Digital production at the IBC – quality control, pipeline revolution and video telephony: For our autumn and winter issue, DP 06 : 2022, we were at the International Broadcast Convention (IBC) in Amsterdam! There we took a look at some great new tools – three of which we have brought along in interview form for this issue. In print, it reads like this: we spoke to Dan Tatut from Marquise Technologies about ICE Prime, a new player for quality control (“Three elements of quality control” on page 32), we talked to Jeremy Smith from Jellyfish Pictures about Hammerspace and how Hammerspace has the potential to overturn pipelines globally (“Jellyfish in the Hammerspace” on page 126), and with Gil Shefler from Riverside.fm about the perfect tool for video telephony recording: Riverside (“The better way to do an interview…” on page 82).
ACES – Academy Colour Encoding System: For our ACES focus area, nib-slash-ACES guru Christoph Zapletal has written the definitive “must-know” article on the Academy Colour Encoding System (“Putting the Ace in ACES” on page 20). In addition, Adobe – to put it casually – is thematically updating the colour workflow at SWR (and hopefully soon the other public broadcasters) with ACES in After Effects – read about it in “Modern Post in SWR” on page 38.
Hardware & software tests and project reports: Also vying for your attention: hardware tests on image stabilisation in Sony and Blackmagic cameras, inexpensive grading panels and the webcam recommendation Obsbot Tiny 4K (“Gyroscopes for image stabilisation” on page 86, “Grading panels from the midi world” on page 93, and “Follower!” on page 49). There are project reports on top, because how did the zombie episode from Love, Death and Robots, the new Disney animated film Strange World or the Netflix blockbuster Arcane: League of Legends (“Apocalypse of the mini-zombies” on page 12, “Welcome to the Strange World!” on page 54, and “Totally Jinxed: Serial Sisterhood” on page 132) actually come about? In addition, Uli Plank and Manuel Kotulla take a critical expert look at Cinema 4D 2023 and Renderman 25.
Digital Production as print and e-paper: With the publication of our previous issue, Digital Production 05 : 2022, we are also publishing digitally as an e-paper. If you would like to familiarise yourself with the e-paper version, we recommend clicking on the corresponding sample copy. In the current issue, Patrick Poti explains on page 44 how to register for the e-paper – and the advantages of paperless digital production.
Click and scroll further: the range of topics covered in Digital Production 06 : 2022 is far from exhausted – but discover for yourself (for example on pages 62 and 68, where Ralf Gliffe explains how artificial intelligence is currently revolutionising image processing). By the way: Readers can find the astronaut on the cover on page 112, where Ralf Drechsler runs his virtual production studio Hyperbowl, more precisely in the Bavarian municipality of Penzing (“Man on the Moon – Production in Penzing”). So: Click on DIGITAL PRODUCTION 06 : 2022 todiscover the entire world of topics. We hope you enjoy browsing and finding out more!
