Category Archives: Courses

Full Disclosure: We recommend many courses, including our own.

HDR Explained – for the rest of us…

From the cinema exhibition view, it is getting more difficult to explain why the big screen pictures are a better quality experience for watching movies than the experience at home. The industry has never done well at explaining the differences, so it is nice to see a good attempt to explain the groundwork of what is obviously coming. One remembers the 2007 NAB/SMPTE Digital Cinema Summit when Chris Cookson, then chief technology officer for Warner Bros. explained why at all costs producers should insist on 4K deliverables if they had any respect for their future library.

In this case, the potential for getting HDR to the home is now here. With all the 4K televisions walking out of CostCo and BestBuy, and more data streaming into people’s home, it has a chance. We will see what CinemaCon brings this spring…perhaps the tech won’t embarrass us like it did last year.

HDR Explained – for the rest of us…

From the cinema exhibition view, it is getting more difficult to explain why the big screen pictures are a better quality experience for watching movies than the experience at home. The industry has never done well at explaining the differences, so it is nice to see a good attempt to explain the groundwork of what is obviously coming. One remembers the 2007 NAB/SMPTE Digital Cinema Summit when Chris Cookson, then chief technology officer for Warner Bros. explained why at all costs producers should insist on 4K deliverables if they had any respect for their future library.

In this case, the potential for getting HDR to the home is now here. With all the 4K televisions walking out of CostCo and BestBuy, and more data streaming into people’s home, it has a chance. We will see what CinemaCon brings this spring…perhaps the tech won’t embarrass us like it did last year.

Blending the Basics of Audio and Light (Pictures): Part One

It would be truly special if there was a knob-based solution for these issues, but a knob doesn’t even work for the first problem of increased volume (pardon the pun). To explain the reasons why goes into the gory details of reminding the reader that the difference between 80 watts of amplifier power and 100 watts of amplifier power is – at best – only 1dB of power at the speaker.

“At best” includes all the mitigating factors of distance and direction and absorption/reflection/phase that waves get tampered by. The effects of cable and connectors, the type of box that the speakers are in and the speakers themselves will determine whether adding more power at the front of the process will add significantly at the far end of the process (the audience’s ears), not only with quantity, but without making the quality worse.

And let’s not forget that an audience in thick winter clothing will hear something different than the mixer who was behind a flat reflective mixing console in comfortable clothes. Nor should we forget that the human hearing system doesn’t perceived all frequencies the same: for example, an increase of 2dB at 1kHz will require x power, but the same increase in perceived volume at 100Hz would require several times x power, and the lower the frequency the more power needed. See:Equal_Loudness_Contours and Phon.

The higher frequencies have their own problems getting through the perforations of the movie screen, but they also have problems with the sound waves that don’t make it through and which bounce back into the speaker that is busy producing the next waves. Increased level just increases phasing problems, and that ain’t the half of it. This and other facts are detailed in two papers in the December 2012 SMPTE Motion Imaging Magazine: Further Investigations Into the Interactions Between Cinema Loudspeakers and Screens and Can We Make Movie Theaters Sound Better and More Consistent? [Membership link]

So, there. Audio. From being able to hear a mosquito buzz at 3 meters, to understanding the roar of a jet engine (for not more than a slice of a second please…), that’s 15 orders of magnitude of sound pressure whether you measure it as Watts: 10-12 – 103 W/m2, or dB of Sound Intensity level (a logarithmic scale): 0 -150 dB, or in Pressure in Pa: 0.00002 to who knows…maybe 600 rms. What ever unit is used, what they are measuring is called Dynamic Range.

And just in case you were wondering, it isn’t much different for light. The amount of light that the human visual system can handle is defined by the sun (like the jet engine, not to be endured for not more than an extremely small slice of a second), which measures in at 1.6×109 cd/m2 at noon, while the dimmest that the eye can see, the threshold of vision, is 0.000003 cd/m2. Give or take an order of magnitude, sound and vision have much the same dynamic range. For both the ears and the eyes there are also a number of ranging mechanisms to protect the system while allowing this dynamic range – some physical, some chemical, some electronic.

Both sound and vision deal with waves and and a vary tight bandwidth of frequencies. It is these that we deal with when we design systems to play movies and sound in an auditorium. Fortunately they are spaced so far apart that they don’t interact with each other, but that is about the only benefit a scientist has when trying to reproduce stimulus recorded and stimulus played back. These waves interact and react differently at small differences in distance.

Which brings us to the end of Part One of this study. Further on we will look at what immersive audio systems and better screens and laser light engines are trying to solve – and it isn’t some conspiracy to put butts in seats and money in someone’s pocket. There are real problems with real compromises at every decision point. We’ll discuss speaker excursions and laser frequencies on the power curve in the next article.

Blending the Basics of Audio and Light (Pictures): Part One

It would be truly special if there was a knob-based solution for these issues, but a knob doesn’t even work for the first problem of increased volume (pardon the pun). To explain the reasons why goes into the gory details of reminding the reader that the difference between 80 watts of amplifier power and 100 watts of amplifier power is – at best – only 1dB of power at the speaker.

“At best” includes all the mitigating factors of distance and direction and absorption/reflection/phase that waves get tampered by. The effects of cable and connectors, the type of box that the speakers are in and the speakers themselves will determine whether adding more power at the front of the process will add significantly at the far end of the process (the audience’s ears), not only with quantity, but without making the quality worse.

And let’s not forget that an audience in thick winter clothing will hear something different than the mixer who was behind a flat reflective mixing console in comfortable clothes. Nor should we forget that the human hearing system doesn’t perceived all frequencies the same: for example, an increase of 2dB at 1kHz will require x power, but the same increase in perceived volume at 100Hz would require several times x power, and the lower the frequency the more power needed. See:Equal_Loudness_Contours and Phon.

The higher frequencies have their own problems getting through the perforations of the movie screen, but they also have problems with the sound waves that don’t make it through and which bounce back into the speaker that is busy producing the next waves. Increased level just increases phasing problems, and that ain’t the half of it. This and other facts are detailed in two papers in the December 2012 SMPTE Motion Imaging Magazine: Further Investigations Into the Interactions Between Cinema Loudspeakers and Screens and Can We Make Movie Theaters Sound Better and More Consistent? [Membership link]

So, there. Audio. From being able to hear a mosquito buzz at 3 meters, to understanding the roar of a jet engine (for not more than a slice of a second please…), that’s 15 orders of magnitude of sound pressure whether you measure it as Watts: 10-12 – 103 W/m2, or dB of Sound Intensity level (a logarithmic scale): 0 -150 dB, or in Pressure in Pa: 0.00002 to who knows…maybe 600 rms. What ever unit is used, what they are measuring is called Dynamic Range.

And just in case you were wondering, it isn’t much different for light. The amount of light that the human visual system can handle is defined by the sun (like the jet engine, not to be endured for not more than an extremely small slice of a second), which measures in at 1.6×109 cd/m2 at noon, while the dimmest that the eye can see, the threshold of vision, is 0.000003 cd/m2. Give or take an order of magnitude, sound and vision have much the same dynamic range. For both the ears and the eyes there are also a number of ranging mechanisms to protect the system while allowing this dynamic range – some physical, some chemical, some electronic.

Both sound and vision deal with waves and and a vary tight bandwidth of frequencies. It is these that we deal with when we design systems to play movies and sound in an auditorium. Fortunately they are spaced so far apart that they don’t interact with each other, but that is about the only benefit a scientist has when trying to reproduce stimulus recorded and stimulus played back. These waves interact and react differently at small differences in distance.

Which brings us to the end of Part One of this study. Further on we will look at what immersive audio systems and better screens and laser light engines are trying to solve – and it isn’t some conspiracy to put butts in seats and money in someone’s pocket. There are real problems with real compromises at every decision point. We’ll discuss speaker excursions and laser frequencies on the power curve in the next article.

Network Training – BE

The BEST Learning Experience Available. 
The revolution in broadcast technologies has brought extraordinary challenges to professionals responsible for production, operations and management. Our Specialized VideoTraining is a unique learning experience developed by Broadcast Engineering and industry experts who are committed to keeping professionals current with new technological alternatives, helping you to understand the implications, reviewing your options, and making more informed decisions.

What you can expect from Broadcast Engineering Specialized Training Videos

Your purchase will give you access to video training courses authored and presented by industry experts. Developed exclusively for broadcast professionals the training addresses specific challenges you face now and how to prepare for the future.

  • All content is authored and presented by industry experts
  • All sessions are recorded in HD, all the time. Crisp and clear video.
  • 90 Days of On Demand Access from your purchase date

Course Info & Pricing

File-based technologies have replaced video tape methods for a majority of production and broadcast operations. The worlds of AV and IT are coalescing to create new methods and workflows for media production. This seminar series reviews the following essentials:

  • Introduction to file-based workflows (file transfer, streaming, IT basics/values, new standards)
  • Storage systems for media (SAN, NAS, virtual storage, file systems, archives, metrics)
  • Software and Services overview (architectures, middleware, SOA, web methods)
  • Building ultra-reliable media systems using IT methods (15 methods for reliability)
  • IT Networking for media (layer 2, 3, QoS metrics, TCP/UDP, fast file xfers)
  • Security for media systems (five tactics for secure isolation, encryption basics)
  • Media systems integration concepts (the 3 planes, file formats, MAM, system issues)
  • Essentials of cloud computing for media systems (types compared, benefits)

File-based technology and workflow: the essentials of professional networked media. The complete video training course consists of 8 modules that are each 45-60 minutes in length. Modules may be purchased and viewed stand-alone, but Module 1 is foundational for the other seven. Please review module abstracts for full video training session content

You have the option of purchasing the full training course at a discounted rate of $185. This option includes all eight training modules and will provide you with access to the training course for 90 days. 

You may also purchase individual modules at a rate of $29 per module.

Network Training – BE

The BEST Learning Experience Available. 
The revolution in broadcast technologies has brought extraordinary challenges to professionals responsible for production, operations and management. Our Specialized VideoTraining is a unique learning experience developed by Broadcast Engineering and industry experts who are committed to keeping professionals current with new technological alternatives, helping you to understand the implications, reviewing your options, and making more informed decisions.

What you can expect from Broadcast Engineering Specialized Training Videos

Your purchase will give you access to video training courses authored and presented by industry experts. Developed exclusively for broadcast professionals the training addresses specific challenges you face now and how to prepare for the future.

  • All content is authored and presented by industry experts
  • All sessions are recorded in HD, all the time. Crisp and clear video.
  • 90 Days of On Demand Access from your purchase date

Course Info & Pricing

File-based technologies have replaced video tape methods for a majority of production and broadcast operations. The worlds of AV and IT are coalescing to create new methods and workflows for media production. This seminar series reviews the following essentials:

  • Introduction to file-based workflows (file transfer, streaming, IT basics/values, new standards)
  • Storage systems for media (SAN, NAS, virtual storage, file systems, archives, metrics)
  • Software and Services overview (architectures, middleware, SOA, web methods)
  • Building ultra-reliable media systems using IT methods (15 methods for reliability)
  • IT Networking for media (layer 2, 3, QoS metrics, TCP/UDP, fast file xfers)
  • Security for media systems (five tactics for secure isolation, encryption basics)
  • Media systems integration concepts (the 3 planes, file formats, MAM, system issues)
  • Essentials of cloud computing for media systems (types compared, benefits)

File-based technology and workflow: the essentials of professional networked media. The complete video training course consists of 8 modules that are each 45-60 minutes in length. Modules may be purchased and viewed stand-alone, but Module 1 is foundational for the other seven. Please review module abstracts for full video training session content

You have the option of purchasing the full training course at a discounted rate of $185. This option includes all eight training modules and will provide you with access to the training course for 90 days. 

You may also purchase individual modules at a rate of $29 per module.

3D Lab in the Middle East – Real Vision

The 3D Lab was inaugurated last week, and has been well received by the press.

In a nutshell the 3D Lab has been built to encourage best practices in stereoscopic 3D production.

Production studios and professionals from the GCC, Arabian gulf region, and India have already shown keen interest to attend workshops to be conducted at the 3D Lab, and to meet like minded professionals in this collaborative environment.

Mutually beneficial Opportunity:

The 3DLab welcomes hardware and software manufacturers to place on permanent loan, equipment and NFR versions of software, which will be exposed to regional production houses and potential clients.

The 3DLab can act as showcase and will not be polarized or biased toward any one technology or vendor.

Feel free to contact Clyde in this regard.

More on the 3DLab in pictures: http://bit.ly/rsray9

Current equipment and facilities in the 3DLab

  • ET Quasar Rig (for broadcast 3DTV and cinema configs)
  • Panasonic AG3DA1
  • Prosumer 3D cameras from Sony and GOPro
  • Digital Projection’s Titan 2K 3D projector
  • Real D polarizer projection system
  • JVC professional 3D monitors
  • Cineform NEO 3D (full license)
  • The Foundry NUKE + Ocula (full license)
  • Classroom collaborative environment for workshops.
  • Studio zone, Hardware beta test zone and dedicated Software sandbox area.

Areas of exploration and interest:

  • Laser scanning and data set visualization
  • Stereoscopic Caves
  • 3D Rigs
  • Camera systems
  • Virtual Sets and Realtime tracking
  • Broadcast 3DTV infra structure and workflows
  • Stereo 3D gaming

and more…

 

Clyde DeSouza can be reached at Real Vision at [email protected] – The Real Vision site is at: RealVision.ae Knowledge Base and stereoscopic 3D Blog

Manhattan Edit Workshop

  • Learn the leading industry tools: AvidFinal Cut Pro and After Effects.
  • Work with top editors in our Artist in Residence Program.  Recent Artists in Residence include:  Meg Reticker (30 Rock, The Wire, Bored to Death)Jean Tsien (Dixie Chicks: Shut Up & Sing, Travis.)
  • NEW! – Create a professional editors reel AND build your own website to showcase your work.
  • Take the Apple and Avid Certification exam FREE! ($300 value)
  • FREE! tickets to EditFest NY and EditFest Short Cuts events (over $349 value)
  • Cut on your own workstation for the duration of the class.
  • Get exclusive Six Week Alumni discounts on Mewshop workshops, and merchandise from B&H Photo and Tekserve.

Stereographic 3D Cinematography Course

Stereographic 3D Cinematography Course
August 28 – 30, 2010
(Three Days – Saturday/Sunday/Monday)
Registration and Additional Information here.
Theory, workflow and hands-on with the latest 3D rigs and HD camera systems. This is the first stage in the Santa Fe 3D Workshop Program, which is designed to provide increasingly advanced and intensive levels of S3D Cinematography training and testing.

The Los Angeles 3D Workshop is presented in association with VER 3D. And with Fujinon,IRIDASAngenieuxS.two1BeyondElement TechnicaMore2CamDSC Labs3reedom DigitalConvergent Design and Fletcher Cameras & Lenses.

Instructors include Geoff Boyle, Aaron James, Maninder Saini, Mike Spodnik SOC, Bob Kertesz and Dan Kneece SOC. Guest speakers – Miles Shozuya, Fujinon; Steve Crouch, IRIDAS; Ted White, S.two Corp.; and George Palmer, Thales Angenieux.

Certifying Help | MacUser

Although our new and vivacious, if underfunded, universities seem able to pump out thousands with natty certificates claiming competence in sports sciences or media studies, practical aspects of computing are almost entirely lacking. Heavyweight software development, …

[Editor: This article is a nice launch point for discussing the education standards for industrial application. The ad hoc methods that the audio, video, exhibition world have evolved with may be past their due date: parse and discuss.]

Read the entire MacUser UK article at:
HELP – Universities are churning out students with computing degrees, but these mean little until…

 

In some senses, computer qualifications aren’t essential to the safety and well-being of society. The competence of the electrician re-wiring your office or home, or the gas installer plumbing in a replacement boiler, has immediate bearing on your safety. …

There are plenty of other computer-related tasks that have more serious implications. How, for example, can we tell whether a selfprofessed security expert is both speaking with authority and …

I’m no fan of the proliferation of qualifications, nor of meaningless recertification schemes that afford the incompetent false authority to continue to practise. However, Europe needs to move with the times and bring in something more useful and recognised than the minimal European Computer Driving Licence (ECDL). It’s time to develop some meaningful qualifications to bring credence to those whose occupation requires technical knowledge of Macs and other computer systems.

Howard Oakley

Digital Cinema Tango! at Cannes Festival

Starting the dance this year is the Observatory’s cinema analyst Martin Kanzler who will look the overall 2009 box office trends. Stepping out nearby will be Elisabetta Brunella of Media Salles with an analysis of digital roll-out in Europe for 2009. They will be joined by Susan Newman, the Observatory’s film funding analyst who will present a guide to the public funding currently available for digital roll-out. Also tripping the light fantastic will be Francisco Cabrera, Legal Analyst at the Observatory, who will focus on the complex legal issues surrounding state aid for digitisation by looking at recent national decisions in the field.

A distinguished line-up of speakers, moderated by André Lange, Head of Department at the Observatory, will then take to the floor to look at the challenges and threats posed by digital roll-out to European films and their space on cinema screens in Europe. Confirmed speakers include Ian Christie, Vice President of Europa Cinemas and Christine Eloy of Europa Distribution, Aviva Silver, Head of the MEDIA Programme of the European Union, and Antoine Virenque, President of the European Digital Cinema Forum.

The Observatory will have its stand, as ever, on the Cannes Film Market and will be presenting three new cinema-related information products. The access-free KORDA database on all sources of public funding for film and audiovisual works in Europe has been totally re-vamped and the new improved KORDA will be available for consultation on the Observatory’s stand (A6 Riviera) throughout the market. Susan Newman, will demonstrate the new database on Saturday 15 May. Francisco Cabrera will be present to talk about his new IRIS plus report on the legal aspects of digital cinema roll-out which will be available on the Observatory’s stand. A further issue of IRIS plus on product placement will also be published during the Cannes Film Market. As every year, the latest issue of the FOCUS – World Film Market Trends, published in collaboration with the Cannes Market, will be available as a give away on the stand.

As usual, the Observatory can be found on the Marché du Film on stand A6 Riviera (tel.: + 33 (0)4 92 99 33 17).


To register for the Observatory’s conference
fill in the WORD registration form you can download here and email it to: [email protected]

Participation is free to anyone with a Cannes Film Market or Festival accreditation.

Alternatively, you can fax it to us on: + 33 (0)390 21 60 19
Or send it to:
Cannes conference
European Audiovisual Observatory
76 Allée de la Robertsau
F-67000 STRASBOURG

For further information about this conference, contact
Alison Hindhaugh, [email protected]
Tel.: +33 (0) 3 90 21 60 10 – Fax : 33 (0) 3 90 21 60 19

Cannes contact telephone: +33 (0) 6 84 35 27 43