About Gary Adcock
Director / Producer / Visual Artist at Gary Adcock Inc
Few exemplify the changing technological landscape in digital cinema more than Gary Adcock. With his unique understanding of on-set technologies and their relationships in post-production and VFX has allowed him to act as a guide in the evolving relationship between acquisition, edit, and deliverables. Gary is one of the co-authors and tech editor for the original version of the Data Handling Procedures and Best Practices guide used by IATSE Local 600 (Cinematographer's Guild) and help compile the Digital Cinema camera guide for the American Society of Cinematographers. Gary has presented on cinematography and the related technologies at events around the world, and has presented on various topics at the National Association of Broadcasters Las Vegas convention continuously since 1999, as well as presenting on a diverse array of subjects at NAB Shanghai, the IBC Show, Interbee, CabSat, Broadcast Asia and at Broadcast India. His knowledge and capabilities keep him in demand as both a consultant and technical writer for a wide array of manufacturers and publications. Media and Entertainment projects include industry mainstays as Adobe, Apple, Aja, Arri, Autodesk, Corning, Fujinon, HP, Intel, Sony and Zeiss, broadcasters like Discovery Networks, MTV, WGBH (Antiques Roadshow), National Geographic Inc and an array of commercial clients that include McDonalds, Taco Bell, Citibank, NBA Entertainment, and NFL Films. In his spare time Gary is the Executive Director of Filmscape Chicago, an educational non-profit dedicated to teaching and training new generations of professional filmmakers in association with PERG (Professional Rental Equipment Group) and ESTA (Entertainment Services and Technology Association). Follow Gary on Twitter or Instagram as @garyadcock or his blog here at garyadcock.com
I posted another article on ProVideo this week, this time it was on my use of #DSCLabs charts for everything from checking focus and maintaining color accuracy to assisting Stereo image alignment or determining tonal ranges needed for our HDR future.
They are a mainstay in my kit, and I would not know what to do without them. Via @ProVideo
DSC Charts keep my tests accurate and repeatable
#filmmaker #tests #indie #cinematography #cinema #television #film
I am this weeks guest on the https://www.provideocoalition.com Podcast, where Scott Simmons and I discuss Cinegear Atlanta, MacOS Catalina, FCPX updates, Deluxe’s financial woes and other things.
ProVideo Coalition Podcast Eps 2: CineGear ATL, Deluxe Bankruptcy, Catalina Update & More
#podcast #cinegear #Atlanta #FinalCutPro #Deluxe #MacOS #Catalina #filmmaking #Cinema
Corning Optical TB3 cables have saved me more than once since I started using them
I have not been posting as much as I should for the last few months, so I thought I would start engaging more often on the secondary aspects of social media.
I spent some time recently with BlackMagicDesign’s UltraStudio 4K Mini, and wrote about it for people to know.
Blackmagic Design’s UltraStudio 4K Mini I/O is Built for the Demands of Production and Post
What I did not add in the article on PVC was how much I was frustrated with the cable issue. If it had not been for the Corning Optical Thunderbolt 3 Cables I had in house, I would have been tearing my hair out with multiple issues. I keep a box of new Thunderbolt cables in my office, I buy them by the dozens, nearly a gross of them (144 cables) in the last 3 years of testing Thunderbolt 3 devices. My BMD test issues made me go back and physically check all my cables.
Of the 20 cables I tested, 10 of them showed some type of error. 5 of them were incorrectly labeled on the packaging as 40Gbps active TB3 cables when the code on the cables indicated were actually 20Gbps passive cables. 4 more showed issues with the fragile electrical wires that are the main point of failure in my experience. I am still seeking answers on why the Windows systems did not flag the errors my MacBook Pro did. It could be one of a number of things, none of which I have confirmed as I write this.
More to come.
BlackmagicDesign acquires Ultimatte and Fairlight and annouces a new series of Teranex AV products.
And lots of glass, Leica released M series lenses with .8 gear pitch for ease of use with follow focus systems found in cinema.
Close ups on Sigma and Zeiss lenses later.
Going into IBC, onset technologies get a boost from the marriage G-Tech Storage and ATOMOS’ recorder workflows, streamlining transfers and offloads directly in GTech devices.
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