NEP Australia’s Post

Via The Hustle: From the Super Bowl halftime show to the Oscars, many of us grew up on awards shows and other live TV events. And without realizing it, we've grown used to the sweeping drop of the camera in front of a news anchor or the way it soars through a crowd during a concert. There's a specific look and feel that we've come to expect while watching events like these. Live events weren't always captured this way. In fact, there is a specific time in history when this aesthetic became possible, and our TV-watching experience was never the same again. In this video, we dive into the history, technology, and mastery behind the camera moves that have shaped television as we know it. We meet the people who’ve built their legacy on this aesthetic as we go behind the scenes to understand its origins, its purpose, and how the way a camera moves has so much to do with the way it makes us feel. #videoproduction #filmmaker #filmmaking #television #tv #televisionproduction #tvproduction #cameracrew #cameragear #cameraoperator #broadcasting #liveevents #corporatevideo

Join Lakshmanan Gopishankar’s session for an exciting learning experience. Making CIE indispensable for colour grading! Session details below . Telestream

Dealing with WCG workflows? Looking for scope solutions that could actually help you speed up your color grading work? If you are at NAB, please stop by the Broadcast Engineering and IT Conference. I will be discussing enhancements and innovations to the CIE chart that addresses some key issues in color grading. CIE is generally considered to be a complicated tool. Our innovations aim to simplify it and make it more useful for color grading! Can't make it to the conference? Please stop by Telestream's booth in the West hall, W1501 for a conversation on how these innovations could help you with your color workflows. #Telestream #NABShow #colorgrading #colorists #broadcastproduction

It’s becoming something of a tradition—once or twice a year, I step in to substitute for my good friend and colleague, Klas-Gunnar Granqvist, as a monitor and playback engineer on *Tanssii Tähtien Kanssa* (Dancing With The Stars) tv-show. With the show running for over 10 seasons, Klas, the tech crew, and the band have honed their own ways of doing things. So, needless to say, filling those shoes isn’t the easiest task. My goal: to make it as hard as possible to notice that someone else is in charge! Even though Klas put in a tremendous amount of work to make things as smooth as possible for me—just "click through the snapshots and tracks"—there’s always something unpredictable that comes up. Navigating those surprises on a tight schedule can be stressful and challenging. And if nothing happens, there’s always the anticipation of what might! Thankfully, Klas was working on another TV show and was able to provide online support throughout the day. After 13 hours of rehearsals and the 2-hour live broadcast to nearly 1 million viewers (quite something for a country of just over 5M!), when the credits rolled, I felt like I’d just run a marathon—but crossed the finish line! Stepping out of my comfort zone every now and then can be rewarding, but I must admit, getting back to my own zone as a system technician feels pretty good right about now. #SteppingOutOfTheComfortZone #LiveTV #BroadcastEngineering #Teamwork #ChallengeAccepted #TanssiiTähtienKanssa #digico #abletonlive

Everything You Need to Know About HDR for TV 

Bruce Springsteen once told us that there are ``57 channels and nothing on" (https://lnkd.in/dp6w5ZqF). As an economist, I have been wondering for a while why premium programs get so concentrated within a few channels, whether it is something that regulatory authorities should care about and whether there would exist simple regulatory instruments that could favor a more symmetric distribution of broadcasting rights.  With my old fellow Jérôme Pouyet (ESSEC, CNRS), and motivated by discussions with our friends at Altermind, Erwan Le Noan and Matthieu Laine, we investigated this issue and asked    Why Is Exclusivity in Broadcasting Rights Prevalent and Why Does Simple Regulation Fail? https://lnkd.in/dVzX-iPS We unveiled that there are strong economic forces leading to exclusivity and that simple regulatory tools are of little help.  At the end of the day, ``There is only one channel with something on...." I am now glad to say that this paper has now been accepted at The Rand Journal of Economics. Abstract: Pay-TV firms compete both downstream to attract viewers and upstream to acquire broadcasting rights. Because profits inherited from downstream competition satisfy a Convexity Property, allocating rights to the dominant firm maximizes the industry profit. Such an exclusive allocation of rights emerges as a robust equilibrium outcome but may fail to maximize welfare. We analyze whether a ban on resale and a ban on package bidding may improve welfare. These corrective policies have no impact on the final allocation but lead to profit redistribution along the value chain.

Everything You Need to Know About HDR for TV 

Everything You Need to Know About HDR for TV