Latest articles by Jay Ankeney
Virtual reality is upon us, and, like any other seachange technology in the world of entertainment communication, it’s ultimately going to be up to editors to figure out how to handle it.
Last month I saw the future of digital cinema exhibition and the future is bright and beautiful.
What better way to welcome the New Year than by taking stock of the state of post production with insights from representatives of some of the leading NLE manufacturers?
The FX Networks’ hit, “The People v. O.J. Simpson: American Crime Story” was one of the most successful cable shows ever produced, and the most-watched episodic in FX Networks’ history.
As the Bard once said, “Displays the thing!” and at NAB Show 2016 monitors and displays provided windows into the souls of new technologies.
We used to say “fix it in post,” but with all the new power and flexibility of today’s edit systems it’s now more a question of “create it in post.”
Ultra high-definition (UHD) displays are everywhere, but UHD content, at least in this country, is limited to streaming sources such as Netflix, Amazon and other online services.
“Stories are the glue that connects us all,” Avid Chairman and CEO Louis Hernandez Jr. told the assembled Avid Connect crowd in the Lafee conference room at the Wynn hotel.
For audiences, TV screens are a window on the world, but for attendees of NAB Show 2017, video monitors are a window on the latest display technology in our industry.
Video monitors as seen at the 2017 NAB Show are no longer just display devices.
The spectrum of editing systems on display at the 2017 NAB Show reflected the changing demands of today’s post production.
For starry-eyed pilgrims like this foot-sore columnist, the NAB Show is an endless spree of techno-splendor.
The annual toboggan ride toward the 2014 NAB Show in April has begun.
Proclaiming “3D Is Dead!” has become a popular parlor game among broadcast and film industry pundits; so let me commit professional heresy by replying “Poppycock and Balderdash!”
