This article on B&H Photo Video covers a lot of details on video editing – drives, drive options, speed calculations and more.
Video editing is one of the most demanding tasks you can execute on a computer. A modern video-editing program such as Adobe Premiere requires high performance from the processor, RAM memory, GPU (if using GPU acceleration), as well as storage drives. Choosing a fast storage solution can be a little tougher than picking the fastest computer processor, as there are more tradeoffs involved. The largest drives aren’t always the fastest, and speeds can vary a great deal. This guide was created to help you choose the right storage drive (or drives) for your editing needs, from the small to the large.
How much bandwidth do you need?
“The first step in choosing a drive is to determine how much storage space you need, as well as how fast your data can be stored and retrieved.”
The first step in choosing a drive is to determine how much storage space you need, as well as how quickly your data can be stored and retrieved. The biggest determining factor is what codec and resolution you will be editing in primarily, since the amount of space that different video codecs occupy varies widely. 1080p ProRes HQ, a popular editing codec, will set you back about 112GB an hour, whereas 1080p AVCHD only takes up about 11GB.
It’s also important not to confuse bits and bytes. Most codecs rate their speed in bits per second, whereas most hard drives publish their speeds in bytes per second. XDCAM EX’s 35Mb/s is actually only 4.5MB/s. A handy tool for determining the amount of bandwidth you need is the AJA DataCalc app, which is available for Windows and Mac at AJA’s website. It’s also available for iOS in the Apple App Store. This tool lets you pick the codec you will be using, and it tells you how much bandwidth a single track of that codec needs in bytes per second.
Read the entire article here.
Amazon further provokes the shifting media landscape with a reward going to a feature film shot on an iphone.
Creepy “found footage” is still a thing that can engage and scare film fans, it seems, as the Amazon Video Direct Stars program has taken notice of “The Break-In” as its top title in June based on customer engagement.
The film by Justin Doescher, uploaded to Amazon’s new self-service program for video storytellers, was shot completely on a mobile phone and borrows its jerky, realistic look from such classics in the horror genre as “The Blair Witch Project” and the “Paranormal Activity” series.
And it’s a Trend. Numerous other films have been shot on an iphone, including features and shorts. Films in the U.S. and in S. Korea and other countries.
The question is what kind of accessories can give you a more professional look on your iphone. Well, that’s become quite a cottage industry.
The Mpow 3 in 1 Clip-on Lens is a small detachable jelly device that offers users a 180-degree fisheye lens, 10x macro lens and 0.65x wide angle lens to switch between.
It has a universal clamp design so while this feature concentrates on the iPhone 6/6S and iPhone 6/6S Plus, it will work on the majority of smartphones so long as their camera lens doesn’t exceed 13mm in diameter.
Sony TV had a major reshuffling of its executives, strategies and more as the streaming platforms collide with the traditional TV. Here is a deadline.com interview with new honchos over at Sony TV worth the read.
It’s a new era at Sony Pictures TV following the exit of longtime topper Steve Mosko. Under the new executive structure, five division heads — presidents of programming and production Zack Van Amburg and Jamie Erlicht, president of worldwide networks Andy Kaplan, president of distribution Keith Le Goy, and president of ad sales & research Amy Carney — report directly to Michael Lynton, CEO of Sony Entertainment.
Van Amburg and Erlicht, who have led Sony TV’s original programming expansion over the past decade, are spearheading the studio’s production operations globally. In an interview with Deadline, the duo outline their strategy for Sony TV’s future as an indie studio in an increasingly vertically integrated environment where U.S. networks have been pushing for ownership and in-season stacking rights. The two, whose contracts are believed to be up next year, also discuss a new level of cooperation with the other Sony divisions, plans for a push in international production and cable reality series, as well as the prospect for more executive changes.
Here’s the original Link at Deadline.com
EDUCATION AND ONLINE
While the collision between YouTube and educators is a fascinating subject, how does Youtube figure into the world of education?
Five popular YouTubers have drawn from their own personal and professional experience. They create videos for education in physics, art, literature and other sciences. Furthermore, their journeys into the educational world have been unique.
Education and YouTube might seem like contradictions. Vidcon has the primary focus of Entertainment in YouTube and Education with a focused interest. An early question was how to bridge the gap between the teaching focus and the learning focus. It is a difficult road to walk between two particular mandates.
Do you make stuff that help people really learn – even though it’s hard work? Or entertain and have them THINK that they’re learning?
#VIDCON2016 is the Online Video Conference in Anaheim which has been going on for several years started by the Vlogbrothers.
This conference has the most youthful energy and excitement of all the dozen conference I attended last year. In addition, you can feel the energy of their Community, Creator and Industry attendees. Best T-Shirt seen so far: ”Create Something TODAY even if it sucks.”. That statement encapsulates the Take No Prisoners to content creation, defying the usual gatekeepers in the networks, major studios and major media companies.
VIDCON is the Woodstock of youthful content creation, without much weed and free love directed toward content creation.
First session for me: ”How to Bake Brand in a Deal” which concentrates on baking and product sponsors and multimedia platforms. The panel experts say to study the brand and their platforms. Fantastic content drives the deal. In a brand deal, make sure that the content is spectacular. Be true who you are – working with the brand but make sure that you are doing the right thing by yourself too. Don’t just hang a brand into your content without being comfortable with its portrayal in your content. If it’s not authentic, you will be in a bad light and so will you work.
Streaming is killing it.
I recently came across a Wikipedia list of Television Series Canceled Before Airing an Episode. I was interested because I looked up an article on a recent deal that FremantleMedia made with British producer, Laurence Bowen. The show was “Suburban Shootout” which sounded very funny. A black comedy satire above housewives who have gangs in their ordinarily quaint and bucolic English villages.
The questions that I have to ask:
-What do these pilots and these seasons costs in their settings? Shooting on Long Island, historical projects, etc., are expensive and tough to find a price point to get into syndication.
-What is the projection of viewership over the next three to five years? Once the pilot takes hold and the first season plays, then a producer would have to produce another two or three years (26 to 39 episodes) if not four or five years (42 to 65 episodes). The reasons is that Television viewership is either changing or declining while Tablets and smartphones is growing at least for a few more years.
From Suburban Shootout:
- Suburban Shootout is a British satirical black comedy television series produced for Channel 5 and Paramount Comedy by Feelgood Fiction in association with Oxygen. The first series aired in the UK on Channel 5 from 27 April 2006. It began airing in the United States on 22 March 2006 on Oxygen and in Germany on Comedy Central in 2007. The second series began on Channel 5 on 6 September 2007.
CES 2016 is the major Consumer Electronics Show, usually in Las Vegas. If you are an inventor, photography aficionado, etc., or just a gadget crazed person, then you might want to attend.
You can read about it here in Wikipedia. The 2016 CES was held January 6–9, 2016 in Las Vegas and 3,600 companies attended; the CES 2016 venues of the Las Vegas Convention Center, the Westgate Las Vegas Resort & Casino and the Sands Expo & Convention Center had over 2.4 million square feet utilized for the event. 2016 CES had notably more security with full bag searches and police officers in armored gear and explosive detection dogs
A few highlights from the show were
Virtual Reality Headset:
This Wikipedia entry shows the varied electronics that show up at the CES in Las Vegas:
The 2015 International CES was held during the week January 6-9, 2015 in the Las Vegas Convention Center, Las Vegas, Nevada, United States. The 2015 CES was reportedly the largest in its history, with 3,600 exhibitors and 170,000 professional/industry attendees.
The Internet of Things, impacting all other industries, has been recognized as the buzzword of the CES edition 2015. The interoperability between the connected objects, with changing and multiple alliances, and if some of the products are meeting real needs or are only gadgets, are the main issues detected.
The TV season has its usual hand-wringing for cancellations throughout the traditional TV media landscape. The economics of the business are shifting dramatically insofar as the price point for programming – $2,3,4+ per episode x 13/15 episodes – is just too much capital outlay. The premier TV and cable worlds (CBS, NBC, Fox, Showtime, HBO) rely upon either advertising or subscriptions. With an advertising eyeballs model, the network still must cancel shows.
The key statement: “CBS landed six of the season’s new top 10 series in total viewers; NBC had the other 4. That said, only three of CBS’ six are returning to the network next season…”
So having six shows in the top ten and still having to cancel three of them means that the advertising-eyeball model economics is not working.
Here’s the headline from Deadline.com
With a 2.2, CBS’ Limitless was the highest-rated series in 18-49s — new or returning — to be canceled.
CBS landed six of the season’s new top 10 series in total viewers; NBC had the other 4. That said, only three of CBS’ six are returning to the network next season; Supergirl is migrating to CW; Limitless and Angel From Hell are kaput:
Little Big Shots NBC 12.4M
Blindspot NBC 11.0M
Life in Pieces CBS 10.5M
Code Black CBS 10.2M
Shades of Blue NBC 9.87M
Chicago Med NBC 9.83M
Limitless CBS 9.82M
Supergirl CBS 9.81M
Criminal Minds:Beyond Borders CBS 9.45M
Angel From Hell CBS 9.04M
In a world where software leads the way, it’s no surprise that Facial recognition software – once the bastion of a more clunky Apple iphoto world – is now the mainstream. Churches, bars, outdoor concerts and more.
A new app called FindFace, recently released in Russia, gives us a glimpse into what this future might look like. Made by two 20-something entrepreneurs, FindFace allows anybody to snap a photo of a passerby and discover their real name — already with 70% reliability. The app allows people to upload photos and compare faces to user profiles from the popular social network Vkontakte, returning a result in a matter of seconds. According to an interview in the Guardian, the founders claim to already have 500,000 users and have processed over 3 million searches in the two months since they’ve launched.
And then there’s this…
Microsoft Corp. MSFT, -0.70% has patented technology that can allow a billboard to determine who you are and show you personalized advertisements. British authorities are using facial recognition at music festivals to spot troublemakers, while brick-and-mortar stores worldwide are racing to adopt the technology to track loyal customers. Even some high schools and churches have started to use facial recognition to take attendance.