PANELLISTS
❝ The emergence of digital technology with regard to larger than HD resolutions has caused the industry to rethink production techniques .❞
16
April October 2012 2018
A vibrant new era of storytelling
Postium expands footprint into the Americas
Postium Korea has appointed Postium America as its distributor for North and South America . The deal sees Postium America providing its expertise on product selection and integration , and offering products through reseller channel partners throughout the Americas . Wes Donahue , VP of sales and marketing , Postium America , commented : “ Our industry is transforming with new distribution models and more content deliverables than ever before . New technologies such as high dynamic range ( HDR ) and 4K / Ultra HD ( UHD ) are changing how content creators express their creative vision , and Postium America offers a wide range of feature-rich , colour-accurate displays to make sure its vision is faithfully reproduced .”
Atomos supports 4K / UHD 10-bit video from Nikon cameras
The new Nikon Z6 and Z7 mirrorless cameras output a full-frame 10-bit 4K / Ultra HD ( UHD ) N-Log signal , which the Atomos Ninja V monitor / recorder can record and display in HDR . This combination , according to Atomos , is aimed to raise the bar for filmmakers and photographers shooting video everywhere . Both the Nikon cameras are equipped with sensors that output 4K / UHD images over HDMI , ready for conversion to HDR by Atomos . The Atomos Ninja V then records the output to production-ready 10-bit Apple ProRes or Avid DNx formats .
Next Month @ Creation
Power , Lighting and Camera Support System
PANELLISTS
Dr Ahmad Zaki Mohd Salleh
Director Technical Operations TV Networks Media Prima
Phan Tien Dung
CTO Vietnam Digital Television
Mike Whittaker
Executive Vice-President and CTO , Asia-Pacific and the Middle East , Fox Networks Group Asia
Prior to any final broadcast , video content goes through a long process of conceptualisation , acquisition and the final stage of post production , where the picture is enhanced , bringing out more details and dynamic range . Josephine Tan finds out how today ’ s editors can leverage 4K / UHD and HDR technologies to bring their stories to life .
It is no secret that HD has become a norm for filmmaking , regardless if the final content is being distributed onto linear or online platforms , or a combination of both . This is evident in today ’ s professional camera marketplace where most camera systems are readily HD-equipped .
In order to match the colours as closely to reality as what the human eye sees , the industry has introduced higher resolution formats beyond HD , as well as high dynamic range ( HDR ), to provide more details and dynamic range of luminosity . To meet these demands , camera manufacturers have developed cameras that are capable of recording up to 4K / Ultra HD ( UHD ), or even 8K , while integrating HDR capabilities within the camera systems .
And in the near future , in post production , which perhaps is the last stage of the broadcast and film acquisition chain , colourists and editors will be editing videos containing high-resolution images and greater dynamic range .
David Colantuoni , senior director of production management , Avid , tells APB : “ With all of this technical change , never before has a director of photography ( DoP ), director or editor been given such a wide range of options for creating content . Today ’ s camera technology is capable of capturing larger than 4K / UHD , and HDR workflows add another level of complexity , but an extended range of looks that can be achieved for the ultimate creative differentiation .
“ Emerging 4K / UHD and HDR technologies allow for differentiation to the viewer . High-quality content can be produced that differentiates from other traditional programming . Camera technology and allowing for higher depth field or capturing of more colour and luminance information — as a scene is being shot — allows for greater downstream creative control .”
Suggesting that the emergence of 4K / UHD has created “ incredible change ” in post-production workflows , Colantuoni highlights that with the availability of these high-resolution digital cameras , every production
From first cut to final finishing , Avid Media Composer provides editors with the tools they need to work with HDR and 3D content .
The image on the right reveals more brightness and details after an editor colour graded the image on Adobe Premier Pro .
detail downstream from capture has to be considered .
Across the entire production chain — from on-set production , dailies processing , ingest , storage , editorial , delivery to archive of material — all these areas pose different challenges from traditional post production , as well as from a technical production aspect ,
❝ The emergence of digital technology with regard to larger than HD resolutions has caused the industry to rethink production techniques .❞
— David Colantuoni , Senior Director of Production
Management , Avid he points out .
“ For instance , on-set production and dailies processing have to be more powerful and allow for the archive of camera originals . Ingest and storage have to be faster and have a larger capacity . Remote editorial needs higher bandwidth and controls for security and performance . As for delivery , the