Hi! My name is Oren Shalmy.
This blog is a collection of articles discussing various technologies used in video and film post production. Some posts are original, most are not.
From open source tools and rebel techniques to high-end DI, digital distribution, animation and VFX.
Canon’s Display Matches 4K Video with DCI Colour Precision | H-WARE:
Canon’s new DP-V3010 4K 30-inch video display combines a proprietary image engine and RGB LED backlight system with an IPS LCD panel to achieve the level of colour reproduction, resolution and contrast currently required for professional production editing and colour checking.
What is a streaming server? | wolfcrow:
If you want to understand video streaming over the Internet, you must first have a solid grasp on what a Streaming Server is, and how it works. This article provides a simple overview of the entire chain of events, and is written for the absolute newbie.
How to sync metadata between QuickTime movies:
It's common nowadays for videos to be processed through one or more applications prior to editorial. Unfortunately that can result in camera metadata being stripped from the processed files. This can cause lots of problems later on if you need to relink back to the original files for grading.
Xsan | Krypted:
Setting up Xsan is easier than ever, in OS X Mavericks. This guide takes you through many of the basic tasks of Xsan management, including the initial setup as well as long term management.
A Conversation with Cédric Lejeune – Color Consistency in Post-Production Workflows | Tom Parish:
Up next is a conversation with Cédric Lejeune on the topic of color consistency in post-production workflows. This is a big topic, and it would be easy to drill down into a dozen different niches. Instead, I gave Cédric an opportunity to talk about the issues and opportunities for small post-production companies to focus on color calibration, color correction, and color grading to increase the value of their work and be more competitive.
WalterBiscardi.com | Salvaging a Corrupted Quicktime File:
For some reason we’ve been snake bit during our last two attempts to use the AJA KiPro on location as a record device. We’ve had corrupted Quicktime files on very long records. On the previous project we were able to repair the file easily using Disk Repair but for yesterday’s shoot, the 40GB Apple ProRes LT file (42 minutes) simply would not come back. Kept telling us that Quicktime, Premiere Pro, Prelude, and everything else I tried “could not recognize the format of the file.” That generally happens when the file does not finish the recording correctly adding the necessary data for the applications to read the file.
Neil Sadwelkar's musings on Digital: 24-25 fps in the digital age:
There's still a fair bit of confusion in the minds of professionals who work in cinema about this '24-25thing'. By cinema, I mean movies that get made for showing in theatres. And this confusion is deep amongst sound recordists and sound engineers. And to a smaller extent, with VFX and DI 'artists'.
MPEG-DASH Ecosystem Status:
While most of IBC’s buzz was generated by the shiny HEVC + 4K couple, it was a good occasion to stand back from the hype and measure how one of the most important video standards (at least for the OTT world) had spread over the industry since last year. MPEG-DASH is not sexy (let’s remember that it’s basically a collection of XML schemes), it’s a bit boring (as it’s usually demonstrated with the Big Buck Bunny that you saw not less than 2.000 times) and it’s complex – but once you go past those defaults, you might find that its potential to simplify your workflows and boost the profitability of your video service is high…
Colour Grading Resources Round Up Part 3 | Jonny Elwyn - Film Editor:
Colour grading is one of those creative skillsets that requires as much artistic and creative imagination as it does technological knowledge and inventiveness. These resources, gathered from all corners of the web, should help you improve both the art and science of your colour grading.
[Phoronix] NVIDIA, Red Hat Partner Up For New Graphics Project:
Jerome Glisse has long been involved with open-source Linux graphics drivers, but in recent months he hasn't announced any major breakthroughs like in past years. However, at Red Hat they have struck up a partnership with NVIDIA to work on a new device-agnostic API for the Linux kernel that can benefit the graphics drivers.
EBU Technology & Innovation - News - EBU unveils QC Criteria:
Last week, at IBC 2013, the EBU published the first release of its QC Criteria (EBU Tech 3363) developed by its Strategic Programme on Quality Control. EBU Tech 3363 is a large collection of QC checks that can be applied to file-based audiovisual content. Examples include the detection of visual test patterns, loudness level compliance checks, colour gamut verification, looking for image sequences that may trigger epileptic seizures, etc. This collection of QC tests can be seen as a 'shopping list' which media professionals can use to, for example, create their own delivery specifications or establish test protocols for archive transfer projects.
The Best Video Editing Software 2013 (Part One): The Beginning | wolfcrow:
We all know this is going to end in a bloodbath. Look around far and wide, and you won’t find a single comprehensive comparison of every major video editing software. So, I decided to put one together myself. This article is the result of months of hands on experience with each and every one of the applications mentioned here. I’m taking no prisoners. There will be one and only one winner.
At the Bench: Setting Up a CDL Server with the ALEXA XT | CineTechnica:
The Alexa XT and Alexa Classic with the XR recording module both have the ability to read ASC CDL (Color Decision List) LUT settings as they record. This means that, over Ethernet, the camera can take in a Look and store it in the Raw footage as metadata. This is done by enabling a CDL server on the camera and then sending in CDLs with different software programs. This CDL can then be applied to the Raw footage through post or when downloading with the Codex UI. Watch the video above to see how I use this great option with Pomfort’s LiveGrade software and the Codex Raw workflow.
VideoLAN - VLC 2.1 Rincewind:
With a new audio core, hardware decoding and encoding, port to mobile platforms, preparation for Ultra-HD video and a special care to support more formats, 2.1 is a major upgrade for VLC.
Rincewind has a new rendering pipeline for audio, with better effiency, volume and device management, to improve VLC audio support.
It supports many new devices inputs, formats, metadata and improves most of the current ones, preparing for the next-gen codecs.
Rincewind fixes around a thousand bugs, in more than 7000 commits from 140 volunteers.