Adobe

IBC 2017 is over for another year

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Well IBC 2017 is over and Carl has been checking out some of the new tech toys available to content producers the world over. New cameras, updated edit systems from Avid and Adobe, and lots of new camera stabilization systems.

The two Marks are very interested to explore Carl’s experiences with the new Panasonic EVA1, the GH5, and the updated Blackmagic Ursa MiniPro.

 

IMAG1654 IMAG1653Carl will be back next week where he will be thoroughly grilled by the image acquisition inquisition, check back soon to see his thoughts.

The CB to IBC 2015!

The 2015 International Broadcast Convention, or IBC, is on again in Amsterdam and this year I (Carl) am making the trip for the first time. The convention provides an opportunity for manufacturers to showcase their latest offerings in technology – from acquisition, post, storage, and broadcast media platforms – anything to do with content really!

So what is it all about? The last 5 years has seen an explosion in the way content is delivered and viewed, as well as the roll out of new formats, including the never ending cycle of increasing resolution! With UHD/4K a reality for end users, talk is now of higher resolutions still and the compression techniques and formats to deliver them. I will be attending seminars and workshops across a spectrum of topics that involve our work now, and where we see it in the future.

From an production perspective, we have been creating and delivering UHD/4K content for nearly 2 years. This process saw us build and commission a new 4k edit suite in the form of an Avid Media Composer workstation that was equally capable of cutting as well as compositing. But this year it is the camera department’s turn and I will be getting hands on with Sony, Panasonic, Arri, Canon and Blackmagic’s 4k production camera lineup prior to purchase. Much to the envy of the two Marks.

In the software areas I’ll be visiting Avid (of course), Adobe, Lightworks and Blackmagic. Blackmagic’s “Resolve” software is rapidly gaining a reputation for editing as well as its more traditional colour correction role. This could see it join Avid as our #1 long form edit platform.

Then of course there are all the other manufactures and “toys” I’ll be looking at. Drones are big news right now, and our current 4K test platform will get superseded by a monster rig with production 4K acquisition in the next 12 months – with my own personal CASA certification.

So stay tuned – on my return I plan to write a series of articles on what I learn at IBC 2015!

Meet the Crew – Carl

The first in our series of stories introducing the crew here at GMi, today we meet Carl, business owner, production manager and editor.

I was trained in theatre and TV lighting design, and became fascinated with editing after extended work experience at STW9 in Perth. Back in the early ’90s editing was as much a technical skill as a creative one.  Keeping machines in sync, levels correct and work ordered was essential in the days of linear editing. Jobs arrived in boxes – camera tapes, C-Format reels and hand written shotlists with time-code. Making an effect as simple as a dissolve required an edit controller and a room full of fridge sized machines rolling 1″ tape.

Today we take computers for granted and far more complex effects can be produced.  I now drive a non linear editing system running the industry standard Avid Media Composer software.  This has opened the door to more creative possibilities and exploring these techniques is my passion. To be able to restore a project from 5 years ago and pick up where I left it is another fantastic bonus.

GMi has given me the perfect vocation. I get to be creative, play with computers and work in my own business with people who share my passion – I’m very lucky.