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Screens Producing & Media Operations: Advanced Practice for Media Server and Video Content Preparation [Kietas viršelis]

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  • Formatas: Hardback, 258 pages, aukštis x plotis: 235x191 mm, weight: 725 g, 14 Line drawings, black and white; 230 Halftones, black and white; 244 Illustrations, black and white
  • Išleidimo metai: 08-Nov-2019
  • Leidėjas: CRC Press
  • ISBN-10: 1138338028
  • ISBN-13: 9781138338029
Kitos knygos pagal šią temą:
Screens Producing & Media Operations: Advanced Practice for Media Server and Video Content PreparationDidesnis paveikslėlis
  • Formatas: Hardback, 258 pages, aukštis x plotis: 235x191 mm, weight: 725 g, 14 Line drawings, black and white; 230 Halftones, black and white; 244 Illustrations, black and white
  • Išleidimo metai: 08-Nov-2019
  • Leidėjas: CRC Press
  • ISBN-10: 1138338028
  • ISBN-13: 9781138338029
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781138338029.html
Raktažodžiai:
Media servers have established themselves as the dominant video playback tool for live events; however, the practice of delivering content to these systems and the structure of the media operations team is still evolving.

This book outlines a workflow for video content delivery and describes team communication that can be applied to any entertainment production including: television specials, concert touring, corporate events, theater, as well as special events, film, large audience marketing events, and multi-screen permanent installations. This workflow is hardware and software independent, designed to evolve with future technologies as they become established in the field of multi-screen production, and has been proven professionally by the author and her peers over a decade of productions.

The methodology presented will provide insights beneficial to students and current practitioners of media server technology, screens producers, and video content developers. Using real world examples of internationally recognized productions, a foundation is laid for best practices in Media Operations.

Additional content, including full-color versions of the images inside the book, is available online.
Acknowledgments ix
Preface xi
1 What Is a Screens Producer? What Is Media Operations?
1(4)
2 Media Operations: Practice & Principles
5(8)
A Screens Practice that Works in Any Production Environment
7(3)
Augmenting this Practice with Rapidly Changing Technology
10(3)
3 Screens Control History
13(9)
Screens Control & Media Servers
13(7)
Integration with Broadcast
20(2)
4 Follow the Pixels: Three Strategic Teams to Achieve Excellent Screens
22(13)
Creative -- Content Production
22(6)
Operations/Programming
28(2)
Engineering
30(4)
Hybrid Teams
34(1)
5 Content Creation for Scenic
35(15)
Designing Media for Space Not Screens
35(3)
Working with the Scenic Design Team
38(6)
Communicating with Content Designers
44(3)
Translating Space onto Rasters
47(3)
6 Operations and Programming for Screens Control
50(25)
What Is a DELIVERY RASTER?
50(14)
What Defines a Media Server Layer?
64(5)
Layer Strategy for Programming
69(1)
One DELIVERY RASTER or Multiple?
70(1)
Planning for Maximum Flexibility and Speed
71(1)
Clear File Organization
71(1)
File Naming &c Revisions
72(3)
7 Engineering for Servers: Feeding the Screens
75(14)
Signal Flow & Engineering
75(1)
Building the SIGNAL RASTERS
76(5)
Finalizing a SIGNAL RASTER
81(3)
Server Engineering Guidelines
84(1)
Backup Planning
85(1)
Genlock & Signal Sync
86(1)
Timecode & Audio
87(2)
8 Understanding the Set: Documentation and Analysis
89(22)
Scenic Design Documentation
89(1)
Example 1 iHeart Radio Music Awards 2017
89(8)
Example 2 Black Girls Rock! 2016
97(7)
Example 3 MTV Video Music Awards 2018
104(7)
9 Unwrapping the Set: Templates for Creatives
111(22)
Master Template/DESIGN RASTERS
111(1)
Example 1 iHeart Radio Music Awards 2017
112(3)
Grouping Screens
115(2)
Example 2 Black Girls Rock! 2016
117(2)
Responsible Pixel Usage -- Do I Need a Pixel for Every LED?
119(4)
More Screen Groups
123(1)
Special Example: MTV Movie & TV Awards 2018
124(4)
Example 3 MTV Video Music Awards 2018
128(1)
Alternate Content Delivery Workflows
129(4)
10 The Media Operations Team
133(15)
Programming
133(1)
Example 1 iHeart Radio Music Awards 2017
133(2)
File Delivery
135(1)
File Management
136(1)
Example 2 Black Girls Rock! 2016
137(4)
Prepare for "Oh by the Way"
141(3)
Example 3 MTV Video Music Awards 2018
144(3)
Delivery and Processing
147(1)
11 Signal Delivery & Engineering
148(27)
Server Signal Planning
148(1)
Example 1 iHeart Radio Music Awards 2017
149(3)
Working with Screens Engineering Team
152(1)
Working with Broadcast Trucks
153(2)
Example 2 Black Girls Rock! 2016
155(4)
Signal Switching
159(2)
Special Example: MTV Movie & TV Awards 2018
161(2)
Example 3 MTV Video Music Awards 2018
163(12)
12 Content Delivery Workflow
175(28)
The Set
175(2)
Initial System Outline
177(1)
Prep Timeline
178(1)
More Scenic Documentation
178(9)
Templates &C Rasters
187(1)
The DESIGN RASTER
188(3)
The DELIVERY RASTER
191(1)
The SIGNAL RASTERS
192(1)
Workflow Refinement
193(2)
Supporting Content Production Tools
195(1)
Previsualization
195(2)
Content Production Project Template
197(3)
Communication and Clarity
200(3)
13 Previz
203(9)
Previz and Screens
203(1)
Previz and 3D
204(3)
WebGL
207(3)
Media Servers and Previz
210(1)
VR/AR
210(1)
In Summary: Democratizing 3D
210(2)
14 Advanced Technologies and the Future of Media Operations
212(11)
Interactive Graphics
212(1)
Scenic Tracking
213(4)
Projection Calibration
217(1)
Camera Tracking
218(3)
Real-Time Generated Content
221(1)
In Summary: Expertise
222(1)
15 Practice
223(3)
Listen
223(1)
Support Others
224(1)
Be Excellent
224(1)
Support Yourself
225(1)
Be Compensated Fairly
225(1)
16 Industry Voices
226(15)
Nils Porrmann
226(2)
Trevor Burk
228(1)
Rodd McLaughlin
228(1)
Kerstin Hovland
229(1)
Bob Bonniol
230(2)
Eric Marchwinski
232(1)
Peter Nigrini
233(2)
J. T. Rooney
235(1)
Nick Fletcher & Kyle Bjordahl
236(1)
Abigail Rosen Holmes
237(1)
Philip Galler
238(3)
Appendix 1 Glossary 241(2)
Appendix 2 Workflow Outline 243(2)
Appendix 3 The Dark Art of Selecting a Pixel Density 245
Laura Frank, founder of Luminous FX, has worked in entertainment technology for over 20 years. Starting as a moving light technician, she established herself as a top lighting programmer with projects spanning rock tours with David Bowie and Madonna, Broadway shows like Spamalot, and television events like the Concert for NY. Laura made the shift to media servers and screens just as the market started to evolve. Now, after a decade of refining a media delivery workflow, she works as a Screens Producer for prominent events around the world.