Multimedia
Version 5.5
June 3rd
3 pm
Multimedia content is simply to complex.
Shoot-to-Show
Camera to Cloud (C2C) — (Shoot)
LED Video Wall Screen — (Show)
Communication system supporting global high-speed internet (SpaceX Starlink Satellite)
#stevenpaulcote
#elonmusk
LED Video Wall Display
Indoor and outdoor high-brightness LED video wall displays, designed to meet the fast-paced needs of temporary event applications, large venues and fixed installation. single-person handling
16.4’ x 9.8’ Indoor/Outdoor LED Video Wall
Unlimited video wall sizes, portable temporary semi-permanent and permanent screens
Uniqueness, planning to display live video on the LED video wall. The live video content is intended to be from anywhere in the world. Custom graphics, live video and picture in picture content.
Multiple video walls and different locations in the world indoor and semi-outdoors (Dome’s & other spaces) is planned
Content is King, especially in video format
Planning a great Vlog and create, personal and professional vlogs for participants.
What is vlogging?
Vlogging (short for “video blogging”) can be about nearly anything. Vlogs can be criticism, comedy, or educational videos.
This Profile purpose is informational. Participates offered turn-key multimedia support, everything from selection, procurement, installation of displays as necessary, maintenance and technology refresh or disposal/removal.
Temporary and short-term arrangement can be made for multimedia.
Special Multimedia: Projects, Assignments and Tasks can be performed for participants.
Multimedia, is a complex issue and sometimes includes personal content and must be handled very carefully including under, executive protection protocols.
During content development geolocation information especially with real-time disseminated publicly can be highly sensitive for executive protection.
Differentiation, the completeness of the approach is what differentiates valuable: skilled and talented producers. All elements of the project must be cohesively implemented to achieve the goals and objectives.
Understood, established goals and objectives for any for projects, assignments and tasks id imperative it must be established and documented prior to commencement of any activities.
Depending on the purpose of the display, content and conditions it goes from simple to complicated. Excluding any budget constraints, selection is still complicated.
Technology refresh, when possible never purchase electronic technologies, because of rapid technological decline. Preferably, rent or lease electronics under reasonable terms and conditions.
Information is presented in reverse order. Many large format super-high resolution information appears at the top then in descending order larger to smaller.
Paywalled Video by Twitter opportunities for publishing videos, possibly receiving a fee as content developer, with a portion retained by Twitter, planning a large portion for nonprofit to support Missions.
Humanoids
Planning to work with Tesla Bot (Optimus) for the robots to operate Advanced camera equipment
Mobility platforms
Cybertruck’s (Tesla)
Planning to mount super-resolution camera to Cloud (C2C) on Tesla Cybertruck. The significance of the cybertruck as a platform for multimedia is extensive.
Reportedly some of the specifications that are beneficial include positive pressure passenger area enabling humans comfort and protection from exterior hazardous air quality. Air suspension system increases the ground clearance of the vehicle. Autonomous Driving systems, enhanced autopilot driving system. Aquatic in-shallow water driving capabilities. Large cargo area (truck bed with ramp) supporting about 3,500 lb of equipment, humans and humanoids. Capable of high road speed reportedly up to 200 mph fast deployment in emergency situation under permitted code blue lighting and sirens approvals
Electric vehicle fleet
Planning a electric vehicle fleet, including watercraft personal and crew boat. Recreational vehicles including quads, snow machine, compact track loader (CTLs) mini attachments to loaders including long boom attached to support overhead videography. Track dollies, small and compact tracked dolly moving about 12,000 lb.
Deployment
Vehicles mounted with equipment planned to deployed together, in combination and with trailer’s.
Energy storage
All electric fleet supported with portable energy storage. Re-charging with portable solar panels and other re-energizing techniques.
Communication system supporting camera to cloud (C2C) global high-speed internet.
Autonomous videography
Super-high resolution multimedia capture and real time dissemination and display is now also possible.
Participants will have the rent, lease and purchase option any and all items offered.
Financially, for participants it all comes down to a monthly payment for multimedia when for personal use of multimedia displays and other assets. Under the platform model: consumers are the end-user, producers are the preferred providers and the marketplace is the platform.
Purpose of the display is imperative to understand. What content is being displayed for what purpose.
Conditions what conditions will display the operating within indoor, outdoor and mobility.
Content, the type of content being displayed is a critical factor determining and selecting displays.
Business opportunity
Production pre and post with dissemination is an excellent business opportunity for passion multimedia: charismatic hard-working visually creative individuals. Content development is extremely valuable to nearly everyone.
V-RAPTOR ST 8K VV is the most powerful and advanced RED cinema camera ever. As the brand’s new flagship system and sensor, as well as the first entrant into the new DSMC3 generation of cameras, V-RAPTOR stands alone at the forefront of the of digital image capture technology.
Featuring a groundbreaking multi-format 8K sensor- with the ability to shoot 8K Large Format or 6K S35, it unlocks the largest lens selection of any comparable camera on the market and allows shooters the ability to always deliver at over 4K. The sensor also boasts the highest recorded dynamic range of any RED camera and the fastest ever cinema quality scan time. With a dynamic range of over 17 stops and featuring scan times 2x faster than any previous RED camera, allowing users to capture up to 600 fps at 2K. V-RAPTOR will also continue to feature RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW, and leverage RED’s latest IPP2 workflow and color management.
Planning to have, use and make available to participants 4K Ultra HD video camera.
What is a 4K video camera? What’s 4K Ultra resolution; video cameras have the 4K Ultra HD recording resolution. The images recorded in 4K resolution are 3840×2160 pixels, see more details in videos. The camera records in 4K suitable for demanding vloggers and videographers
Full HD is just another term for 1080p or 1920×1080, and those are all ways of referring to the same resolution. By contrast, 4K has a resolution of 3840×2160. That’s a lot more pixels in the overall image — totaling over 8 million pixels. As always, the higher the resolution, the sharper the picture will be.
Action Cameras (GoPro)
Camera 2 Cloud (C2C)
HERO11 Black Creator Edition
Planning to select and support one of the
The HERO11 Black Creator Edition is an all-in-one content capturing powerhouse that makes vlogging, filmmaking and live streaming easier than ever.
This complete system features pro-quality 5.3K video, Emmy award-winning HyperSmooth 5.0 video stabilization, enhanced audio, powerful LED lighting and 4 hours of 4K recording per charge.
GoPro camera compatible with over 30 GoPro accessories. Planning to test and procure third-party accessories for GoPro cameras. Camera equipment and others assets available for pickup, delivery and shipping, including return by common commercial carriers including Express Mail
Training is available for all equipment especially action cameras including for innovative mounting techniques.
Smartphone
Its recommending to use smartphone that participants are using for communication it’s inconvenient and disruptive. Other video and photography equipment specialized for that purpose is available and preferred option. Many special attachments that are beneficial are designed for other equipment.
Smartphones have become much more than wireless telephony. Camera to Cloud (C2C) of low-resolution multimedia is achievable, instantly publishable on social media channels, including YouTube videos and Other video sharing channels.
Disclaimer
No commitments or final plans have been finalized completely conceptual
Forward looking statement.
Information presented contains significant amount of forward-looking statements may or may not happen.
Open source
Information presented is open source not proprietary can be used by anyone and anytime for useful purposes.
Background/Research;
LED Video Wall Screen
The most optimal image
The 16.4 ′ x 8.2 ′ LED Video Wall Screen can and will make work meetings or business expositions incredibly memorable. Its intermediate size is ideal to keep capture and maintain the viewer’s attention. This package is also applicable to a wide variety of scenarios, even for church services or houses of worship. More and more churches are betting on this product, for its performance & reliability. Not to mention its eco-friendly power savings with an average power usage of 50W and an operational power setting of 100 to 240 V, 50-60Hz.
The most versatile on the market
Each of these 50 tiles are front-serviceable with magnetic modules, which can be easily removed and replaced for maintenance or repair. These modules are manufactured with an LED encapsulation configuration of SMD 2121 3-in-1, making it one of our most dynamic LED panels. Both virtual production studios, and pastor-led live sermons or church events greatly benefit from these screens – this package really is an optimal choice for performance and affordability.
Benefits at your fingertips
This package’s installation components are compatible with the ground supports (sold separately) for greater peace of mind. Each of the pieces that make up the 16.4 ′ x 8.2 ′ LED Video Wall Screen has a 24-month warranty. Not to mention, 24/7 tech support available to you for any assistance or maintenance required. Make sure to ask us about our installation services!
Download full specifications here
Key Features:
Full Front Service / Magnetic Modules
Turn-key solution
Easy installation
Ground support compatible (sold separately here)
Technical support available
24 month warranty included for all parts
USA based
In stock
Package Includes:
(50) NovaStar P2.97mm Indoor LED video tiles
(1) Video Processor with HDMI, DVI and VGA Inputs
(2) NovaStar Mctrl300 sending card
(5) Hanging bars for rigging
(3) Cat6 25ft cable
(50) Data Cat6 link cables
(50) Locking Power Link Cables
(3) Locking Power to Edison Cables
Spare parts included
Specs:
Pixel Pitch: 2.97mm
Full Front Service / Magnetic Modules
LED Configuration: 3-in-1 SMD2121 LED
Pixel Density: 168 x 168 per panel
Size: 19.68” x 19.68” x 3” / 500 x 500 x 75mm
Module Quantity: 4 per panel 250 x 250mm
Weight: 18lbs. / 8.16Kg
Optical Ratings:
Brightness: 1500 NITS
View Angle: Horizontal 140°/Vertical 140°
Distance: 6ft (2m)
Brightness Adjustment: 0~100% 100 Levels
Power Supply:
Operation Power: 100~240V 50-60Hz
Max. Power Consumption: 100W/per panel
Ave. Power Consumption: 50W/per panel
Connections Power/Data: Locking power In/Out; Data EtherCon In/Out
Control System:
Control Mode: NovaStar Synchronous System with Control via DVI
Frame Update Frequency: 50-60Hz
Scan Mode: 1/28
Refresh Rate: 3840Hz
Support Input: Composite, S-Video, Component, VGA, DVI, HDMI, HD_SDI
Brightness Correction: Pixel, Module, Cabinet
Environmental:
Operating Life: 100,000 Hours
Protection Level: IP45 (Front and Back)
Shooting and showing
Extracting 35MP image from an 8K sequence, extraction a 35MP image from an 8K sequence. Truly amazing, unlimited opportunities.
Action Cameras
Normally, only one camera would be selected by the procurement team, however in the unique situation of action cameras, it’s likely best acquire many of them and support many cameras
HERO11 Black: The world’s most versatile camera, more powerful and convenient than ever before. Featuring GoPro’s proven signature HERO camera design, durability and performance, HERO11 Black is set to be the camera more professionals and enthusiasts turn to than any other to capture immersive footage that makes you feel like you were there
HERO11 Black Creator Edition: An all-in-one content capturing powerhouse that makes vlogging, filmmaking and live streaming easy with an ultra lightweight design that fits into the palm of your hand. It features all of HERO11 Black’s performance plus a long-lasting battery grip with built-in buttons for one-handed camera control and over four hours of 4K recording per charge. HERO11 Black Creator Edition also includes an optional directional microphone, external mic input, HDMI port for connecting to external displays, a high-output LED light and two cold shoe mounts for mounting additional accessories
HERO11 Black Mini: A smaller, lighter, simpler version of HERO11 Black that features all of the performance of its bigger sibling. HERO11 Black Mini’s smaller size and simple one-button design makes it the perfect choice for people who want maximum simplicity without sacrificing even a hint of performance or quality. Want to keep it simple but still look like a HERO? Choose HERO11 Black Mini
Smartphones
head-to-head camera testing covers photos in a variety of conditions — outdoors, low-light, portrait shots, selfies and more. That helps us find camera phones that meld the best sensors and computational photography and AI to extract the best possible light, color and detail out of every scenario.
Some of our head-to-head testing includes an iPhone 14 Pro Max vs Google Pixel 7 Pro camera shootout to show how two of our top-rated camera phones compare. We also look at how the Galaxy S23, iPhone 14 and Pixel 7 handle low-light photos.
After hundreds of hours of testing and many head-to-head photo comparisons, these are the best camera phones you can buy right now
Aspect Ratio
aspect ratio is and list all the different formats you might come across when shooting and showing your video to an audience.
Amazing technologies…
Article (section)
Grabbing a still from a video clip is an established technique, but the ability to extract a 35MP image from an 8K sequence and then produce a detailed A3 print of it opens up a wealth of new opportunities. It’s the perfect way to capture unpredictable events – from a fleeting juxtaposition in street photography to the arrival of a wild animal in a rural scene. It also offers more choice when it comes to isolating that decisive moment – a subtle change in expression in a portrait, perhaps, or in the case of wedding photographer Sanjay Jogia, a glance between the bride and groom midway through the ceremony.
Sanjay and his wife Roshni run Eye Jogia, which specialises in Indian weddings and high-end destination ceremonies, and have made printing their own images a core part of their photography business. “Creating wall art and a printed album is part of the process,” he explains. “There are wedding photographers who only distribute digital packages but I think they are missing an opportunity.”
The Canon Ambassador was one of the first photographers to explore how the Canon EOS R5 can bring photography and cinema even closer together, demonstrating how easy it is to shoot an 8K video still and print it on a Canon imagePROGRAF PRO-300 printer – with beautiful results.
“Shooting 8K video handheld on a non-IS lens with no other form of stabilisation was so easy,” he explains. “But being able to take a still frame, process it like any of my other RAW files, and print it out at A3 size? The result was stunning. The prospect of 8K printing is really exciting – it means we’re able to record unpredictable events or things that happen very quickly, and it gives us the chance to print those moments. Any new camera technology that makes it easier to capture stills provides us with an opportunity to sell the file as a print.”
Here, he explains how the process works, and why the ability to print 8K video stills has the potential to revolutionise image-gathering for photographers and filmmakers alike
When might it be useful to print 8K video frames?
“I’d normally just shoot stills at a wedding,” says Sanjay. “The only time I’ve shot video is for a hybrid product we produce, which merges photos into short video clips and back again. I’ve been pulling 4K stills to do that sort of thing, but never really to print. The resolution was too low and there were some limitations in terms of being able to process and grade the images.
“Now, the option of 8K resolution and the advanced colour science and image quality of the Canon EOS R5 is opening up new possibilities. Being able to pull and then print a video still gives me an opportunity to work quickly and capture things I might normally miss. During the ceremony, for example, when you know that things are going to be a little bit frantic, you can simply hit the video record button. Even during the portraits, if you’re doing anything that involves movement and motion, you could either burst through that moment in stills and generate a lot of 45MP photos, or you could shoot a video clip and stop it at the point where you want to extract a frame.
“I’m due to shoot a surprise proposal in a London restaurant and I’m planning to lock off one of my Canon EOS R5 bodies on a tripod near the couple and set the camera to record 8K video while I shoot stills from a different position. As well as giving me the option of creating a full clip, I’ll be able to pull stills from the video. I know I won’t miss any of the emotions or expressions, as I can trust the Canon EOS R5’s autofocus to lock onto the couple’s faces.”
8K will be the new Still Photography
RedShark Replay: Each still frame in an 8K video is a 32 megapixel still image. It may just be that 8K video is the best way to capture still images in the future.
With some people wondering why the new Hasselblad camera that has a 50 Mpixel sensor can’t shoot video at even 4K (hint – it’s a still camera) you would be right to question the sanity of the title of this article. But I very strongly believe that the ability to shoot at video frame rates at super-high resolutions is an important step for still photography to take.
There is simply no better way to shoot a still photo than to browse through successive frames of video so that you can pick the ideal frame. This is especially so with large sensor cameras that have an almost impossibly shallow depth of field, which can lead to stunning photos, but, more often than not, to shots that are out of focus, or which are in focus on the wrong thing.
I’ve only tried this with 4K and I’ve been very pleased with the results. I’ve used this picture before in RedShark but it does illustrate the point very well. It was shot with a Canon 1D C in 4K, and I remember browsing through about thirty second’s worth of video to find the right frame. There were lots that were just rubbish, some that were nearly right but not quite, and one – yes, just a single frame – from the entire thirty second clip that was good enough to use.
When you’re shooting a moving object (and that includes portrait photography) or if you’re shooting handheld and you have a large sensor, depth of field can be as small as a few millimetres. This might not be obvious in a small viewfinder, and it’s very easy to not notice that your chosen shot has missed that ideal point – in all probability only captured with a single frame where the shot is moving through the perfect focus point.
Having used this technique, it’s something I would definitely like to see built into more still cameras.
What might hold this back is that it’s not easy building 8K cameras. That’s an awful lot of data to deal with, and you have to have at least a 32 Mpixel sensor in the first place. Then there’s the issue that if you have a greater than 32 Mpixel sensor, you have to have enough processing power to reduce the resolution of the image down to 8K.
Except that you don’t, necessarily, for still images.
That’s because if you need to downsample, then you don’t necessarily have to do it in real time. Quickly would be good, but if you can only do it in one fifth or a tenth of real time, then it means you’re only going to have to wait a small fraction of a second to view the images. Or, the chances are, that the video can all be processed while you’re getting ready to preview the shots.
And if you don’t downsample – and why would you, necessarily – then you can shoot at the maximum resolution of the frame. 12K video, anyone? (The alternative of shooting from a cropped 32 Mpixel section of the sensor would work but would change the field of view).
But the point is that this technique is not there to shoot video. It’s there to shoot stills. So while storing 8K or 12K raw video needs a lot of expensive, high speed storage, the reality is that you’re rarely going to need to shoot more than about five seconds of video in order to extract a suitable frame.
This means that it’s OK to use expensive storage, because you don’t need much of it. And nor do you have to have all the other stuff that goes into modern video cameras, other than the ability to capture a few seconds of super-high resolution.
Let’s hope that this genuinely useful technique takes off, and starts to be offered by manufacturers. I think it will be incredibly popular.
Special purposes cameras
Infrared for emergency search and rescue and purposes
Super-resolution camera 8k
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RED Digital Cinema RED RANGER/Monstro V Digital Cinema Camera With Monstro 8K VV Sensor And V-Mount Image 1
RED Digital Cinema RED RANGER/Monstro V Digital Cinema Camera With Monstro 8K VV Sensor And V-Mount Image 2
RED Digital Cinema RED RANGER/Monstro V Digital Cinema Camera With Monstro 8K VV Sensor And V-Mount Image 3
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RED Digital Cinema RED RANGER/Monstro Gold Digital Cinema Camera With Monstro 8K VV Sensor And Gold Mount
DESCRIPTION
More RED Digital Cinema products
RED’s RANGER is an integrated Large Format 8K camera system offering an all-in-one system for production use. It features all of the benefits of the MONSTRO 8K VV sensor within a less complex platform for filmmakers. Features like integrated I/O’s, 24V power out, shimmed PL Mount and improved thermal performance offer unmatched versatility as well as peace of mind in challenging shooting environments. The camera will ship complete with necessary rigging and support for improved set-up time.
RANGER is capable of handling the rigorous strain and robust power needs of high-end studio productions. Supporting wide input voltage (11.5V to 32V) and more independent SDI and AUX power outputs, as well as an integrated XLR audio input. The camera also boasts a larger fan for quieter and more efficient temperature management.
Specifications
SENSOR TYPE: MONSTRO 35.4 Megapixel CMOS
EFFECTIVE PIXELS: 8192 × 4320
SENSOR SIZE: 40.96 mm x 21.60 mm (Diagonal: 46.31 mm)
DYNAMIC RANGE: 17+ stops
MAX DATA RATES: Up to 300 MB/s using RED MINI-MAG (480GB & 960GB); Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES 1: 60 fps at 8K Full Format (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)
60 fps at 7K Full Format (7168 x 3780), 75 fps at 7K 2.4:1 (7168 x 3024)
75 fps at 6K Full Format (6144 x 3240), 100 fps at 6K 2.4:1 (6144 x 2592)
96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160)
120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728)
150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296)
240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864)
PLAYBACK FRAME RATES: (PROJECT TIMEBASE): 23.98, 24, 25, 29.97, 30, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS: RANGE FROM 2:1 UP TO 22:11 5:1 REDCODE for 8K Full Format (8192 x 4320) at 24 fps
12:1 REDCODE for 8K Full Format (8192 x 4320) at 60 fps
2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps
3:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps
REDCODE RAW”
ACQUISITION FORMATS:
8K Full Format (8192 x 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
7K Full Format (7168 x 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
6K Full Format (6144 x 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x
3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES:
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps
ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECS:
DNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 30 fps
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps
CONSTRUCTION: Aluminum Alloy
WEIGHT: 7.30 lbs (with Integrated Media Bay, PL Mount, and Gold Mount); 7.50 lbs (with Integrated Media Bay, PL Mount, and V-Lock)
OPERATING TEMPERATURE: 0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE: –20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY: 0% to 85% non-condensing
COLOR MANAGEMENT: Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs
Variable number of 3D LUT outputs
User programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
AUDIO:
Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz
Integrated dual channel 5-pin XLR with preamplifiers, uncompressed, 24-bit 48 kHz
REMOTE CONTROL: External R.C.P. WiFi antenna with SMA connector Ethernet, RS232, and GPI Trigger
MONITOR OUTPUTS: 3G-SDI (HD-SDI) and MON-1; 1080p RGB or 4:2:2, 720p RGB or 4:2:2; SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS: DSMC2 RED Touch 4.7″ LCD, DSMC2 RED Touch 7.0″ LCD and DSMC2 RED EVF (OLED) with cable-free connection. RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, DSMC2 Touch 7.0″ Ultra-Brite LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LCD/EVF Adaptor A or DSMC2 LCD/EVF Adaptor D, and LCD/EVF cable.
REDCINE-X PRO
DELIVERY FORMATS:
4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
VIDEO EDITING SOFTWARE: COMPATIBILITY4 Adobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro
Cameras 4K
Action Camera (GoPro)
Procurement team has selected GoPro, model Hero 11 black as the preferred provider of action camera. The action camera is Compatible with over 30 GoPro accessories.
Planning to make available action cameras and request and recommend accessories for participants. Custom mounting for action camera is planned for all electric vehicles, apparel including safety equipment (helmets, many types). Wearable action cameras offers multimedia immersive capturing.
Camera 2 Cloud (C2C) fully supported.
Waterproof GoPro to about 33 feet enabling underwater media capture with Cybertruck’s reported aquatic capabilities.
GoPro 11 night mode
Put simply, there are three new night effects modes: Star Trails. Light Painting. Vehicle Light Trails
GoPro Hero11 Black
Video: 5.3k @ 60 fps / 4k @ 120 fps, 2.7k @ 240 fps
Photos: 27 MP
Waterproof: 33 feet / 10m
Wi-fi & Bluetooth: yes
Protune: yes – photo and video
Battery: removable 1720 mAh Enduro
Touch Display: LCD touchscreen
Image Stabilisation – yes, Hyper Smooth 5.0 image stabilization
Voice Controls – yes
GPS: yes
Audio: 3.5mm Audio Microphone input or 3.5mm Pro Microphone adaptor.
HDMI Port: no (USB-C yes)
Touch zoom: yes
More specs can be seen HERE.
Standout features of the GoPro Hero11 Black include:
GP2 Processor for the most powerful GoPro ever.
5.0 HyperSmooth is the most advanced stabilization with a built-in horizon lock
Time Warp, 8X Slo-Mo, Start Trails, Light Painting.
Uploads automatically to the cloud.
Improved low-light capabilities.
Compatible with over 30 GoPro accessories.
iPhone — extract a single frame as a still image,
I have a video on my iPhone that I recorded using my iPhone. I want to extract a single frame as a still image, preserving the full quality and native resolution of the recording.
I know it’s possible to take a screenshot of video, but I’m not sure if that ends up being a lower resolution image. Also, it just feels clumsy to use a screenshot because HD the time I end up with UI controls over top the image.
Is there a way, without third party software, to extract a full resolution still image frame from a video on iOS?
What is the major difference between a 12MP, 32MP, 48MP and 64MP cameras in a smartphone
The main difference between a 12MP, 32MP, 48MP and 64MP camera in a smartphone is the resolution and level of detail that the camera can capture.
- 12MP Camera: A 12MP camera captures images with a resolution of 4000 x 3000 pixels. This is considered standard resolution and is suitable for most everyday photography needs.
- 32MP Camera: A 32MP camera captures images with a resolution of 6528 x 4896 pixels. This higher resolution can capture more detail in the image, making it suitable for larger prints or cropping the image without losing quality.
- 48MP Camera: A 48MP camera captures images with a resolution of 8000 x 6000 pixels. This is an even higher resolution than the 32MP camera and is suitable for capturing highly detailed images that require a lot of zooming or cropping.
- 64MP Camera: A 64MP camera captures images with a resolution of 9280 x 6944 pixels. This is the highest resolution camera currently available in a smartphone. It can capture highly detailed images and is suitable for professional-level photography.
However, it is important to note that the number of megapixels alone does not determine the quality of the camera. Other factors such as sensor size, aperture, and image processing capabilities also play a role in determining the quality of the images captured by the camera.
Creating content for your LED wall
Creating content for your LED wall is very different than any other type of source. When it comes to LED content…
your displays should:
Be creative and visually appealing
Clearly communicate your message
Utilize a strategy to guide your audience through your processes
Follow best practices for video and graphic content
Because this content is so large, the video wall demands attention and easily captures the eyes of those around it. However, content that isn’t catered to your LED wall can quickly miss the mark and lose its impact. Try some of these tips for LED video wall content creation in your organization and see what beautiful and engaging designs you can develop!
Know Your Aspect Ratio Right
Remembering your LED product’s aspect ratio and how that influences the items you display is one of the most important principles to understand when designing content. Design your LED graphics and media with the ratio at the forefront of your mind, and don’t change it. Creating outside the ratio will lead to distorted images that don’t look right.
Consider The Viewing Distance
Your LED screen’s viewing distance helps determine how big and bold you should make the content you’re designing so that it can easily be read by all viewers. A good rule of thumb to follow is the lower the screen resolution and the viewing distance, the larger and bolder you should make the graphics. Larger outdoor video walls, such as billboards, should have larger graphics so that those who are further distances can still read them. With higher-resolution indoor LED screens, you can use smaller graphics since the viewing distance is shorter in many cases.
Use Motion Graphics
Has a motion graphic or video ever caught the corner of your eye? If one has, you know the feeling. Viewers tend to do a double-take because the motion graphic is enough to draw them in. In general, you should try to use motion graphics instead of static ones when possible. Moving images like videos and motion graphics will get more attention than a static image or plain text every time and create more engagement with your audience.
The Three S’s: Short, Sweet, and Simple
Much like we learned in grade school at a young age, you don’t want to load down a slide with too much information or text to read. Too much text can become confusing and hard for viewers to know where to focus. Show them what you want them to see and eliminate any other distractions.
Use minimal wording in big, bold letters
Add interesting images
Make your messaging concise
Utilize Contrast and Consider Visibility
To avoid washed-out text, images, and graphics, try to capitalize on high-contrast designs. This will make your items really pop off the screen and are much easier for all viewers to read. The contrast doesn’t have to literally be black and white, but you will want to proof and test all graphic colors before committing to them on the big screen. Stick to basic design principles.
Try Our Free Motion Graphics
Looking for even more ideas and resources to help get you started? Refresh LED created a free motion graphics package for organizations just like yours! Download yours here today and connect with our team for any other questions you have.