Podcast network Stitcher recently moved into its new headquarters in Midtown Manhattan, building out a 2,000-square-foot production complex comprising three studios, two edit rooms and two iso booths designed in concert with WSDG Walters-Storyk Design Group. The new facilities have been outfitted to accommodate Stitcher’s typical workflow, which can often involve collaboration between talent, producers and engineers at the company’s offices in Los Angeles and San Francisco.
Nitro Circus is a global sports entertainment company that produces a wide array of live events, docuseries, television programming, and digital content. Founded by action sports icon Travis Pastrana, Nitro Circus began as an excuse to travel the world riding dirt bikes, BASE jumping, and performing crazy stunts. The brand quickly took on a life of its own, spinning into live-action sports competitions complete with screaming fans and multi-camera broadcasts to a massive worldwide audience. Today, Nitro Circus is a bonafide media company with shows airing on multiple networks, while also turning countless hours of digital content for their audience of 25 million fans worldwide.
Post House Creative is a full-service video production and animation boutique based in Columbus, Ohio. They combine award-winning creative talent and deep marketing expertise to help their clients take their vision from paper to pixels.
On a recent project for the Columbus Blue Jackets, Post House Creative had an opportunity to try something new with their clients. Instead of the usual style frames, storyboarding, and animatics, they went with a hybrid video game/app based on the Unreal Engine called Cine Tracer.
Cine Tracer is a realistic cinematography simulator that allows a user to build, stage, and capture scenes in stunning real-world environments using industry-standard lighting, rigging, and camera setups.
On The Brink is a wildlife documentary series with a mission to create awareness about the conservation crisis facing India’s ecosystems and the species that inhabit them. The Gaia People, an award-winning husband and wife filmmaking team whose work has been featured on Animal Planet, BBC, Discovery, ITV, Nat Geo, NHK, and PBS, takes viewers on an incredible journey across India. Each episode highlights the natural history of various endangered species and the people who dedicate their lives to studying and protecting them.
The production crew spent more than 200 days in the field traversing across the Himalayas at 15,000 feet altitudes and bone-chilling temperatures, to caves, beaches, and rain forests to bring viewers a never before seen look at India’s wildlife. Although Praveen Singh, Director, and his team were no strangers to the harsh conditions of wildlife filmmaking, post-production had its own set of challenges.
Building a new studio from scratch is no easy task.
Just a few years ago, if you had asked Reid Caulfield, lead Re-Recording Mixer and VP of Operations at Central Post LA, if he had any interest in starting his own facility, his answer would have been an emphatic “never again.”
But then, Reid and his business partners saw something that hadn’t happened since the DVD boom of the mid 1990’s. In his more than 30 year career as a mixer and sound editor, he has seen radical technological shifts, studio consolidations, and the ebbs and flows of the workings of the industry, he’s seen work come and go–but, he also saw a new opportunity on the horizon.
People driven by the desire to explore unknown spaces can help bring incredible new ideas and innovation to light. That desire led Gevorg Karensky to found Bipolar Studio in 2015, and in a short time, the studio has accomplished a lot.
For starters, they invented and patented the first VR stabilization tech. They also built the first nine-camera RED Dragon VR rig, partnered with Google to create a film for the Google Daydream headset launch, and won the Mobile Grand Prix at Cannes for their work on the New York Times VR campaign, where they gave away one million Google Cardboard headsets in an effort to enable journalists and filmmakers to bring their vision to a broader audience.
Since its foundation in 2004, Microsoft’s Channel 9 has produced thousands of videos aimed at empowering the community of Microsoft customers and developers.
In the beginning, Channel 9’s content served as an affordable alternative to Microsoft’s Professional Developers Conference, which was the main platform for customers and developers to connect with Microsoft employees in a meaningful way. Today, it’s grown into a full-blown production studio with over 3 million unique viewers every month. With a visit to their website, you’ll uncover over 2,500 pages of video content like talk shows, instructional videos, keynotes, and coverage of Microsoft’s most prominent developer events.
The team at Channel 9 is lead by Golnaz Alibeigi, Studio Manager and ringleader of creative operations. In any given week, Golnaz and her team produce at least ten different shows about a plethora of topics that range from cloud computing to machine learning, game development, and AI.
In October of 2016 Ignition Productions was awarded the contract to cover the 2017 Dakar Rally for Red Bull TV. The project was a daily behind-the-scenes show of the world’s toughest Motorsport event. They had to shoot over 13 days of competition across three countries, and in some of the harshest conditions imaginable, with temperatures ranging from 122°F to near freezing, sometimes in altitudes over 3500m, an extreme feat for even the most adventurous crews.
It’s your first day as the head of a brand new video team. You can’t wait to get to work, but when you arrive, you’re immediately greeted by a shelf of external hard drives and a small server partition provided by the university’s IT department. To some, it’d be a little discouraging. To others, it’s an opportunity to start from scratch and build the workflow of their dreams.
This is what Chris Salters found when he came to TCU to run a newly founded video production team inside the University’s athletic marketing department. He was excited to take the department in a fresh cinematic direction, and he met his challenges head on.