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How to Calibrate Your Monitor in Windows and OS X

How to Calibrate Your Monitor in Windows and OS X | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it

Most people don't ever really bother calibrating their monitors because everything looks fine when they first set it up and so they just stick with that. I

Claude Booth's insight:

Useful steps and menu's when calibrating work stations. It is recommended by Claude Booth to only use a calibrator that is traceable to a NIST standard those are the professional units for monitor calibration used my the manufacturers.

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Color Grading Blackmagic ProRes and Raw Footage in DaVinci Resolve

Color Grading Blackmagic ProRes and Raw Footage in DaVinci Resolve | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
This in-depth tutorial will show you how I color correct (or color grade, as some people say) ProRes footage and Raw .DNG's from the Blackmagic Pocket Cinema Camera.  This also applies to all...
Claude Booth's insight:

Nice article yes the camera is on sale too! Once again make sure your monitor is calibrated and set to the proper work flow!  Make sure you don't use an at home calibrator or not NIST traceable THOSE THINGS ARE JUNK! 90 different colors of 6500 degrees and if your lucky which one do you have? 

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Color Correction

Color Correction | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Color Correction

This short article began with the rather dry title, "Tracking CDL Through
Post." As I began to write, my thoughts started to meander into the obvious
and maybe not so obvious ancillary aspects of this topic. I now feel the
more gestalt title, "Color Correction", actually seems appropriate. And
please forgive me if this post comes off as very "101".

I do a fair job of keeping up with the blogs, (RIP Google Reader, enter
Feedly.) Among the many great sites out there on the topic I'm always
reading about software and hardware tools, plug-ins, look building, and the
technique of color correction but very little about why it's necessary in
the first place.

So why do we color correct?

Forget building Looks for a moment. And by that I mean digitally crafting
the visual qualities - color, saturation, and contrast - of a shot instead
of doing it the old fashioned way - with optics, exposure, and
photochemistry. At it's very root, color correction is about camera
matching and shot matching within a scene so as not to take the viewer out
of the moment with an abrupt change in visual continuity. And this, more
than anything else is defined by color temperature.

A definition - Correlated Color Temperature (wikipedia):

The particular color of a white light source can be simplified into a
correlated color temperature (CCT). The higher the CCT, the bluer the light
appears. Sunlight at 5600K for example appears much bluer than tungsten
light at 3200K. Unlike a chromaticity diagram, the Kelvin scale reduces the
light source's color into one dimension. Thus, light sources of the same
CCT may appear green or magenta in comparison with one another [1].
Fluorescent lights for example are typically very green in comparison with
other types of lighting. However, some fluorescents are designed to have a
high faithfulness to an ideal light, as measured by its color rendering
index (CRI). This dimension, along lines of constant CCT, is sometimes
measured in terms of green–magenta balance;[1] this dimension is sometimes
referred to as "tint" or "CC".

Every camera sensor, every lens, in-front-of-the-lens filter, light source
(most particularly the sun and sky!), and light modifier will produce or
interpret Reference White (Chroma Free) in a slightly different way. In the
case of lenses, something like Master Primes are remarkably well matched
within the set whereas older glass like Zeiss Superspeed Mk III's, for
example, will have a lot of color temperature and even contrast shift from
lens to lens. This being the case, we can say there is a significant amount
of color temperature offset to contend with between all of our light
producing and image re-producing devices.

Here's a 50mm Ultra Prime on an Arri Alexa with camera white balance set at
3300 -3, lens iris at T2.8. Below it is an Angeniuex Optimo 24-290mm zoom
lens @ 50mm put on the same camera with the same exposure and white
balance.

The Optimo Zoom lens (bottom image) is much warmer and greener than the
prime. If these lenses were both working in the same setup, color
correction instantly becomes necessary, lest one angle looks "correct" and
the other either too warm or too cool in comparison.

All of these variables - optics, light sources, sensors, etc - and their
inherently different color temperatures often add up to cameras that don't
match and shots within the same scene that are offset from one another
along the warm-cool and green-magenta axis.

In this era of high ISO cameras, color temperature offsets are most evident
in heavy Neutral Density filters, often used to block as much as 8 stops.
In my opinion, heavy ND's are the most destructive variable in contemporary
digital imaging. Even with the best available filters such as the
Schneider Platinum IRND's, we're still seeing a lot of color temperature
offsetting with filters over 1.2. The problem is it seems that most Neutral
Density filters (either conventional or with Infrared Cut) do not retard
Red, Green, and Blue wavelengths of light in equal proportions. What we're
left with after reducing a lot of stop with ND is more blue and green
wavelength than red which is vital to the accurate reproduction of skin
tones. If this part of the picture information has been greatly reduced, it
can be very challenging to digitally push life and warmth back into the
subject's skin without introducing a lot of noise and artifacting.

Here's the 50mm Ultra Prime again.

And here with a Platinum IRND 1.2. The camera ISO, white balance and
exposure are the same. To get the stop needed to compensate for the ND, the
quantity of the light was increased on the chart by bringing it closer to
not affect its color temperature by dimming or scrimming.

Comparing the two, they're really quite close. I've got to say, the
Schneider Platinum's are the best I've found. With other sets of IRND's,
you'll see significant color temp offset even at ND .3 but with these at ND
1.2, there is only a very slight shift to green. But this is still
something that will need to be corrected.

Here's IRND 1.5. We're starting to get increasingly cool and green.

IRND 1.8

IRND 2.1

And for comparison, back to our original, filter-less image.

After depriving the image of 7 stops of light with Neutral Density, we've
unintentionally reduced some of our red channel picture information. At
this point we can correct with camera white balance by swinging the camera
to a warmer Kelvin and pulling out a little green. Or we can use digital
color correction tools like LiveGrade at the time of photography or
DaVinci Resolve in post production to match this shot with the scene. ND
filters are but one variable among many when it comes to managing color
temperature offsets spread across the camera and lighting.

Fortunately, there are numerous ways to deal with it.

In my opinion, these offsets can usually be solved most expediently with
Camera White Balance (WB). Depending on the camera and how we're doing the
recording, this WB setting is either "baked in" to the image or exists as
metadata. In the case of the Arri Alexa, the orange-cyan (warm-cool) axis
is represented in degrees of kelvin with green-magenta adjustable in "+" or
"-" points of color correction.

If you're working with the RED camera, the Redmote is great for wirelessly
adjusting white balance when you need to.

Wireless remote operation of the Alexa is a desperately needed feature. The
best we can do for now is the Arri RCU-4 better known as the "Assistant
Panel".

This is a great little device that's chronically underutilized as it gives
you full remote access to the camera unlike the Web Browser ethernet
interface which is very limited. The RCU-4 is powered through its control
cable which I've used successfully at lengths up to 150'. This device makes
white balancing the Alexa incredibly fast and efficient as it no longer
need be done at the side of the camera.

Not to get too obvious with this.. Moving on.

Another approach is to manage color temperature by putting color correction
gel - CTB, CTO, CTS, Plus Green, Minus Green - on light sources in order to
alter those with undesirable color temperatures to produce the correct,
color accurate response. Color correction tools, digital or practical, do
not necessarily apply to the creative use of color temperature. Having
mixed color temperatures in the scene is an artistic decision and one that
can have a very desirable effect as it builds color contrast and separation
into the image. Mixed color temperatures in the scene will result in an
ambient color temperature lying somewhere in between the coolest and
warmest source. Typically in theses scenarios, a "Reference White", or
chroma-free white can be found by putting the camera white balance
somewhere around this ambient color temperature.

Identifying problematic light sources and gelling them correctly can be a
very time and labor intensive process and one that doesn't happen on the
set as often as it should so is usually left up to the digital toolset.
There is now a whole host of affordable softwares that can be used on the
set at the time of photography like LiveGrade or LinkColor or later in post
production - such as Resolve, Scratch, Express Dailies, and countless
others.

When we're talking about On-Set Color Correction, we're usually talking
about ASC-CDL or Color Decision List. CDL is a very useful way to
Pre-Grade or begin color correction at the time of the photography. This
non-destructive color correction data is very trackable through post
production and can be linked to its corresponsing camera media through
metadata with an Avid ALE. When implemented successfully, the Pre-Grade can
be recalled at the time of finishing and be used as a starting point for
final color. In practice, this saves an enormous amount of time, energy,
and consequently.. $$$.

Here's one way an ALE with the correct CDL information can be generated in
Assimilate Scratch Lab:

In the top level of Scratch, here's our old friend the Chip Chart. Hooray!

We've applied the standard Alexa Log to Video 3DLUT to these shots and as
you can see, the first one looks pretty good but the rest suffer from
various degrees of Color Temperature Offsetting.

At this point, if we Pre-graded on the set, we could load the correct CDL
for each shot and be ready to output dailies.

In the bottom lower left on the Matrix page, is the LOAD button. Click it
to go to this dialog window:

Here CDL from the set can be applied on a shot by shot basis. Once
everything is matching nicely it's time to embed this work into metadata
that can easily be tracked and recalled at a later time.

Select +CDL and click "Export EDL/ALE"

From the drop-down, select .ale, and then name your ALE something
appropriate.

Now in Avid Media Composer, we're going to import this ALE to add ASC-CDL
Slope, Offset, Power, and Sat (Gamma, Lift, Gain, and Saturation) values
that will now be associated with their corresponding clips.

This post assumes a working knowledge of Media Composer. If you're not sure
how to set up an Avid project, import media, make bins, and import an ALE,
there are plenty of great tutorials out there.

Once you have the transcoded DNxHD media in the correct MediaFiles
directory, import the ALE.

Click the "Hamburger" Icon in the lower left of the bin (I have no idea
what this Selector tool is actually called but I've heard many an Assistant
Editor refer to it as the Hamburger), and then select "Choose Columns".

Here we have the opportunity to select which columns show up in our bin.
The ASC-CDL values are already embedded in the ALE we imported but it's a
good idea to verify them which we can do at the bin level by turning on
these columns. From the "Choose Column" drop-down, select ASC_SOP (Slope,
Offset, Power) and ASC_SAT (Saturation).

As you can see, all of the adjustments we made as CDL are now reflected in
numeric values and are linked to their corresponding shot in the form of
Avid metadata. ASC-CDL, while unfortunately limited in a lot of ways,
really is a fairly univeral interchange for color correction data and can
be implemented quite easily.

What we really need is a way to recall these ASC-CDL values from the ALE in
a software like LiveGrade making this color correction data even more
interchangeable.

Another possible workflow is to generate the dailies in Resolve using CDL
from the set. Once that CDL corresponds with a shot in Resolve, that CDL
can track with its correct shot all the way to finishing if the original
Resolve project(s) is used.

What's the best approach? All of the above. The right tool for the right
task and no two projects are alike. That's why a DIT is hired in the first
place, to consider the criteria and then advise the best course of action. 

Update

on 2013-06-06 14:55 by Ben Cain

Just read this related article -

http://www.hdvideopro.com/technique/miscellaneous-technique/help-desk-getting-it-white-the-first-time.html?utm_medium=referral&utm_source=pulsenews&start=1

Content feels eerily familiar!
Claude Booth's insight:

The subject is color correction but the article explains why and how it needs to be done.Very good article ! I can't get enough of the 101 this takes allot of work and thinking and I love to read articles like this! 

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Monitor Calibration for TV & Movie Post Production

Monitor Calibration for TV & Movie Post Production | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Monitor calibration is as important for TV and film post production as it is is for pre-press or photography. However, with pre-press the workflow is based around matching what comes off the press ...
Claude Booth's insight:

A very good article but be aware calibration gear should all be separate from the actual monitor and independently calibrated as all NIST calibrators are! The prices of the calibrators and accuracy tell you right away whether it's for home hobbyist or professional! KEEP IN MIND OUR STANDARD COLOR TEMPERATURE IS 6500 degrees @-14 on the isotemp line with a rang of 90 different colors of 6500 degrees! CHEAP STUFF IS NOT GOOD ENOUGH! 

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How Dolby Vision Works, and How It Could Revolutionize TVs Forever

How Dolby Vision Works, and How It Could Revolutionize TVs Forever | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
There are three ways that television displays can be improved, two of which you're probably already familiar with: you can up the density of the pixels, or increase the refresh rate. But Dolby has taken to improving the third factor: They're building a better and brighter pixel.
Claude Booth's insight:

Dearest CTO of Dolby Vision this comes from an older Engineer who specializes in colorimetry and all types of displays for over 30 years!  

You are dangerously wrong on a health and safety issue as well as your interpretation of the CIE chart! We always limited CRT sets and displays at 100 nit because CRT or any other type of display just the light output would cause eyestrain and headaches temporary color blindness and permanent color blindness. You're going to build a display at 20000 nit or output of 100 watt light  bulb but I notice post production is exempt from this illuminating feature!  We always could create 20000 on a CRT we could burn the phosphor off!  People be careful of this product if available to the public if run at that brightness get back from the screen!  Don't hurt your eyes!  In post production for color grading where a professional colorist spends eight hours you never go over 103 nits not ever!

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Grading House of Cards in 4K: It's Scary Because It's Real - Studio Daily

Grading House of Cards in 4K: It's Scary Because It's Real - Studio Daily | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Studio Daily Grading House of Cards in 4K: It's Scary Because It's Real Studio Daily We asked Laura Jans-Fazio, final colorist for the second season of Netflix's House of Cards, to fill us in on her task of finishing color for the atmospheric...
Claude Booth's insight:

Nice to read a colorists viewpoint on House of Cards! How about that and the DP with calibrated OLED monitors," I like the way they roll and most likely calibrated every 200 hours! 

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NAB Show Product Review: Test & Measurement - TV Technology

NAB Show Product Review: Test & Measurement - TV Technology | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
NAB Show Product Review: Test & Measurement
TV Technology
The technical side of television requires more than good eyes. Broadcast engineers must make objective, repeatable observations of signals, waveforms and values using test gear.

Via Audrey T
Claude Booth's insight:

NAB was mid April and test and measurement much needed and required is usually the last dog! A list and accounting of new devices and systems found at NAB 2014 4k measurement was there too!

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The ASC -- American Cinematographer: Second Life

The ASC -- American Cinematographer: Second Life | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Jess Hall, BSC helps ASC member Wally Pfister make his directorial debut with the sci-fi thriller Transcendence.
 

Via TRoberts
Claude Booth's insight:

This is a very good article I liked it! It's hot here in LA! taking a day off the subject of monitor calibration and looking at the what for! Well you calibrate monitors to make this work look so good when presented! Like I say where the work gets sold! I love the chances I get to help these guys!

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TRoberts's curator insight, May 14, 2014 3:45 PM

35mm film...

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5 Important Things To Consider If You're Still Running Windows XP

5 Important Things To Consider If You're Still Running Windows XP | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Microsoft will no longer issue security updates, but many people still need to keep Windows XP up and running safely. Here's how.
Claude Booth's insight:

XP Sorta sad to see such a landmark OS die but it will come slower than they say! Malware updates are going to be coming so if your Windows Defender is not in use you may consider using it . The Government intends to run XP a while.

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A Take on High-Resolution…

A Take on High-Resolution… | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
High-Resolution (or Hi-Res) will probably be on the lips of everyone who has anything to do with the studio industry in perpetuity.  No matter what the resolution is at any given time, there will always be a higher resolution being strived for.
Claude Booth's insight:

Update on Ultra High Def ! The future and now plans to transmit and projected dates. According to Avid, the first real advance in the UHDTV technology is going to occur soon (this year or next, 2015).  They have predicted frame rates capped at 60fps (progressive only), up to “4K” resolution (3840×2160), 10/12 bit color – (no more 8 bit), Bt.2020 or 709 color space, HEVC compression, and audio 5.1 and 7.1; Between 2015 and 2020, it is believed that frame rates will be increased to 120Hz, with advances in video and audio; finally, in 2020, for the Tokyo Olympics, a prediction of 7280×4320 “8K” 

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HEVC: Ready for Primetime?

High-Effciency Video Coding (HEVC), an emerging video codec, is maturing as it gains momentum as a bandwidth-saving messiah for mobile video and dazzling 4K/Ultra HD services, but when it will be ready for primetime remains an open question.

The full potential of HEVC/H.265, initially thought to be exclusively for compression e ciency (it’s billed as 50% more bandwidth-e cient than MPEG- 4/H.264), is proving to have some additional upside for video-service providers, although there are some obstacles to overcome before it’s a musthave technology.

“There are still bugs to be worked out, but anyone wanting to do 4K or Ultra HD content, which eats up lots of bandwidth, must have HEVC,” SNL Kagan principal analyst Michelle Abraham said. “Economically, you don’t want to do them without HEVC.”

And the universe of video providers that are carefully tracking HEVC is expanding. (...)


Via Guillaume de Lafontaine, Ludovic Bostral
Claude Booth's insight:

I think maybe so maybe not! 4k distributed format is said to be H.265 but it's taking a while to maturate and may be another entirely still it is good to know about!

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Guillaume de Lafontaine's curator insight, May 5, 2014 4:17 PM

Bandwidth-saving Platform Could Play Big Role In Mobile, 4K Video

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Smartphone Enabled Motion Control for Timelapse and Film

Take your photography, time-lapse and filmmaking projects to the next level with professional grade affordable 3-axis motion control.
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Pretty cool and made in America too! Outstanding pans ! Beautiful axis control and smart phone control! Watch the clip!  

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Popular Postproduction System Manufacturer to Support Dolby Vision: Are HDR ...

Popular Postproduction System Manufacturer to Support Dolby Vision: Are HDR ... | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it

Popular Postproduction System Manufacturer to Support Dolby Vision: Are HDR ...


Via Broadcast Beat Magazine
Claude Booth's insight:

Pretty interesting! SGO, the maker of the Mistika post production system tapped by Peter Jackson’s Park Road Post to make The Hobbit trilogy, is working with Dolby to support the new Dolby Vision format. Presumably this means that that Dolby Vision versions of Star Wars: Episode VII and The Hobbit: The Battle of Five Armies are at least being considered.

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TUTORIAL: FASHION GRADING AND RETOUCHING IN SCRATCH LAB - Video & Filmmaker magazine

TUTORIAL: FASHION GRADING AND RETOUCHING IN SCRATCH LAB - Video & Filmmaker magazine | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Fashion magazines are well known for their over use of Photoshop when retouching photos for covers. But how does one go about retouching for...
Claude Booth's insight:

A good look at production, post production work flow using  Assimilate Scratch Lab, Color grading state of the art for this use ! Enjoyable article.

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Bell Labs Sets New Record for Internet Over Copper - IEEE Spectrum

Bell Labs Sets New Record for Internet Over Copper - IEEE Spectrum | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Traditional copper telephone lines can now run ultra-fast broadband service, at least in the lab. Bell Labs, the research arm of Alcatel-Lucent, has developed a prototype technology that can deliver upload and download ...

Via Keith Loris
Claude Booth's insight:

I have heard of this ! Amazing speed! 

From spectrum.ieee.org - Today, 8:43 AM
Traditional copper telephone lines can now run ultra-fast broadband service, at least in the lab. Bell Labs, the research arm of Alcatel-Lucent, has developed a prototype technology that can deliver upload and download ...
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MATsolutions's curator insight, July 17, 2014 11:43 AM

Should fiber optic or coax be worried?

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The Friday Roundup - Video Frame Rates, Monitor Calibration and ...

The Friday Roundup - Video Frame Rates, Monitor Calibration and ... | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Now that the new darling of the consumer level video editor is color correction and more importantly, color grading it is becoming increasingly important to make sure you are doing it right!
Claude Booth's insight:

This is a cute little free program that if you use a PC workstation gives you pinpoint GAMMA adjustment for different media formats. Of course your GAMMA should be 2.2 for television at all times but windows 7 and up just gives a visual null more difficult and less precise! This is quick and easy and I tested it! No brainer on a PC!! 

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EBU to TV Industry: Next-Gen Broadcast Standards Need More than Just 4K Resolution

EBU to TV Industry: Next-Gen Broadcast Standards Need More than Just 4K Resolution | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Claude Booth's insight:

It's a short report on what EBU thinks of enhancements to high definition as well as Ultra and 8k more frame rates? Oh my more saturation? Well "Dolby Vision" is trying that! One problem with increased saturation is loss of brightness and contrast! I hope these guys are aware with blue or white LED's you can damage the retina in your eye same as look at welding without a mask and its reported Dolby Vision is 500 times brighter than the limit today!

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Blackmagic Production Camera 4K versus Panasonic GH4

Blackmagic Production Camera 4K versus Panasonic GH4 | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it

circlesEven though it's only been shipping for a short time, the Blackmagic Production Camera 4K is the current "go-to" choice for shooting 4K video with a single sensor/interchangeable-lens system for less than $4000. However, things may change when Panasonic ships their 4K-capable Lumix GH4.


Via TRoberts
Claude Booth's insight:

4k video for less than 4thousand dollars! It's not rare!

In many circles the hot thing! Interesting reading!

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TRoberts's curator insight, June 23, 2014 5:47 PM

4k comparison

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In Broadcast - June 2014

Digital Edition
Claude Booth's insight:

InBroadcast Ezine June edition!

Internet piracy rampant worldwide! Interesting article how and who the pirates are! An education on cause and effect!

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Sony Supersizes Data Storage With 185-Terabyte Cassette Tape

Sony Supersizes Data Storage With 185-Terabyte Cassette Tape | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it

NotSony has something that could let you put the world's music collection in your pocket: a cassette tape that holds 185 terabytes of data.

Claude Booth's insight:

Not quite dead yet and soon to live a much greater archive life video tape properly vaulted and maintained is the most cost effective way of cold storage.

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Safety Tips to Keep in Mind When Testing Electricity

Safety Tips to Keep in Mind When Testing Electricity | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it

'Establishing a safe environment for installing and testing electrical equipment seems like an easy task. All you need to do is turn the power off, right? Wrong - there's actually more to safety than meets the eye.
If you rush into this task like it's easy...


Via Sales Renewal
Claude Booth's insight:

We do so much with electricity and our lives depend so much on it's uses. Well you can't see electricity or taste it , you sure can feel it if you're not safe! Stay safe when testing electrical equipment. Here are some ways to do it. 

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MATsolutions's curator insight, May 15, 2014 9:39 AM

Stay safe when testing electrical equipment. Here are some ways to do it.

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TVTechnology: Telestream Features Vantage HEVC, 4K and Cloud at BroadcastAsia2014

TVTechnology: Telestream Features Vantage HEVC, 4K and Cloud at BroadcastAsia2014 | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
TVTechnology Telestream’s software-based Vantage video transcoding and workflow automation products will be featured in the Techtel Pte and Magna Systems & Engineering booths at BroadcastAsia2014
Claude Booth's insight:

The answer to a question as obvious as an Elephant! How is 4k going to be distributed? Streaming workflow most likely and already here to demonstrate! I like the fact it's a California Company Telestream in this case.

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What is Display Gamma and Gamma Correction? | wolfcrow

What is Display Gamma and Gamma Correction? | wolfcrow | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
The simplest explanation for display gamma, gamma correction and monitor gamma calibration.
Claude Booth's insight:

Great white paper on Display Gamma and Gamma Correction! 
The simplest explanation for display gamma, gamma correction and monitor gamma calibration.
http://wolfcrow.com/blog/what-is-display-gamma-and-gamma-correction/

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New LED Light System Simulates Sunlight:

New LED Light System Simulates Sunlight: | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
The Visible Sunlight Inc LED True Full Spectrum light has a multitude of applications in the photography, motion picture & video industries.

Via Cinescopophilia
Claude Booth's insight:

True full spectrum! That makes a big difference! Lighting is more than half the battle always!

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How To Calibrate Your Color Grading Monitor

How To Calibrate Your Color Grading Monitor | Broadcast engineering facilities design by a real engineer                         310-980-3229 | Scoop.it
Check out this free webinar to learn how to calibrate your color grading monitor.
Claude Booth's insight:
Professional productions need professional calibration! Yes call me and we can calibrate accurately today at your studio in your color space the right way NIST traceable professional calibration!Claude Booth 310-980-3229
Clients often ask how often should you calibrate your monitor for the best possible consistency in your work! An LCD monitor used for graphics should be calibrated at least once every 200–300 hours (in ordinary use, once per month)
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