At the SMPTE 2015 annual conference, broadcast consultant Jim DeFilippis, Grass Valley camera executive Klaus Weber, and Panasonic researcher Hiroaki Iwasaki, among others, looked at the challenges involved with adding higher frame rates, higher dynamic range and wider color gamut for 4K resolution and beyond. Baylor University professors Corey Carbonara and Michael Korpi attempted to find the perfect amount of frame rates, exposure times, lighting, and refresh rates to arrive at the best image. Continue reading SMPTE 2015: Challenges of Adding HDR, HFR and Color to 4K

For box-office hit “The Martian,” 20th Century Fox and its Fox Innovation Lab developed a VR experience that will debut as a commercial release in the first half of 2016. The VR experience relies on Oculus headsets but will also be available with other devices. The experience is based on the lead character of the movie, putting viewers into the challenges faced by astronaut Mark Watney on Mars. Filmmaker Robert Stromberg said the “thrilling” experience aims to provoke a wide range of emotions including anxiety and success. Continue reading Fox Innovation Lab to Debut Virtual Reality with ‘The Martian”

The Society of Motion Picture and Television Engineers has published a study group report on the high dynamic range imaging ecosystem, now available for download on the SMPTE site. The report provides a detailed summary regarding “the implementation of HDR in professional media workflows and addresses key questions that will arise for industry members as they move forward in taking advantage of HDR technology.” In addition, it provides recommendations for standardization efforts. According to SMPTE, the report reflects the efforts of 170 international experts. Continue reading SMPTE HDR Report Offers Recommendations for Standards

A large number of potential partners are vying to cut deals for Vice TV channels across Europe, expected to launch in the next 12 to 18 months. But plans aren’t moving fast enough for chief executive Shane Smith who is eager to ink agreements not just for TV but mobile, online and OTT. The company is already set to launch a U.S. channel, and expected to partner with A+E for that venture (although Smith more recently declined to say who his U.S. partner would be), and has a Canadian outlet with Rogers Communications. Continue reading Vice to Decide on TV, Mobile, OTT Expansion Deals in Europe

In GoPro’s first ever deal with an educational institution, the camera company and USC School of Cinematic Arts announced that USC students will receive help to distribute, monetize and promote content created with GoPro camera equipment. As part of the deal, GoPro will donate 150 cameras and accessories, and GoPro camera technology will be incorporated into the school’s filmmaking curriculum — including education, workshops and one-on-one tutoring — this fall. The cameras will also be used for gaming and VR. Continue reading GoPro and USC Ink Deal to Use Cameras for Film, Games, VR

FotoKem VP and principal color scientist Joseph Slomka led a SMPTE webinar yesterday on “Clarifying High Dynamic Range,” detailing his experiences in working with HDR productions. High dynamic range is “gaining traction in both the consumer and professional aspects of motion pictures,” notes SMPTE, but “there are differences of opinion even in its definition and ways to approach it.” Slomka described HDR’s impact on perception of resolution and depth as well as pitfalls in production, post production and display. Continue reading SMPTE Webinar Details the Strengths and Challenges of HDR

Sony Professional Solutions America launched a YouTube channel dedicated to its own 4K camera, the F55, and 4K productions using it. The “Sony 4K” channel — which currently has 177 followers — was introduced by its two creators: channel manager Brett Erlich and director of Sony’s Digital Motion Picture Center Dan Perry. The channel will feature 4K content in three categories: a curated playlist of 4K productions shot with the F55, “tips and tricks” from the filmmakers using the camera, and how-to videos. Continue reading Sony to Build Community of 4K Creators with YouTube Channel

Up until now, Netflix has made its “original” programming by relying on Hollywood studios. In fact, many of the biggest hits associated with Netflix Originals are actually owned by other studios. But, as some studios grumble about the arrangement, Netflix is taking steps to produce its own original programming, most notably by leasing a 200,000 square foot space in Hollywood, which it plans to open in early 2017. The first production under consideration is Chelsea Handler’s new talk show. Continue reading Netflix to Open its Own Studio, Lessen Reliance on Hollywood

As interest in virtual reality heats up across industries, a number of international media players — including Disney, Sky, Axel Springer, ProSiebenSat.1 Media, China Media Capital and Evolution Media Partners (backed by TPG and Creative Artists Agency) — are investing $65 million in Palo Alto-based VR startup Jaunt. The investment follows other high-profile moves in immersive tech: Google joined venture funds in investing $542 million in Magic Leap last year, and Oculus VR raised $75 million before Facebook picked up the company for $2 billion. Continue reading Investment from Media Firms Brings Jaunt’s Funding to $100M

Atlanta-based United Parcel Service recently rolled out 100 industrial 3D printers at its hub in Louisville, Kentucky. UPS is testing whether 3D printing centers could impact supply chains and its transportation business — or prove advantageous for a new local production and delivery market. The company is proceeding cautiously; it does not want to see 3D printing cause a similar disruption to how the Internet undercut overnight document deliveries. The project is being run by Atlanta startup CloudDDM with plans to add another 900 printers next year. Continue reading UPS and CloudDDM Experiment with New 3D Printing Service

The Cinema Content Creation Cloud, or C4, an open-source framework for media production using globally distributed resources, is detailed in a new white paper published today by the Entertainment Technology Center@USC. C4 enables interoperability between humans, organizations, databases, software applications, and networks, and is essential to the globally distributed workflows of media production. The framework, written by Joshua Kolden, is a product of ETC’s Project Cloud, a collaboration between studios and technology companies to address key issues as the entertainment industry migrates production into The Cloud. Continue reading ETC Publishes White Paper on C4 Cloud Production Framework

Canon is developing a Cinema EOS 8K camera and 8K reference display, for “the production of next generation content.” Also in the works is a still-image single lens reflex camera with a CMOS sensor offering 120 million pixels, which Canon says is “the world’s highest number of pixels for a CMOS sensor smaller than the size of a 35mm full-frame sensor.” The company claims that the sensor was able to capture an image showing the lettering on the side of an airplane flying 11 miles from the shooting location. Continue reading Canon Developing Professional 8K Camera, Reference Display

Sources indicate that Apple has recently been meeting with Hollywood executives to discuss the possibility of the tech giant taking a more active role in the entertainment business by producing original programming. The group exploring the possibility reports to Eddy Cue, who handles content-related issues for Apple. According to one high-level exec who met with Apple, the goal is to launch development and production units by next year that would produce streaming content to take on Netflix and similar services. Continue reading Apple Considers Move into Producing Original Video Content

The European film and TV industries are expressing concern over two forces they believe threaten their well-being: Netflix and the Digital Single Market, a proposal by the European Commission to create a single European market, ending movie and TV territorial copyright barriers. International TV and film business groups coalesced against the latter proposal, arguing that the Digital Single Market would only benefit a handful of big global Internet platforms. Chief among those platforms, they believe, is Netflix. Continue reading Europe’s TV/Film Groups Rebuff Netflix, Digital Single Market

At SIGGRAPH 2015, Autodesk executives David Morin and Ben Guthrie described virtual production, its relationship with virtual reality and some newly released tools from their company to aid in the process. Virtual production began with Peter Jackson’s “Lord of the Rings,” got a bump of recognition with “Avatar,” and has been used on many films since. According to Morin and Guthrie, the process, which lets filmmakers create virtual worlds in-camera and composite CG and live action on set, is achieving momentum. Continue reading SIGGRAPH 2015: Virtual Production, Cousin of Virtual Reality