At Finepoint, we always get excited about attending the NAB show. With tens of thousands of video professionals from around the world gathering together, NAB is a great opportunity for us to get exposure to all the latest news and technology in the world of video and post production, as well as giving us the chance to catch up with all our industry friends and customers. We always come away exhausted but full of ideas.
Love it or hate it, 2016 will certainly be a year to remember, for many reasons.
In the world of post-production, we've seen high dynamic range become incorporated into UK studio pipelines for the very first time. We watched Ang Lee demonstrate exactly what you can do by shooting at 120 frames per second in combination with stereo 3D. We've even become stunned spectators as film steadily makes a comeback as a creative medium, and VR goes from tinkerer specific to becoming a fully-fledged consumer technology to buy.
I like IBC in the same way that I find NAB grating. Maybe I have been living in the UK for too long, but the bright morning Amsterdam sun breaking through clouds and reflecting off the canal while fit young things on bicycles pedal to college; snapchatting with their friends and avoiding collisions with practised ease has a certain charm. You just don't see that in the after-party morning-after haze of the Las Vegas Strip in the harsh desert sunlight.
It's been 20 years since Microsoft founder Bill Gates uttered the words "content is king," and never has that statement been more true in media production environments. And yet, ask producers in any high-pressure broadcast operation to name their biggest challenges, and you can bet that managing video assets - finding them, accessing them, and using them efficiently and effectively - is high on the list.
Ultra high definition television (UHDTV) offers more resolution (4K), high dynamic range (HDR), high frame rate (HFR) and wide color gamut (WCG) as tools to radically enhance the consumer viewing experience but they also pose some of the biggest questions about what the future of TV will look like.
The majority of LCD screens rolling out of the huge factories are now 4K-ready. They have a lot of pixels, and were not going to be chopping them up with a hacksaw to make small screens in a hurry. Even cheap mobile phones have more pixels than the big TV set that hangs on the wall of the front room in my house. Given there are almost no 4K consumer services out there, do we really need High Dynamic Range (HDR), High Frame Rate (HFR) and Wide Colour Gamut (WCG)? At the risk of being opinionated, I say yes!
South Africans are known for being to the point, so when I was told that I had done the whole thing Arse Backwards I wasnt unduly upset, but I did feel a need to justify the way I had approached this project.
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