[Sponsored] Using NDI at a real live event

Published in IP Video

What's it like using networks - Newtek's NDI in this case - instead of conventional cabling at a live event? 

The RedShark Interview with Michael Feerer of Pixelan

Published in Business

Pixelan plugins have been on the digital video editing scene for about as long as there has been a digital video editing scene. We talk to founder Michael Feerer about their past, present and exciting future

Making Tarzan sound like a jungle

Published in Audio

Sound designers Glenn Freemantle and Niv Adiri detail the process for creating the rich soundscapes for The Legend of Tarzan.

Lighting, camera and sound for interviews

Published in Production

The conclusion of our two-part series on interviews covers production and reveals alternatives to the standard interview.

Here's a Sponsored Article from Adobe, detailing the importance of Creative Cloud in bringing Pete's Dragon to the big screen. By Michelle Gallina.

Periscope: one of the new frontiers of broadcast

Published in Business

Up Periscope: Alex Pettitt is not only one of the panellists at IBC Rising Stars this weekend, he’s also the UK and Europe's No 1 Periscoper and has accumulated one of the largest global followings on the platform to date.

It was the camera that broke Cine Gear 2016. Michael Cioni, President of Light Iron and Product Director of the Panavision Millennium DXL, talks to Matt Aindow about the DNA of one of the most spectacular camera launches of 2016.

Everything you always wanted to know about Steadicam

Published in Production

A recent interview that first appeared in the GTC's magazine, Zerb. Mel Noonan talks to Robin Thwaites and Danny Hallet of Tiffen International about the Steadicam line, including options, usage and how to get started.

RedShark News contributor George Krieger sat down with Jeffrey Martin, the creator of Sphericam 2, a tiny prosumer VR camera array and currently red-hot Kickstarter campaign.

Avengers: Age of Ultron saw 20 VFX houses complete somewhere in the region of a massive 3000 effects shots. Munich's Trixter Studios was one of them, its allocation of 400 shots including engineering the eponymous villain's grand entrance.

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