Index - Alphbetically
Index of Posts
- 3D cinema brief overview and demo of XpanD 3D system
- 3D Glasses - LCD system by XpanD
- 3D Glasses - Polarizing
- 3D Quality on Silver Screens
- 3D Windows and Masking for 3D in Cinemas
- 6000 MB/s networking explained
- A Digital Projector is not a Toaster
- A look inside a Digital Cinema Projector
- A look inside a LASER digital cinema projector : NEC NC1100L
- A peek into a Barco DP4K-60L, world leading Digital Cinema 6P-laser projection
- Adobe "Premiere RUSH", reaction to explosion in Video Blogging - 3 of 5 - NAB2019
- Adobe at NAB 2019, Intro / Announcements - Part 1 of 5
- Adobe makes major commitment to IMF - 4 of 5 - NAB2019
- Adobe on moving away from Apple to Linux for High End VIDEO PRODUCTION - 5 of 5 - NAB2019
- Adobe on moving into the High End of VIDEO PRODUCTION - 2 of 5 - NAB2019
- AI and Machine Learning in PRODUCTION - NAB2019
- AIMC13 - ASL updates us on XENON lamp developments in digital cinema
- AIMC13 - Sweet Amandas Lollies,Sweets,Candy Kiosk
- AIMC13 - USL announces products CMS2200 and CMSA100
- AIMC2011 - Keynote - John Fithian - 1 - Our Business Is Strong
- AIMC2011 - Keynote - John Fithian - 2 - Get to Digital
- AIMC2011 - Keynote - John Fithian - 3 - How Does Digital Help The Cinema
- AIMC2011 - Keynote - John Fithian - 4 - Help Small Operators
- AIMC2011 - Keynote - John Fithian - 5 - Film Will End Late 2013
- AIMC2011 - Keynote - John Fithian - 6 - Early VOD Releases Hurting Cinemas
- AIMC2011 - PANEL - 1 of 7 - Last Challengers Left In Digital Revolution
- AIMC2011 - PANEL - 2 of 7 - 2D vs 3D. Is this a Bubble?
- AIMC2011 - PANEL - 3 of 7 - IMAX - Alternative Content and 3D
- AIMC2011 - PANEL - 4 of 7 - Alternate Content In General
- AIMC2011 - PANEL - 5 of 7 - Release Window Effect
- AIMC2011 - PANEL - 6 of 7 - Why film will end by late 2013
- AIMC2011 - PANEL - 7 of 7 - Going Digital Is Not Expensive
- AIMC2011 - Q&A - Going Digital Is Not Expensive
- AIMC2011 - Q&A - Why film will end by late 2013
- AIMC2011 - Tony Adamson - DLP Cinema, reinventing the way the world sees movies
- AutoKDM and KDM-Alert, Free tools for Cinema Exhibitors
- AutoKDM Walk-through, never ingest a KDM again
- Barco introduces new low cost DCI Cinema Projector (S-Series)
- Barco S series in action, the new low entry DCI-cinema solution
- Best of Show: Cinionic/Barco NEW Series 4 Projector - CinemaCon 2019
- Blackmagic RAW and the importance of picking the right CODEC - NAB2019
- Blackmagic Resolve 16 Easy HDR targeting YouTube, Streamers, Cinema - NAB2019
- Blackmagic Resolve 16, a launchpad to learning Immersive Audio (IAB) - NAB2019
- Building a Cinema LMS (Library Management System) on the cheap
- Building a Film Printer/Recorder
- CC13-01 Cinemacon 2013 Intro
- CC13-02 Keynote, Jan Bernhardsson, CEO, SF Bio
- CC13-03 Keynote, Paul Hanneman, 20th Century Fox International
- CC13-04 Global Digital Cinema Update - David Handcock - Screen Digest
- CC13-05 Max Efficiency in Digital World - FAQ - Customer service in supporting digital cinema
- CC13-06 Max Efficiency in Digital World - FAQ - Managing content and keys in theaters - Automation
- CC13-07 Max Efficiency in Digital World - FAQ - Equipment mantenance challenges
- CC13-08 Max Efficiency in Digital World- FAQ - Content distribution and delivery
- CC13-09 Max Efficiency in Digital World- FAQ - Storage concerns for cinemas and distributors
- CC13-10 Max Efficiency in Digital World- FAQ - Hard drive returnes
- CC13-11 Max Efficiency in Digital World- FAQ - Trailer Delivery
- CC13-12 Max Efficiency in Digital World- FAQ - What consumers want in digital era
- CC13-13 Max Efficiency in Digital World- FAQ - Advice for those still to convert to digital
- CC13-14 Max Efficiency in Digital World- FAQ - How long will digital equipment last
- CC13-15 Max Efficiency in Digital World- FAQ - Where is 35 film coming from now providers are closing
- CC13-16 Max Efficiency in Digital World- FAQ - 4K coming, after market for 2K? - Not likely
- CC13-17 Max Efficiency in Digital World- FAQ - Studio supply digital posters
- CC13-18 Max Efficiency in Digital World- FAQ - Do we need 4K, is 2K good enough
- CC13-19 Max Efficiency in Digital World- FAQ - We are no longer digital cinema but Cinema, what now
- CC13-20 Max Efficiency in Digital World- FAQ - What is the status of the DCDC roll out
- CC13-21 Driving Inc Admissions Through Engaging Communication Techniques - Mark de Quervain
- CC13-22 Driving Inc Admissions Through Engaging Communication Techniques - Borys Musielak
- CC13-23 Driving Inc Admissions Through Engaging Communication Techniques - Marieke Jonker
- CC13-24 Driving Inc Admissions Through Engaging Communication Techniques - Bobby Mutraporn
- CC13-25 Designing the Future of Exhibition - Alejandro Ramírez
- CC13-26 Designing the Future of Exhibition - Theodore T.Y. Kim
- CC13-27 Designing the Future of Exhibition - Jack Muffoletto
- CC13-28 Designing the Future of Exhibition - Eranna Yekbote
- CC13-29 All Eyes on China- An Exhibitor's Perspective - Intro - Peter YF Chan
- CC13-30 All Eyes on China- An Exhibitor's Perspective - Panel - Role of MPAA in China
- CC13-31 All Eyes on China- An Exhibitor's Perspective - Panel - Distributing Films in China
- CC13-32 All Eyes on China- An Exhibitor's Perspective - Panel - IMAX plan in China
- CC13-33 All Eyes on China- An Exhibitor's Perspective - Panel - Best locations-design for exhibition
- CC13-34 All Eyes on China- An Exhibitor's Perspective - Panel - China Taste in Films
- CC13-35 All Eyes on China- An Exhibitor's Perspective - Panel - IMAX co-productions-Films
- CC13-36 All Eyes on China- An Exhibitor's Perspective - Panel - Co-productions important
- CC13-37 All Eyes on China- An Exhibitor's Perspective - Panel - Quotas in China
- CC13-38 All Eyes on China- An Exhibitor's Perspective - Panel - Closing comments
- CC13-39 Trade Show - CRU Dataport DCmini
- CC13-40 Trade show - 4DX motion chair
- CC13-41 Accessibility - SPECIAL FEATURE - Intro and Overview
- CC13-42 Accessibility - Regal Ent - Randy Smith - Intro, legislation and litigation
- CC13-43 Accessibility - Doremi - Michael Archer - CaptiView and Fidelio
- CC13-44 Accessibility - USL - Clint Koch - CCR-100, CCH-100, IRH-230
- CC13-45 Accessibility - Sony - Christopher Simpson - Glasses and audio
- CC13-46 Accessibility - Panel questions
- CC13-47 Accessibility - WGBH - Rear Window CCAP
- CC13-48 Accessibility - USL - CCH-100 CCAP glasses
- CC13-49 Accessibility - USL - CCR-100 CCAP
- CC13-50 Accessibility - Sony - CCAP glasses
- CC13-51 Accessibility - Doremi - Fedelio HI,VI audio
- CC13-52 Accessibility - Doremi - CaptiView CCAP
- CC13-53 Trade Show - USL
- CC13-54 Trade Show - DTS with MDA (Multi Dimensional Audio)
- CC13-55 Trade Show - Konica Minolta and Cinema color calibration tools
- CC13-56 Trade Show - Doremi LE100 - Live Event and Alternative content player
- CC13-57 Trade Show - Photo Research color calibration tool
- CC13-58 Trade Show - CineCert DCP and KDM management
- CC13-59 Trade Show - Barco Auro and Cinema audio standards
- CC13-60 Trade Show - Doremi IMS1000 - 3rd generation of the DCI player
- CC13-61 Interview - John Hurst writer of asdcplib
- CC14 - 05 - ICTA - The Road to Open Standards for Immersive Audio - 1 - Intro
- CC14 - 06 - ICTA - The Road to Open Standards for Immersive Audio - 2 - Peter Lube
- CC14 - 07 - ICTA - The Road to Open Standards for Immersive Audio - 3 - Jerry Pierce
- CC14 - 08 - ICTA - The Road to Open Standards for Immersive Audio - 4 - Barry Ferrell
- CC14 - 09 - ICTA - The Road to Open Standards for Immersive Audio - 5 - John Kellogg
- CC14 - 10 - ICTA - The Road to Open Standards for Immersive Audio - 6 - Brian Claypool
- CC14 - 11 - ICTA - The Road to Open Standards for Immersive Audio - 7 - Dean Bullock
- CC14 - 12 - ICTA - The Road to Open Standards for Immersive Audio - 8 - Questions
- CC14 - 15 - Where Have We Come From and Where Are We Headed? - Julian Levin
- CC14 - 16 - The Digital Cinema End Game Opens Up Cinema Technology Innovation - David Hancock
- CC14 - 17 - Staying Ahead of Today's Global Cultural Trends - Tom LaForge / Coca-Cola
- CC16 Dolby Atmos update Including new Multi Channel AMP, Lower entry costs
- CC16 Dolby Cinema with HDR in High demand
- CC16 Adapting our organization and tools to success in a digital world
- CC16 Atom Tickets, a social App for cinema goers
- CC16 Barco AuroMAX immersive audio processor preview and INFO update
- CC16 Barco Escape rollout and studio commitment update
- CC16 Barco High Contrast Laser Projector
- CC16 Barco Laser Projection lineup, top to bottom
- CC16 Barco Lobby Experience Update
- CC16 Christie Flagship Laser Projector
- CC16 Christie Phosphor Laser projector
- CC16 Cinemeccanica LUX Laser light source
- CC16 Cinemeccanica/ESPARENA™ The first Cinema Gaming Platform
- CC16 David Hancock on the effect of HDR in cinema exhibition
- CC16 David Hancock on the migration from Xenon to Laser
- CC16 David Hancock: The experience side of Cinema
- CC16 Dolby TMS4, what exactly is a Theatre Management System
- CC16 Frank Marshall - Filmmaker of the decade acceptance speech
- CC16 Frank Marshall - Filmmaker of the Decade Spotlight
- CC16 Fuyi Acoustics/Sydeco accustics panels
- CC16 Innovations Connecting Audiences in Digital and Physical Worlds
- CC16 NEC's new flagship primary laser projector
- CC16 Power Technology Illumina Laser Light Source and Light Farm
- CC16 RealD's new matte-white "Ultimate Screen" technology for 3D projection
- CC16 Ted Schilowitz Update and Details on Barco Escape
- CC16 The next big paradign shift of cinema: Globalisation and the world of the CULTUREPLEX
- CC16 USL on new features and products for 2016
- Christie's new Duo dual-projection System
- Christie's new range of RGB Laser Projectors and speckle mitigation V2 - CinemaCon 2019
- Cinema Advanced Automation tricks and tips (http requests)
- Cinema and Digital Media. Now and into the future.
- Cinema Automation Trends
- CINEMA AUTOMATION, Review of KMTronic Web Relay
- Cinema Equipment Version Control with NMAP
- Cinema PreShow Creation in Resolve - HOW TO
- Cinema projection power consumption overview and how to save costs
- Cinema Technology: IO-Box RLY-8 Review
- CinemaCon 2011 - 01 - Introduction
- CinemaCon 2011 - 02 - Cameron, Lucas, Ketzenberg on future of Film, Part1
- CinemaCon 2011 - 03 - Cameron, Lucas, Ketzenberg on future of Film, Part2
- CinemaCon 2011 - 04 - Cameron, Lucas, Ketzenberg on future of Film, Part3
- CinemaCon 2011 - 05 - Cameron, Lucas, Ketzenberg on future of Film, Part4
- CinemaCon 2011 - 06 - Cameron, Lucas, Ketzenberg on future of Film, Part5
- CinemaCon 2011 - 07 - Cameron, Lucas, Ketzenberg on future of Film, Part6
- CinemaCon 2011 - 08 - Cameron, Lucas, Ketzenberg on future of Film, Part7
- CinemaCon 2011 - 09 - QLi Lights and Lamps
- CinemaCon 2011 - 10 - Perforated Screen with Severtson
- CinemaCon 2011 - 11- DepthQ 3D
- CinemaCon 2011 - 12 - Mikrom IMB
- CinemaCon 2011 - 13 - DataSat AP20 Sound Processor
- CinemaCon 2011 - 14 - Digital Changes - David Hancock
- CinemaCon 2011 - 15 - Digital Changes - Steve Perrin
- CinemaCon 2011 - 16 - Digital Changes - James Kang
- CinemaCon 2011 - 17 - Digital Changes - Michael Karagosian
- CinemaCon 2011 - 18 - Pat Moore - STRONG - Prepare for Digital installs
- CinemaCon 2014 - 01 - Ted Schilowitz new role as Barco's CinemaVangelist
- CinemaCon 2014 - 02 - Ted Schilowitz on NAB 2014 preview
- CinemaCon 2014 - 03 - Barco Foyer Enchantment
- CinemaCon 2014 - 04 - Barco Gamification of the Cinema
- CinemaCon 2014 - 13 - Barco Alchemy, 4th generation Media Block
- CinemaCon 2014 - 14 - DCDC and the World of Content Delivery - PANEL
- CinemaCon 2014 - 18 - CRU new DCP Kits - Keith Schimmenti
- CinemaCon 2014 - 19 - MasterImage 3D new Light Doubler
- CinemaCon 2014 - 20 - NEC single blue laser projector (laser/phosphorus light source)
- CinemaCon 2014 - 22 - Christie VIVE Audio - Patrick Artiaga
- Cinemacon 2014 - 23 - Keeping Cinema Relevant in a Growing Multi-Option World - Panel
- CinemaCon 2014 - 24 - X-Curve Update with Barry Ferrel of QSC
- CinemaCon 2014 - 25 - Distributing Movies Electronically - Jean Mizrah, SmartJog
- CinemaCon 2014 - 26 - TI's future developments in digital cinema Technology - Tony Adamson
- CinemaCon 2014 - 27 - USL's new Products for 2014
- CinemaCon 2014 - 28 - The World Has Gone Online: What’s Next and What Can You Do About It?
- CinemaCon 2014 - 29 - DTS on the state of Open Standards in Immersive Audio - John Kellogg
- CinemaCon 2015, Barco all in on Laser Projection
- CinemaCon 2015, Barco brings critical mass to Foyer/Lobby digital signage content
- CinemaCon 2015, Barco Escape gains traction with studios and producers
- CinemaCon 2015, Barco launches AuroMAX Object based Immersive Audio
- CinemaCon 2015, Cinemeccanica LUX Laser light source
- CinemaCon 2015, Digital Film Technologies WetGate Film Scanner
- CinemaCon 2015, Dolby Cinema and their new HDR Laser Projector
- CinemaCon 2015, GDC Product update
- CinemaCon 2015, USL Product Update
- CinemaCon 2015, ZoneLaserTag a new revenue
- CinemaCon 21 - Christie 6P Laser Projector - George Scheckel
- CinemaCon and NAB show Intro for 2014
- CinemaCon/NAB 2014 - 42 - Final Thoughts, topic of series
- Cinemas: Making DCPs for Pre-Show - COST SAVINGS and OPPORTUNITIES
- CineTechGeek at CinemaCon and NAB - Viewer feedback request
- CineTechGeek at CinemaCon and NAB 2016 Introduction
- CineTechGeek now on iTunes
- CineTechGeek on TechTalkRadio - New developments in Cinema
- CineTechGeek on TechTalkRadio - Traditional versus digital cinema
- Cinionic Immersive audio - CinemaCon 2019
- Cinionic/Barco's new replaceable LASER/lamp module - CinemaCon 2019
- CISCO IP Fabric - NAB2019
- Clairmeta & SMPTE RDD 52, Explained and applied - innovation in digital cinema
- Cloud and where it makes sense in production - NAB 2019
- Color calibration in cinema explained
- Colorimetry from Film to Digital
- ComemaCon - 30 - Dolby Atmos Panel Discussion with Hollywood content creators and Exhibitors
- Crystal balling (Jan 2019) on Interoperable Mastering Format (IMF) - vlog
- CTG - Product Review - USL JSD-60
- CTG-Training - Best practices for downloading DCPs
- DCI brings next level Cinema experience (HDR) into focus
- DCI cinema install overview
- DCI resolution and colour depth
- DCI-Player Audit tool, a free tool to help CINEMAS
- DCP compliance is not distribution certification: film producer "MUST KNOWs"
- DCP De-constructed
- DCP digital delivery explained for Exhibitors and Distributors
- dcpPlayer tricks and tips (AC3 audio, audio levels for QC, audio sync)
- Demonstration of a MasterImage 3D system in action
- Demonstration of Silver Screen compromise
- Digital Cinema CPL research - Looking for trends in the evolution of Cinema Content
- Digital Screen Brightness in Cinemas
- Do we need 60fps
- Eclair Color, HDR for theatrical distribution - CinemaCon 2019
- Encrypting Your DCP - in 2019, MANDATORY
- EOF-1 : End of Film Series Intro
- EOF-2 : Why film for exhibition is ending in the next 1-2 years
- EOF-3 : New smaller cost effective projectors for digital cinema
- EOF-4 : IMS (Integrated Media Server) and how it can reduce costs
- EOF-5 : eCinema ultra low cost alternative to DCI, when film is no longer an option
- Evolution of the Digital Projection Room, Part 1
- Evolution of the Digital Projection Room, Part 2
- Experimenting with High Frame Rate (HFR). The when and why.
- Fathom Events - CinemaCon 2019
- Film Festival Deliverables - 1 - Media
- Film Festival Deliverables - 2 - On The Cheap
- Film Festival Deliverables - 3 - Film Producer
- Film Festival Deliverables - 4 - Festival Producer
- Filmlight on how to transition to HDR - NAB 2019
- FilmMaker DCP creation in DaVinci Resolve Studio - HOW TO
- Free Cinema Tools: Device Discovery & MONITORING
- FREE cinema-catcher-app integrates with Comscore TMS KDM management
- FSI Monitors on Accessibility of HDR to Corporate/Wedding producers - NAB2019
- FSI Monitors on Trends in HDR Monitors - NAB2019
- Future-Proofing the big screen: Why Cinema Still Matters
- Getting EXHIBITOR Session/Show Times Into Google Search - Part 1
- Gold Medal, shows us how technology is shaping our popcorn - CinemaCon 2019
- Google will cause DARK SCREENS in cinemas & how to AVOID IT
- Happy Holidays 2021 and Presents (FREE TOOLS) from CTG and SCO
- High Dynamic Range (HDR) and the elephant in the cinema
- History of Designer or Motion Ads in Cinema
- History of Film Printers
- How to get more out of your OLD Cinema KIT (DCI-Players)
- How to Read/Write to Cinema DCP disk on Mac or Windows
- How to schedule films for a small cinema exhibitor - a walk through
- How to stretch your investments in cinema projection booth hardware - CinemaCon 2019
- How To: High performance Production or Cinema server on the cheap
- In Production a competitive edge is custom software, DELL has you covered - NAB2019
- In Theatre Projection
- INNOVATION, Helping to save Cinema from the COVID Crisis
- KDM De-constructed
- KDM-Alert Walk-through, never get caught out missing a KDM resulting in a failed show.
- Lenses used in Cinema. Past to present (DCI).
- Looking back at the dangers of being a projectionist long ago
- Making DCPs in 2019 - SMPTE is now the DEFAULT
- Making the Web work for you and your cinema (Part 1)
- Making the Web work for you and your cinema (Part 2)
- Merry Christmas 2018 from the CineTechGeek
- NAB 2014 - 1 - Chris Cookson, Keynote speaker Cinema Technology Summit
- NAB 2014 - 10 - IMF1 - Interoperable Mastering Format (IMF) - INTRO - Howard Lukk
- NAB 2014 - 11 - IMF2 - IMF in 5 minutes - Annie Chang
- NAB 2014 - 12 - IMF3 - Generating Master Packages from IMF - Arjun Ramamurthy
- NAB 2014 - 13 - IMF4 - IMF at Disney/ABC - Annie Chang
- NAB 2014 - 14 - IMF5 - IMF, a Practical Approach for Delivering UHD - Bill Baggelaar
- NAB 2014 - 15 - UHVS1 - Understanding the Human Visual System - Intro - Pete Lude
- NAB 2014 - 16 - UHVS2 - Understanding the Human Visual System - Dr Jenny Read
- NAB 2014 - 17 - From Camera to Consumer - Intro - Jim Whittlesey
- NAB 2014 - 18 - From Camera to Consumer - Leon Silverman - Walt Disney Studios
- NAB 2014 - 19 - From Camera to Consumer - Michael Cioni - Light Iron Digital
- NAB 2014 - 2 - FOC1 - The Future of Cinema - INTRO
- NAB 2014 - 20 - From Camera to Consumer - Phil Squyres - Sony Pictures
- NAB 2014 - 21 - From Camera to Consumer - Questions
- NAB 2014 - 22 - Looking Forward - Intro and Overview - John Hurst
- NAB 2014 - 23 - Looking Forward - Panel - Mastering houses are front line to problems
- NAB 2014 - 24 - Looking Forward - Panel - Why won't cinemas upgrade
- NAB 2014 - 25 - Looking Forward - Panel - What we miss out on by not upgrading
- NAB 2014 - 26 - Looking Forward - Panel - Is this harder than it should be and 3D subtitles
- NAB 2014 - 27 - Looking Forward - Panel - Q1, Software based Players Not Secure
- NAB 2014 - 28 - Looking Forward - Panel - Q2, We NEED a deadline for upgrades
- NAB 2014 - 29 - Looking Forward - Panel - Q3, What happened to TKR(Theatre Key Retrieval) and FLMx
- NAB 2014 - 3 - FOC2 - Experiments HDR, HFR, Laser etc
- NAB 2014 - 30 - Looking Forward - Panel - Q4, How to fix motivation for upgrading
- NAB 2014 - 31 - Looking Forward - Panel - Q5, Content Marking Issues
- NAB 2014 - 32 - Looking Forward - Panel - Is 2 years long enough to expect upgrades? Not 10+ years
- NAB 2014 - 33 - Nvidia and the future of visual effects rendering
- NAB 2014 - 34 - Gefen, tools for exhibition
- NAB 2014 - 35 - Adobe and others embrace standards for cinema
- NAB 2014 - 36 - The Camera evolution and future developments
- NAB 2014 - 37 - Black Magic Film Scanner
- NAB 2014 - 38 - Black Magic Davinci Resolve goes head on with Composer and Premiere
- NAB 2014 - 39 - Atomos brings 4K to Indy producers
- NAB 2014 - 4 - FOC3 - Using new technology to tell better stories
- NAB 2014 - 40 - ACES brings standards based color science
- NAB 2014 - 41 - Immersive audio production update
- NAB 2014 - 5 - FOC4 - Is everything changing? Better Experience in Cinema needed!
- NAB 2014 - 6 - FOC5 - Business models drive technology
- NAB 2014 - 7 - FOC6 - The future, continuous change!
- NAB 2014 - 8 - FOC7 - What changes next? EVERYTHING!!
- NAB 2014 - 9 - FOC8 - Future of Cinema - panel - Audience Questions
- NAB 2015, Barco on Laser (6P and BPP) and HDR
- NAB 2015, Barco on Rec.2020 color space with their Laser Projector
- NAB 2015, Blackmagic Design's 12G-SDI everywhere
- NAB 2015, Blackmagic Design's DaVinci Resolve 12
- NAB 2015, Blackmagic Design's new URSA Mini 4.6k Digital Cinema Camera
- NAB 2015, Blackmagic Design's UltraStudio 4K extreme
- NAB 2015, Standards in Cinema: Academy of Motion Picture Arts and Science's announce ACESv1
- NAB 2015, Standards in Cinema: Adobe
- NAB 2015, Standards in Cinema: Autodesk focus on realtime feedback and creative features
- NAB 2015, Standards in Cinema: Canon's new on set workflows and BT.2020
- NAB 2015, Standards in Cinema: CineCert, IMF is our focus
- NAB 2015, Standards in Cinema: DTS Headphone X, Personal Immersive Audio
- NAB 2015, Standards in Cinema: DTS-X a new Immersive Audio Product from DTS
- NAB 2015, Standards in Cinema: GoPro's contribution to SMPTE-VC5 codec
- NAB 2015, Standards in Cinema: Quantel focus on 8k and ACESv1
- NAB 2015, Standards in Cinema: SGO Mistika on HDR and ACES
- NAB 2015, Standards in Cinema: SMPTE on VC5, IMF, ACESv1, HDR, Immersive Audio
- NAB and CinemaCon 2015 coverage overview
- NAB16 AJA brings SDI over IP to the Kona Card
- NAB16 Atomos' new HDR field recorder - A great first step into HDR
- NAB16 Avid on HDR and finishing
- NAB16 BaseLight on developments in HDR finishing
- NAB16 Blackmagic MultiView4
- NAB16 Blackmagic Resolve 12.5 focuses on HDR
- NAB16 Blackmagic SDI-over-IP converter 1G, 10G, compressed, uncompressed
- NAB16 Blackmagic's NEW FORM OF DISTRIBUTION, The Duplicator 4K
- NAB16 Canon new 4K, P3, high brightness projector for HDR
- NAB16 Canon on all new products HDR
- NAB16 Editshare insight on requirements for HDR and 4K
- NAB16 FSI's Bram Desmet (P1) on New products (BoxIO and others)
- NAB16 FSI's Bram Desmet (P2) on targeting Millennials? on 300nit tablets/Laptops
- NAB16 FSI's Bram Desmet (P3) on 4K products, needed to HDR path
- NAB16 FSI's Bram Desmet (P4) on ST.2084, HLG what does this all mean
- NAB16 Gigabyte high performance storage systems
- NAB16 Lightspace's Steve Shaw (P1) on the history of LightSpace
- NAB16 Lightspace's Steve Shaw (P2) on HDR, 2084, HLG, does it make sense
- NAB16 Lightspace's Steve Shaw (P3) on P3, Rec2020 and calibration
- NAB16 Samsung High Density SSD, the best way to move data
- NAB16 SMPTE IMF update, IMF ready today, Big cost saving improvements in workflows
- NAB16 Sony embraces SDI-over-IP, a closer look
- NAB16 Sony leads the way with BVM X300 OLED grading HDR monitor
- NAB16 Standards shaping the industry, get on board with SMPTE
- NAB16 Sundog on IMF and how it improves workflows
- NAB16 Ted Schilowitz on the future - HDR
- NAB16 Ted Schilowitz on the future - VR
- NAB16 Tektronix new Prism product for HDR monitoring and matadata QC for Post and Streaming
- NAB16 Tektronix on using scopes for HDR
- NAB16 Thunderbolt 3 the interface of the future for media workflows
- NAB16 Walter Volpatto (P1) from Fotokem on grading HDR and ACES
- NAB16 Walter Volpatto (P2) from Fotokem on Codecs RAW or LOG and HDR
- NAB16 Walter Volpatto (P3) from Fotokem on HDR learning process, from camera to grade
- NAB16 Walter Volpatto (P4) from Fotokem on primary deliverable, HDR, P3, Rec.709
- NAB16 Walter Volpatto (P5) from Fotokem on ACES, the good and bad
- NAB16, Post Production World Panel on HDR (PPWPonHDR) Intro.
- NCR Point of Sale Customer Seat Allocation System
- NEC cinema projector API - automating your cinema projectors
- NEC's new laser lamp module projector - CinemaCon 2019
- OpenDrives, SAN-like performance over NAS - NAB2019
- Ownzones - a cloud fulfilment system for deliverables (Netflix/Streamers) - NAB2019
- Peter Lude on DCI's next generation of cinema exhibition/HDR - CinemaCon 2019
- Pink and Green screen & 3D content on a 2D screen
- Portrait Displays (SpectraCal) on getting into HDR with affordable HDR Monitors
- Post Production World Panel on HDR (PPWPonHDR) FULL LENGTH
- PPWPonHDR 02, What is HDR.
- PPWPonHDR 03, Dolby on standards and their path for HDR.
- PPWPonHDR 04, Cameras and the production side of HDR.
- PPWPonHDR 05, Whats makes a display HDR, how many stops?
- PPWPonHDR 06, Whats the difference between Wide Colour Gamet (WCG) and HDR.
- PPWPonHDR 07, Why does HDR use Rec 2020 Deliverables?
- PPWPonHDR 08, Telling stories with HDR. Do you need to?
- PPWPonHDR 09, HDR, pushing it too hard because its new.. HDR is harder to shoot for..
- PPWPonHDR 10, Shooting HDR productions changes the way we shoot. (Windowing in the grade considerations)
- PPWPonHDR 11, As an editor is HDR something I have to worry about?
- PPWPonHDR 12, What should I be looking for in a HDR Monitor.
- PPWPonHDR 13, Dolby on Leading the way and their role with the Pulsar Monitor.
- PPWPonHDR 14, Calibration, landscape changing. EOTF, key to targeting HDR.
- PPWPonHDR 15, 2 Masters: Do I need two Monitors in my Grading Suite? Retime requirements.
- PPWPonHDR 16, Peak luminance, blacks, QC and deliverables. Sony X300 discussion.
- PPWPonHDR 17, Why 1000nits has become the HDR target for now and using quasi HDR capable displays.
- PPWPonHDR 18, HDR in TV and Cinema, totally different, how do we deal with this? More trim passes?
- PPWPonHDR 19, HDR does not mean the average brightness increases, don't have to go BRIGHT in HDR.
- PPWPonHDR 20, The other elephant in the room, Automatic Brightness Limiting on HDR displays.
- PPWPonHDR 21, What is the roll of MetaData in the HDR landscape. Ie Dolby vision.
- PPWPonHDR 22, How is the MetaData handed of, where does it come from, whose responsibility is it?
- PPWPonHDR 23, Is the viewing environment part of the standards in how vendors display HDR?
- Preferred Popcorn - CinemaCon 2019
- Preparing for a Cinema extended closure period and explaining why its so important
- Prime Focus, AI assisted cloud and IMF deliverables - NAB2019
- Projection Infrastructure cost savings for Cinema
- QSC heads into sound and picture excellence for cinema - CinemaCon 2019
- Readings Cinema, Warne Ponds, like their Kinoton
- RealD-XL 3D cinema system, a second look up close
- Rec.2020 Demo at Barco: beginning the education to more beautiful pictures
- Rec.2020 Demo at Barco: Camera Codecs and compatibility with HDR
- Rec.2020 Demo at Barco: HDR standards drive 4K deliverables
- Rec.2020 Demo at Barco: Why HDR is such a BIG DEAL
- Rec:2020 Demo at Barco: When to use Rec.2020
- Regent Cinema Part 1
- Regent Cinema Part 2
- Regional Cinemas in a digital world
- Samsung Onyx LED screens for cinema - CinemaCon 2019
- SAVE Hours Booking/Scheduling Films for your CINEMA
- Security in a Digital Cinema Projector
- Showest - AcoustX - Acoustical Measurement System
- Showest - Christie
- Showest - CRU-Dataport
- Showest - Dolby - Cinema System
- Showest - Dolby - New Sound Processor
- Showest - DTS - DCI media player and tools
- Showest - DTS - MasterImage 3D
- Showest - DTS - XD20
- Showest - MiT
- Showest - NEC DCI Projectors
- Showest - QSC audio solutions for Cinema
- Showest - Sony - Projectors
- Showest - Sony - TMS
- Showest - USL - Audio Processors
- Showest - USL - Captioning
- Showest - USL - Measurement Tools
- Showest - VPF - Part 1of6
- Showest - VPF - Part 2of6
- Showest - VPF - Part 3of6
- Showest - VPF - Part 4of6
- Showest - VPF - Part 5of6
- Showest - VPF - Part 6of6
- Showest 2009 INTRO
- Showest 2010 - 01 - Intro
- Showest 2010 - 02 - dcpPlayer
- Showest 2010 - 03 - Overview of 3D systems
- Showest 2010 - 04 - Light Levels on 3D screens
- Showest 2010 - 05 - 3D Presentation Quality
- Showest 2010 - 06 - D-Box Motion CODE / Chair
- Showest 2010 - 07 - USL
- Showest 2010 - 08 - Dorami CaptiView closed caption system
- Showest 2010 - 09 - Dolby Closed Caption Technology
- Showest 2010 - 10 - Christie Projectors
- Showest 2010 - 11 - Intelligent Access Systems Closed Caption Tech
- Showest 2010 - 12 - Xpand 3D
- Showest 2010 - 13 - Emerging Pictures
- Showest 2010 - 14 - Barco Projectors
- Showest – Qube Cinema - player and DCP creation
- Small Cinema Owners (SCO) Cost Saving Tools released
- Small Cinemas and getting remote support. GO RustDesk and Parsec.
- Small cinemas using Google Trends to help chose the right movie to maximize profits
- SMPTE a foundation for innovation - NAB2019
- SMPTE DCP's are coming
- SMPTE pivots to Programming and Software - NAB2019
- Stealing DCI Cinema Equipment - FAIL!
- Stepguard - CinemaCon 2019
- Sydney SMPTE 2015 - BlackMagic Design Cintel Film Scanner release with Tim from LeMac
- Sydney SMPTE 2015 - Bram from FSI on grade 1 Monitors & color management
- Sydney SMPTE 2015 - HDR is hot, get into with DaVinci Resolve 12
- Sydney SMPTE 2015 - Mellanox on 40Gbs IP infrastructure for Media workflows
- Sydney SMPTE 2015 - Pro-Tools integrates Atmos Immersive Audio tools
- Sydney SMPTE 2015 Intro
- The challenge for remote cinemas
- The END of the VPF - CinemaCon 2019
- The future of streaming content in a cinema.
- The RealD-XL 3D system. Better, brighter 3D.
- This PREDICTED Super Mario Bros. Theatrical Box Office SUCCESS
- Tossware - CinemaCon 2019
- Ultra High Performance Networking in Media Production
- View 3D-DCP's with dcpPlayer
- VLOG - Getting a job working on digital cinema projectors
- Welcome to Cine Tech Geek
- What are the Best Ways to Manage Color for HDR and Multiple Deliverables - NAB2019
- What can I plug into a DCI projector.
- What can I plug into a Series-2 Digital Cinema Projector
- What is an LMS - in Theatrical Cinema
- Who is responsible for cinemas going digital
- Year of the Codec
CTG – Product Review – USL JSD-60
In this video I review an entry level Cinema Audio Processor from USL. The JSD-60 is a very versatile entry level processor with every […]