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 NAB Convention Photos

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PostSubject: NAB Convention Photos   Thu Apr 10, 2014 2:54 am

This switcher is from the Broadcast Pix company. We like it a ton. Not sure exactly what we end up going with, but this was one of our favorite things we saw on day one. The capabilities are vast and would allow us to integrate things down the line that we haven't even considered yet. Despite the overwhelming look of it, we believe it's quite user-friendly as a switcher we can train students on to produce "Before the Bells" on a daily basis. Here's the look of it:
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The Black Magic switcher is very high-end equipment, but we're not convinced that it's as user-friendly for training students to use. But we haven't made any final decisions yet for sure. This switcher certainly has advantages of its own too:
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The next photo below is an extension of the Black Magic switcher. This is where we find inputs, various controls, and multiple monitors:
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The Pro Cyc (which is what the floor-to-ceiling green screen is called) used here is very similar to the one in the new studio. The demo they were going through in this photo had them keyed in so they were standing on a "virtual set" background, and the little knob that the guy on the right is holding was being used to key in the Arsenal shield graphic. The Arsenal shield graphic trick might be beyond our capability (at least at first), but the green screen key is something we should be able to do from day one:
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The Mōvi camera mount by Freefly is an absolutely amazing piece of equipment. I'm quite obsessed with it to be honest. It's not cheap by any means, but in comparison to a full Steadicam rig, it's much more affordable, and it can produce mighty impressive handheld shots that will rival a Steadicam sort of look. In addition, the learning curve for students to use a Steadicam rig would be mind-bogglingly steep...basically by the time you impressed us enough to earn a shot at it, and then by the time you got good at it, you'd basically be ready to graduate. However, with the Mōvi, our top students could earn the right to use it and produce amazing results with a completely reasonable learning curve. There's no telling just yet if this is something we will be able to get, but it's something we'd like to get at some point as a highly unique (and highly effective) piece of equipment for our productions. Here's a look at Soslow testing it out at NAB:
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The lighting wasn't great for taking a photo here, but this is the model we found very interesting in our search for the right studio cameras. Whatever model we end up going with, whether it's this one or a similar one, we'll have 3 of them in the studio as we produce "Before the Bells" each morning. Here's a look:
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The NAB has pretty much any crazy video piece of video equipment you could imagine on display. Whether it's remote-controlled mini-helicopter cameras, motorcycle camera mounts, or satellite tv news vans, they're all on display at the convention. One of the ones that caught my eye in particular was this one. It looks like tons of fun, but no matter how much I pleaded, Soslow insisted that we don't have it in the budget to get a dune buggy with cameras and lights mounted on it. Fiddlesticks.
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PostSubject: Re: NAB Convention Photos   Thu Apr 10, 2014 7:44 pm

Ok day two photos from the NAB convention. It's been a great day overall. My only regret is that I didn't take a selfie with Rev Run when I saw him walking through the MGM Grand this morning. I said hello to him, and he did the same, but I should've grabbed a photo...opportunity missed...fiddlesticks. Anyway, the rest of the day was outstanding. Here are some highlights:

The Edit Share system will be a dramatic difference in the new studio. Each student will log in when using a computer workstation, and all projects and video files will be accessible from any computer, because it will all be housed on the Edit Share. You can think of this in some ways like our current "Server" in the studio, except that it's on steroids and Hulk-level roid rage.
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One of the unique abilities within the Edit Share is that you can tag clips as you log them. This can potentially be very interesting for highly involved, complex projects. For instance, in this photo below, even though the video clip of the owl doesn't match the tagging profile (for the show "Big Brother") that's loaded below it, you can imagine the tagging that might take place if we were logging (instead of a video clip featuring an owl) a video clip filmed in the Big Brother house. Editors looking to put a scene together for an episode would want to be able to search through the Edit Share for the sort of clips they have in mind, so if the clips are tagged as they're logged into the system (in this case, the tagging features where in the house the clip is filming, what kind of action/activity is going on, and who is featured in the scene/clip), the search for the right footage can be much more efficient and not feel like a needle-in-a-haystack sort of quest.
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The Edit Share will also be able to work with the Digital Rapids system pictured below. Digital Rapids will be configured to act upon anything we export to a "Watch Folder" from the Edit Share. For instance, any time we export an episode of "Before the Bells" or a PSA or a highlight reel, we can send it to the watch folder, where Digital Rapids can automatically convert it to the format we need to put it on the tv channel, and it can also automatically (and simultaneously) compress it to an HD web video so we can upload it to the website much more efficiently and consistently.
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The Float Cam and DC-Slider was one of our favorite pieces of equipment we checked out today. It can be set up with or without a jib arm to serve as a highly mobile unit that can capture effective crane type shots. The slider feature provides a highly impressive smooth look that allows it to serve as a crane or even a short-track dolly. While it's not cheap, it's a cost-effective solution to open up multiple capabilities that can add a professional look to our shots if we're able to acquire one of the base models (which is the one pictured below). We are hoping this is something we can purchase (sooner or later, but hopefully sooner), but there's no saying for sure right now it/when that might happen...but we're pitching a case for it, just like the Mōvi rig we love so much.
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Speaking of the Mōvi, we checked that out some more today as well. Here you see a guy who looks kind of like Dave Grohl testing it out and showing a little more clearly some of the angles the camera can swing to as the operator manipulates it.
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This remote follow/focus unit is how filmmakers get the most precise, accurate results using the Mōvi. One operator holds the device itself (where the camera is housed), while another operator monitors and adjusts the follow/focus.
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And now for some AMAZING camera shots. We're looking to purchase one high end digital cinema camera for our most accomplished students and our most high profile projects. The Cannon C300 got our attention due to its remarkable ability to function and excel in low-light conditions.

What follows is 3 versions of the exact same shot. The only thing that changes in all 3 versions are some settings on the camera to adjust the iris. First up, the shot as it appears naturally (which is pretty dark without sufficient lighting):
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This next version is the exact same shot, with the exact same lighting, but with a couple of adjustments, the improvement on screen is dramatic:
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And if we want, we can even take it further, as evidenced by another simple adjustment:
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Speaking of cameras, here's a slightly better look than I was able to get yesterday of the model we're interested in for our studio cameras:
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And now some things we don't quite have the money to afford, but they were undoubtedly cool, so I figured I'd share them...

Motorcycle camera mount on a Steadicam arm...
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GoPro booth just mounting their cameras to ridiculous sports cars. Unnecessary? Absolutely. But still very cool. First, the Ferrari:
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And then they rolled out the rare Italian hand-built Pagani (which costs a mere 1.3 million dollars).
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