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Don’t call it 4K, Call it Ultra HD

The grammar and spec nazis can rejoice! “4K” is now officially Ultra HD although film purists will undoubtedly point out that the specs of Ultra HD (3840×2160) aren’t the same as 4K in terms of film scanning (4096×2304). Oh well, at least we’re not calling it Quad-HD.

Press Release from the Consumer Electronics Association:

The next generation of so-called “4K” high-definition display technology for the home – giant-screen TVs with more than eight million pixels of resolution, four times the resolution of today’s high-definition televisions – will be called “Ultra High-Definition” or “Ultra HD,” connoting its superiority over conventional HDTV, according to the Consumer Electronics Association (CEA)®.

CEA’s Board of Industry Leaders unanimously voted yesterday to endorse the consensus opinion of CEA’s “4K” Working Group recommending the term “Ultra High-Definition” and related performance attributes. The name and related minimum performance characteristics are designed to help consumers and retailers understand the attributes of this next generation of superior television and display technology beginning to roll out this fall. The vote came during the Board’s meeting at CEA’s annual CEO Summit and Board Retreat held here through Friday. 

The Working Group, now known as the CEA Ultra HD Working Group, was formed earlier this year to bring a wide array of stakeholders together to discuss how best to define and educate consumers about this new technology.

“Ultra HD is the next natural step forward in display technologies, offering consumers an incredibly immersive viewing experience with outstanding new levels of picture quality,” said Gary Shapiro, president and CEO, CEA. “This new terminology and the recommended attributes will help consumers navigate the marketplace to find the TV that best meets their needs.”

The consumer electronics industry’s new designation for Ultra HD products was the result of extensive consumer research conducted by CEA’s market research group. “Ultra HD” consistently rated highest in terms of helping consumers understand the technology and in communicating the technology’s superior viewing experience.

The group also defined the core characteristics of Ultra High-Definition TVs, monitors and projectors for the home. Minimum performance attributes include display resolution of at least eight million active pixels, with at least 3,840 horizontally and at least 2,160 vertically. Displays will have an aspect ratio with width to height of at least 16 X 9. To use the Ultra HD label, display products will require at least one digital input capable of carrying and presenting native 4K format video from this input at full 3,840 X 2,160 resolution without relying solely on up-converting.

DP Review | Read the Full Article

 

“Lost’s” Carlton Cuse Relives Dealing With the Modern Celebrity of the TV Showrunner

The Showrunner for Lost, Carlton Cuse talks about running a show and the new celebrity status that comes with it.

There’s been a cultural change in television in the last few years. TV showrunners have become known entities to people who watch television in the way that movie directors have been known to filmgoers for a long time. When I started out as a writer and producer in television, I never had the slightest expectation that fame would be part of the job. There was a little bit of fandom that came from co-creating, writing, and producing my first series, 1993’s cult favorite The Adventures of Brisco County Jr. We were getting about 500 letters a week. They would show up in boxes, but they were addressed to the actors, or the show, or the “producers,” unnamed. It was vastly different from what would happen with Lost

When Lost started, we were just trying to make a TV show that we’d watch, that we thought was cool. We truly had no idea people would become so engaged by it. By the end of the first season, Damon Lindelof and I had suddenly become the named, responsible parties for the show. I first noticed that something was different when a fan group that organized around a website called TheFuselage.com held a fund-raiser party at the Hollywood Renaissance Hotel, and they invited some of the actors and writers to attend. The fans that showed up were mostly interested in meeting each other, but some of them were actually very interested in meeting Damon and me. And that was really kind of shocking: Suddenly there were fans wanting to have their picture taken with us. I never expected that somebody would want to have his picture taken with a showrunner.

Vulture | Read the Full Article

Daniel Day-Lewis on playing Lincoln

In this 60 Minutes interview, you’ll hear from the famously reticent Daniel Day-Lewis on his feelings for Lincoln, the man, in the actor’s first interview about “Lincoln,” the movie. It also gives a first look at the making of the “Lincoln” movie with details about the historical accuracy of the set, props, and acting from Spielberg himself. You can also watch composer John Williams behind-the-scenes, on the film score of of “Lincoln.”

I Was Rescued From Iran: It wasn’t like the movie Argo

Mark Lijek, one of the excapees portrayed in the movie Argo talks about how his experience differs from the film version.

Argo, Ben Affleck’s new movie about the rescue of six Americans from Iran, is a terrific thriller, even if you know the ending. I left the theater sweating—just as when I exited the airport bus to board a Swissair flight out of Tehran in January of 1980, one of the six Americans who were rescued by Tony Mendez, the CIA employee Affleck plays. Affleck’s version of events is not only a well-told tale, but a useful story, a necessary and enjoyable mechanism for introducing a younger generation to the origins of our confrontation with Iran. But for me, Argo is also a peek into a nightmarish alternate universe of how things might have been. Could I have survived three months under the stressful conditions depicted in the film? Would I have kept my cool if Iranian paramilitaries questioned my identity?

Fortunately, these are questions I never had to answer. Our Canadian hosts kept us confident and comfortable, and the plan hatched by Mendez worked even better thanArgo suggests. As you may know by now, Mendez cooked up a fake movie production and suggested we pose as location scouts considering Iran for our film. That idea may sound crazy today, but we liked it right away, as I recall, and for three reasons. First, and most importantly, we bought the idea that Hollywood people would be so presumptuous as to think they could walk into the middle of a revolution and shoot a movie. Second, it was backstopped: The phone number on my fake business card would be answered, and we had a script, storyboards, and other paraphernalia. Lastly, the plan allowed the six of us to travel as a group, and support each other.

Slate | Read the Full Article

 

A Guide to Copyright for the Creative Professional

Copyright can be a scary word for the uninitiated. But it’s not that confusing to grasp the fundamentals of the laws that help protect creative professionals and their work.

As a creative professional, your work is often governed by copyright law.

It’s not exactly a topic that most of your clients will be familiar with, so you need to make a point of having practical expertise. You don’t need a law degree to know the applications of copyright law in your particular niche, though it never hurts to take a class or two in this topic.

For the record, I am not a lawyer. You should certainly talk to a legal professional about the details of your own situation because no one offering advice over the internet is going to be familiar with the nuances of your particular situation. Furthermore, copyright law varies dramatically from country to country.

Here, we will be focusing primarily on U.S.-copyright law. There are similarities in most countries, but make sure you’ve got the details right for your locale. Intellectual property, particularly copyright, can mean big money, so you need to make sure you get it right.

But I can offer you a starting point when it comes to dealing with copyright questions.

The Basics of Copyright

As the creator of a work, you’re entitled to get the financial benefits that go along with what you’ve created. That includes reproducing the work, creating derivative works and displaying the work.

Works can be fairly diverse: an article you’ve written and a website you’ve designed are obvious examples of what can be copyrighted.

Freelance Switch | Read the Full Article

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