that folder structure look like? Over the years I’ve had the benefit of doing finish work on other editors’ projects and I was able to see their organization schemes. This allowed me to tweak my structure based on other people’s ideas. My goal here isn’t to present the be-all and end-all of file organization, but to show you what I use and to get you to think about creating your own time-saving folder structure.
I should also mention that my projects vary in size and type, as I’m sure yours do. Sometimes I do all the work; other times I work with artists like graphic designers, colorists and audio mixers. This means I might hand off files to others and receive files back from them.
The folder structure I use includes containers for sending files to collaborative artists and receiving files back from them. This way, I have a master folder structure that works for all my projects. Yes, sometimes folders don’t get used and remain empty throughout the project. That doesn’t bother me. What bothers me is not having a place to put files and having to create a new folder that might be called “graphics” one day and “motion graphics” and “supers” another day.
Let me show you my Master Folder structure. I use eight main folders: Audio, Color, Design, Exports, FromClient, GFX, Media and ProjectFiles. Most of the folders have subfolders within them. Here’s what’s inside.
Within the Audio folder are nine sub-folders. Most are self-explanatory, but some may seem a bit out of the ordinary. I use the _From_Audio folder when I’m on shared storage and audio people drop files like mixes, sound effects or music for me. I use the _To_Audio to store AAFs or OMFs and reference movies that I’ll send to audio mixers. I use an underscore to force the folder to the top of the directory because I like to keep these two folders together.
Note: I could have the audio people place finished mixes in the FinalMix folder, but if there are revisions, I like to control when these files get updated. If I let someone else “replace” a file, it might break a link in my sequence.
The Production folder is for any audio that came in from location—during production. For example, if audio is recorded using double-system sound—there are recorded sound effects, room tone (ambience) or voice overs—it all goes into Production.
While this audio might have been delivered with the footage, when I copy it to my storage, I like to put it in its own folder so I can organize it separately. Sometimes the footage folder structure created by the DIT doesn’t really follow closely with the folder structure created by the location audio engineer.
The Project folder is there in case the project files need to ride along with the video project for archiving. You’ll see later on that I do the same thing when I deal with graphics content.
A couple of other notes on audio folders: the Music folder includes a Comps folder where I store sample music selects. I also have a Purchased folder. This helps ensure that unlicensed music is kept out of the finished project. In the VO folder I have a Demo folder for sample VO artists’ auditions, and also a Scratch folder.
The color folder is fairly simple. I use the To_Color folder to store the XML and, if the colorist doesn’t have access to the original content, I also add the selects that need to be graded. I’ll store the returned XML and clips in the From_Color folder.
I relink to the graded footage in the From_Color folder rather than moving that footage into the Footage folder in order to keep things organized. If I select the “Show in Finder” command from my sequence, it takes me to the From_Color folder rather than to a subfolder in the Footage folder. So, at a glance, I know that the shot was graded.
While this may seem like overkill, it’s all about efficiency and concentrating on the edit, so little things like this can help me avoid mistakes.
Next post, I’ll talk about more folders including what I consider design and what I consider graphics.
DIT Eduardo Eguia details the imaging process used on The Mandalorian The Mandalorian is about the travels of a lone bounty hunter in the outer reaches of the galaxy, far from the authority of the New Republic. It is the backstory vision of George Lucas’, to the Star Wars bounty hunter theme that tied together ...
Want to speed up your editing in Premiere Pro? Move to a keyboard-only editing style and improve your editing speed by twenty percent.
Panasonic Announces Appointment of an Executive Officer, Organizational Change and Personnel Changes
Ayant entretenu une relation commerciale très positive pendant des années, Artistic Licence et Controllux sont ravis d'annoncer leur accord de distribution pour les Pays-Bas, la Belgique et le Luxembourg. Lire la suite →
L’article Controllux devient distributeur d’Artistic License au Benelux est apparu en premier sur SoundLightUp..