Wednesday, December 14, 2011
Thursday, December 1, 2011
Wednesday, November 23, 2011
Friday, September 16, 2011
More democratization of the media - Wash Post article about VOA web show huge hit in China: http://tinyurl.com/64eq7hy
Thursday, September 15, 2011
Patrick Pexton's article that highlights challenges of "attribution" in the digital realm: http://tinyurl.com/3v7gtqb
Wednesday, September 14, 2011
Check out our own David Ryan's fun past and current participation with the BBC series, Doctor Who: http://tinyurl.com/44yjevq
Tuesday, September 13, 2011
If you r ordering disc copies, this is good info 2 understand: Differences between disc duplication & replication http://tinyurl.com/6ytgk2v
Tuesday, June 28, 2011
Monday, June 27, 2011
Here's a Wash Post article about a cool local-DC produced webisode series, http://tinyurl.com/6bx7vbv
Friday, June 24, 2011
"Our latest promo email went out yesterday, 20% off FCP services thru 6/30. Sign up to receive future promos: http://tinyurl.com/vlpromo "
Friday, June 10, 2011
We See Our Final Cut Pro Systems as . . . “Engines?”
We here at Video Labs recently acquired another Final Cut Pro HD (FCP) system. Are we turning into something other than our reputation as a reliable media disseminator?
No, not really. Although, sure, some clients ask us to shoot and edit their video projects, we have not strayed too far from our “media replication” roots.
We just are further living up to our an additonal part of our mission: provide media replication and related multimedia services.”
Now, we won’t enter the dangerous waters of trying to defend Final Cut Pro over AVID. We serve clients who have both systems.
But we do llike the ease, robustness and versatility that Final Cut Pro offers in allowing us to ingest, manipulate, and export media. So, given that, we look at the systems as "engines." Here are a couple of examples:
Where clients used to give us dBeta or BetacamSP masters, they are increasingly providing a hard drive with either a ProResHQ or other form of QuickTime file of a sequence on a hard drive.
From there, as mentioned in last month’s eNewsletter, a lot of clients are asking us to make H.264 files and assorted other compressions for web-posting, like Flash or compressed QT. We do that a lot for our PSA-producing clients.
And our FCP systems often get involved earlier in the process as well.
Many of our independent producer clients have their own Final Cut Pro systems (which they chose over AVID because of price as well as other reasons). But the price points are also such that while they can afford the editing system, they often don’t have the equipment nor the time to input the footage into their system.
For example, we have fulfilled many requests from clients to digitize either HDCAM or DVCproHD field tapes into our FCP as ProResHQ files and transfer those to their hard drive from which they can edit on their own FCP system.
And then when they are finished with the editing, those same clients often send us a ProResHQ of their edited sequence and have us output to HDCAM and perhaps add captions.
And it doesn’t stop there . . .
As we further follow that phrase, “. . . and related multimedia services,” another popular service of ours is making authored (aka “navigable” DVDs). So, from the above ProResHQ sequence, we have a variety of ways of creating the necessary anamorphic widescreen SD MPEG2 and AC-3 audio files . . . but again, our Final Cut Pro systems are almost always the starting point.
So yeah, while we have the talented team to edit projects for you, hopefully you can see how we at Video Labs also love to call our Final Cut Pro systems, our “engines.”
Contact us for a price quote as you need to use one of those “engines.”
Thursday, June 9, 2011
CMYK and RGB Explained . . . (for the rest of us)
OK, if you are a graphic designer, you can probably skip this article, but if you are like many in the media field, you remain a bit glassy-eyed when you hear the terms CMYK or RGB used in describing the artwork of your projects.
For example, there are times when we here at Video Labs ask for your disc face or packaging artwork to be presented to us in RGB, and then there are times when we ask for it in CMYK.
What gives?
Well, here’s a brief starting primer:
CMYK = the complementary colors of Cyan, Magenta, Yellow plus the fourth color of Black. This is known as a “subtractive” color process, meaning that if you combine equal amounts of the three colors of Cyan, Magenta and Yellow, you will produce black. Some processes just stop there, but the addition of a fourth color, Black (K = Black) provides two advantages: 1) save having to use all three inks just to make black, and 2) this sole black ink can actually be a richer black than can be made from the mixture of the three other colors.
General rule #1: Printing processes utilize CMY or CMYK. (Hold that thought . . .)
RGB = the primary colors of Red, Green and Blue. This process is known as “additive,” because if you mix the three colors in equal amounts, you get white.
“Wait a minute,” you say. “If I mix red, green and blue ink together on a paper, it certainly is not going to come out white.”
This is true, but if you did it with colored lights, the results would produce a white lit object. And how about those red, green and blue pixels in your television or computer monitor? If all three are charged at the same time, the perceived result is white not black.
So general rule #2: RGB applies to lighting and digital displays of color.
But yes, here’s where it can get confusing. You rightly might ask, “Well then, I know that there are some RGB printers on the market. What’s that all about?” What’s going on there, is that for technical and economic reasons, those printers intake RGB artwork and then convert it to CMY or CMYK for the actual printing.
Whew, ok, that’s enough for now.
Let’s end this with the following summary rules:
• For disc face artwork on replicated CD/DVD projects, where we use offset or silk-screen printing, we will ask for CMYK artwork.
• For offset printing of packaging (like DVD wraps, etc.) we will also ask for CMYK artwork.
• For duplicated DVDs, where we use thermal transfer printing for disc faces, we will ask for RGB artwork, again, as stated above, even though it will be converted to CMY in printing. (As stated above, this printing process does not have a separate “K,” or black).
• And for digital printing of packaging (like DVD wraps, etc.) we will ask for RGB artwork. Again, the digital printer will convert it to CMYK.
Next time, we’ll touch on another term we often use with our clients, Pantone Matching System (PMS) colors, aka “spot” colors and the role that plays in printing.
We welcome your comments, and please feel free to contact us at Video Labs (301-217-0000) with any further questions.
For example, there are times when we here at Video Labs ask for your disc face or packaging artwork to be presented to us in RGB, and then there are times when we ask for it in CMYK.
What gives?
Well, here’s a brief starting primer:
CMYK = the complementary colors of Cyan, Magenta, Yellow plus the fourth color of Black. This is known as a “subtractive” color process, meaning that if you combine equal amounts of the three colors of Cyan, Magenta and Yellow, you will produce black. Some processes just stop there, but the addition of a fourth color, Black (K = Black) provides two advantages: 1) save having to use all three inks just to make black, and 2) this sole black ink can actually be a richer black than can be made from the mixture of the three other colors.
General rule #1: Printing processes utilize CMY or CMYK. (Hold that thought . . .)
RGB = the primary colors of Red, Green and Blue. This process is known as “additive,” because if you mix the three colors in equal amounts, you get white.
“Wait a minute,” you say. “If I mix red, green and blue ink together on a paper, it certainly is not going to come out white.”
This is true, but if you did it with colored lights, the results would produce a white lit object. And how about those red, green and blue pixels in your television or computer monitor? If all three are charged at the same time, the perceived result is white not black.
So general rule #2: RGB applies to lighting and digital displays of color.
But yes, here’s where it can get confusing. You rightly might ask, “Well then, I know that there are some RGB printers on the market. What’s that all about?” What’s going on there, is that for technical and economic reasons, those printers intake RGB artwork and then convert it to CMY or CMYK for the actual printing.
Whew, ok, that’s enough for now.
Let’s end this with the following summary rules:
• For disc face artwork on replicated CD/DVD projects, where we use offset or silk-screen printing, we will ask for CMYK artwork.
• For offset printing of packaging (like DVD wraps, etc.) we will also ask for CMYK artwork.
• For duplicated DVDs, where we use thermal transfer printing for disc faces, we will ask for RGB artwork, again, as stated above, even though it will be converted to CMY in printing. (As stated above, this printing process does not have a separate “K,” or black).
• And for digital printing of packaging (like DVD wraps, etc.) we will ask for RGB artwork. Again, the digital printer will convert it to CMYK.
Next time, we’ll touch on another term we often use with our clients, Pantone Matching System (PMS) colors, aka “spot” colors and the role that plays in printing.
We welcome your comments, and please feel free to contact us at Video Labs (301-217-0000) with any further questions.
Meet another new face at Video Labs
Tommy D’Aquino is another new member to our Video Labs’ multimedia team. He came on board last fall.
In addition to his expertise with Final Cut Pro, Tommy brings to the table a wealth of experience with After Effects, Flash, animation and web-based training.
Plus Tommy just happens to be an easy-going guy with a great “can do” attitude. That’s always nice to have around here amidst our many “rush orders.”
Before joining Video Labs, Tommy worked in both frontline multimedia and management positions during an 11-year tenure with Fortune 500 company SAIC.
He received his BA in Film / Video production from UMBC, and then Tommy went to Hollywood where he sharpened his multimedia chops working on projects for a variety of clients, ranging from Warner Bros. to Playboy.
Tommy then returned east where he became an in-demand multimedia instructor both at professional workshops and within academia.
Perhaps Tommy’s equanimity comes from his large family (his wife and five children). Or maybe he just gets his “yah-yahs” out with his passion for music. He plays the drums and a bit of guitar and enjoys playing along with Foo-Fighters and Chevelle, as well as just jamming with his older brother and children – all of which are quite musically inclined.
So, regardless of the complexity of your multimedia project, we know that you will enjoy working with Tommy just as much as we are glad to have him here.
Contact us at 301-217-0000 or email us at sales@videolabs.net
In addition to his expertise with Final Cut Pro, Tommy brings to the table a wealth of experience with After Effects, Flash, animation and web-based training.Plus Tommy just happens to be an easy-going guy with a great “can do” attitude. That’s always nice to have around here amidst our many “rush orders.”
Before joining Video Labs, Tommy worked in both frontline multimedia and management positions during an 11-year tenure with Fortune 500 company SAIC.
He received his BA in Film / Video production from UMBC, and then Tommy went to Hollywood where he sharpened his multimedia chops working on projects for a variety of clients, ranging from Warner Bros. to Playboy.
Tommy then returned east where he became an in-demand multimedia instructor both at professional workshops and within academia.
Perhaps Tommy’s equanimity comes from his large family (his wife and five children). Or maybe he just gets his “yah-yahs” out with his passion for music. He plays the drums and a bit of guitar and enjoys playing along with Foo-Fighters and Chevelle, as well as just jamming with his older brother and children – all of which are quite musically inclined.
So, regardless of the complexity of your multimedia project, we know that you will enjoy working with Tommy just as much as we are glad to have him here.
Contact us at 301-217-0000 or email us at sales@videolabs.net
Tuesday, May 10, 2011
A New Face at Video Labs Multimedia
We have a several new team members here at Video Labs, and over the next few months, we’ll introduce them to you.
Enrique Huaiquil (Ha-why-keel) has been with our Multimedia team for about 8 months now.
Enrique Huaiquil (Ha-why-keel) has been with our Multimedia team for about 8 months now.
Originally from Santiago, Chile, with roots to the proud Mapuche culture, Enrique moved to the US with his family when his father took a diplomatic post in Washington, DC.
After developing a passion for photography and videography at a young age, Enrique went on to earn a BA in Film/Video and Media Productions from the University of Maryland, Baltimore County.
He expresses a unique sensibility in his visual art, which is evident at his personal website.
He expresses a unique sensibility in his visual art, which is evident at his personal website.
Enrique’s other passion is soccer. He plays for two teams and recently traveled to LA one weekend to watch the Chilean national team play the US. (How diplomatic . . . the game was a tie.)
While also being a versatile video editor, Enrique has developed into our leading in-house aficionado with our high-end DVD authoring platform, Sonic Scenarist.
And we have been calling upon his advanced videography skills on several projects of late.
While Enrique is bilingual with English and Spanish, you can also be sure he will speak your language when it comes to delivering high quality multimedia projects.
Bienvenido, Enrique!
While also being a versatile video editor, Enrique has developed into our leading in-house aficionado with our high-end DVD authoring platform, Sonic Scenarist.
And we have been calling upon his advanced videography skills on several projects of late.
While Enrique is bilingual with English and Spanish, you can also be sure he will speak your language when it comes to delivering high quality multimedia projects.
Bienvenido, Enrique!
We are on the H.264 bandwagon!
Video Labs is on the H.264 Bandwagon. Are you?
While the list of media deliverables from our clients becomes ever more diverse, it is apparent that an H.264 file is becoming as common of a request as is a dBeta or HDCAM dub.
First, understand that H.264 is a codec. A codec is short for “compression/decompression.” The main purpose of a codec is to reduce the size of a media file to make it manageable while at the same time maintaining as much quality of the original file as possible.
As an analogy, think of how a .pdf of a Word doc maintains the quality (and other advantages) while doing so at a much smaller file size.
An H.264 is acknowledged as one of the best codecs at doing that for video.
The name H.264 is actually a combination of identification protocol structures from two international technical organizations. One uses letters and another using numbers, hence H.264 If you want to drill down further into that, click here.
As a side note, H.264 can also be referred to as AVC or “Advanced Video Codec.” You might also see it referred to as a mpeg4 file. The mpeg4 part of this can get confusing, but suffice it to say that you’ll run across H.264 files that have either .mov or .mp4 in the extension.
The properties of the format allow for versatile use, from mobile phone video . . . to being “the first advanced codec to be accepted into the Blu-ray format.” (from the book, “Blu-ray Disc Demystified”)
And its that versatility that has made H.264 so popular.
But all is not perfect.
While H.264 is a great delivery codec, Final Cut Pro and AVID both have to decompress such files and convert them into a file format acceptable to them. For example, for Final Cut, a popular conversion is to Apple ProRes files. Such conversion adds a step, which means time, and time means $$.
That’s why if you are just sending us a sequence from your Final Cut project to import into ours, we may ask you to export it as a ProRes file on to a hard drive rather than give us an H.264 file.
But our research indicates that newer versions of the editing programs coming to market will be able to accept H.264 as a native codec.
Regardless, our present experience here at Video Labs shows that our clients feel that the advantages of H.264 as a delivery format far outweigh any possible disadvantages.
And to that we say, "Keep ‘em coming!"
While the list of media deliverables from our clients becomes ever more diverse, it is apparent that an H.264 file is becoming as common of a request as is a dBeta or HDCAM dub.
First, understand that H.264 is a codec. A codec is short for “compression/decompression.” The main purpose of a codec is to reduce the size of a media file to make it manageable while at the same time maintaining as much quality of the original file as possible.
As an analogy, think of how a .pdf of a Word doc maintains the quality (and other advantages) while doing so at a much smaller file size.
An H.264 is acknowledged as one of the best codecs at doing that for video.
The name H.264 is actually a combination of identification protocol structures from two international technical organizations. One uses letters and another using numbers, hence H.264 If you want to drill down further into that, click here.
As a side note, H.264 can also be referred to as AVC or “Advanced Video Codec.” You might also see it referred to as a mpeg4 file. The mpeg4 part of this can get confusing, but suffice it to say that you’ll run across H.264 files that have either .mov or .mp4 in the extension.
The properties of the format allow for versatile use, from mobile phone video . . . to being “the first advanced codec to be accepted into the Blu-ray format.” (from the book, “Blu-ray Disc Demystified”)
And its that versatility that has made H.264 so popular.
But all is not perfect.
While H.264 is a great delivery codec, Final Cut Pro and AVID both have to decompress such files and convert them into a file format acceptable to them. For example, for Final Cut, a popular conversion is to Apple ProRes files. Such conversion adds a step, which means time, and time means $$.
That’s why if you are just sending us a sequence from your Final Cut project to import into ours, we may ask you to export it as a ProRes file on to a hard drive rather than give us an H.264 file.
But our research indicates that newer versions of the editing programs coming to market will be able to accept H.264 as a native codec.
Regardless, our present experience here at Video Labs shows that our clients feel that the advantages of H.264 as a delivery format far outweigh any possible disadvantages.
And to that we say, "Keep ‘em coming!"
Friday, May 6, 2011
The Japanese Disaster & the Effects on Media Supplies
The March 11 earthquake and tsunami that wreaked death and destruction in Japan, and created a grave nuclear threat situation that is still in flux, has also had a huge effect on the world economy.
And the Communications field has been no exception.
When life and death and environmental catastrophe are threatening, it seems a bit trivial to discuss such things as media supply, but we at Video Labs are in the business of media replication, and we feel it our responsibility to keep our clients informed on any impact the disaster in Japan may have on their businesses.
The Sony manufacturing facility in Sendai, which is about 80 miles from the earthquake’s epicenter, suffered severe damage and ceased operations.
And the Communications field has been no exception.
When life and death and environmental catastrophe are threatening, it seems a bit trivial to discuss such things as media supply, but we at Video Labs are in the business of media replication, and we feel it our responsibility to keep our clients informed on any impact the disaster in Japan may have on their businesses.
The Sony manufacturing facility in Sendai, which is about 80 miles from the earthquake’s epicenter, suffered severe damage and ceased operations.
(click photo to view footage)
As a result, the following tape formats have been particularly challenging to obtain: HDCAM (both rstandard and SR), XDCAM, IMX and DVcam. Also affected is Blu-ray disc stock.
And there’s been a domino effect as well. When producers can’t obtain a particular format, they then move toward trying to find either “used" (aka "evaluated” stock) of that format or start considering alternative formats. The result is that the demand for both has soared as well.
This whole paradigm gets further roiled by the trend of media replicators like Video Labs enacting “just in time” inventory policies as way to be more efficient in the current recession.
And as with the oil economy, when scarcity, demand and panic are all in play at the same time, prices go up. So, given the rapidly changing nature of the situation, we ask that you understand that there may need to be some price flexibility between once a job is quoted and once it is started.
Be assured, we are being diligent in our efforts to help our clients meet their media needs. To assist us, we ask that you give us as much notice as possible regarding any media replication orders you have in the pipeline.
The latest we have heard is that the Sendai plant will start production of Blu-ray discs in late May and tape stock in July.
We appreciate your understanding of the situation and encourage you to stay in contact with your Video Labs account manager.
And there’s been a domino effect as well. When producers can’t obtain a particular format, they then move toward trying to find either “used" (aka "evaluated” stock) of that format or start considering alternative formats. The result is that the demand for both has soared as well.
This whole paradigm gets further roiled by the trend of media replicators like Video Labs enacting “just in time” inventory policies as way to be more efficient in the current recession.
And as with the oil economy, when scarcity, demand and panic are all in play at the same time, prices go up. So, given the rapidly changing nature of the situation, we ask that you understand that there may need to be some price flexibility between once a job is quoted and once it is started.
Be assured, we are being diligent in our efforts to help our clients meet their media needs. To assist us, we ask that you give us as much notice as possible regarding any media replication orders you have in the pipeline.
The latest we have heard is that the Sendai plant will start production of Blu-ray discs in late May and tape stock in July.
We appreciate your understanding of the situation and encourage you to stay in contact with your Video Labs account manager.
Video Labs Adds Digital Media Capacity with Purchase of another Final Cut HD Suite
Video Labs, the 33-year old Rockville, MD based media services firm has added another Final Cut Pro HD editing suite to its significant media manipulation and distribution capabilities. While the company is supporting its customers with disc authoring (including Blu-ray), caption encoding, duplication/ replication, HD conversions, digital file transcoding and media packaging, Video Labs continues to be at the forefront of creative firms that support virtually every media format in the world. Now, Video Labs has increased its capacity to provide enhanced creative services and support digital media sources (be it archiving or file creation).
Major editorial houses choose Final Cut as their editing tool and Video Labs is part of that group. Final Cut Pro delivers high-performance HD/digital non-linear editing, native support for virtually any video format and facility class interoperability. The workflow extends to other Final Cut studio applications. Working as an individual or within a team environment, Final Cut provides for multiple creative options and technical control.
Of main interest to the Video Labs team is Final Cuts ability to enable a quick and efficient work environment. These characteristics ultimately lead to project deadlines being met with consistency and of significant importance, cost effective editorial solutions for high quality programs. With the Final Cut Studio 3 and AJA’s Kona capture card, Video Labs is able to ingest/output video to/from virtually any source.
Media formats/sources now being used at Video Labs to support its clients authoring/editing, duplication and mastering needs includes Blu-ray, DVD, CD, HDCAM, DVCPRO, DVCPRO HD EX, HDV, PROHD, Digital Betacam, Betacam SP, Beta SX, IMX, DVCAM, mini DV, DLT, et al.
With the addition of another Final Cut editing solution, Video Labs continues their commitment to invest in technology and media content and distribution capability. With its increase in capacity, Video Labs enhanced solutions now offers its clientele the widest range of Videotape/Broadcast duplication, High Definition conversions, International standards conversion, DVD/Blu-ray/CD duplication/replication, authoring, SpoTTrac encoding, non-linear editing, media packaging, distribution and digital media delivery. Video Labs continues to offer its clientele the best in customer service and project management.
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For more information, please contact Video Labs at 301-217-0000 or reach Video Labs on the web at http://www.videolabs.net/ or via email - mailto:sales@videolabs.net/mweiss@videolabs.net .
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For more information, please contact Video Labs at 301-217-0000 or reach Video Labs on the web at http://www.videolabs.net/ or via email - mailto:sales@videolabs.net/mweiss@videolabs.net .
Wednesday, March 30, 2011
Medical Records Digitization
Video Labs is expert in digitizing data. Our professionals specialize in turning your patient records into digital images that can be stored on CDs, DVDs or on a server. This allows your office to go full or partially paperless. We also provide pre-labeled discs such that medical offices can simply transfer data from one source (x-ray for example) to another (blank media/disc). It is much more efficient and cost effective to have a patient leave a medical office with his/her x-rays on a disc rather than the individual leaving with bulky and expensive film. We understand the importance of quality, accuracy and consistency for medical record digitization. Let Video Labs save you time and money by digitizing your medical records.
301-217-0000
Wednesday, March 23, 2011
Video Labs Adds HD SpoTTrac Encoder For Broadcast Tracking
Video Labs, the 33 year old Rockville, MD based media services firm has added an HD SpoTTrack solution that encodes Audio/Video content with Nielsen Media Research identification information. While the company is supporting its customers with disc authoring (including Blu-ray), caption encoding, duplication/ replication, HD conversions, digital file transcoding, postproduction and media packaging, Video Labs continues to be at the forefront of creative firms that support virtually every media service in the world. Now, Video Labs can provide enhanced digital broadcast tracking services to go along with its ability to Sigma encode multiple sources.
HD SpoTTrac integrates both audio watermarking and video encoding in a single pass. This encoder captures the audio/video input via analog or SDI interfaces. After the inputs are captured, buffered and processed, SpoTTrac outputs audio and video for recording in real-time. This real-time pass-through encoding allows a single-pass session to encode a multi-reel tape.
The service of applying signals for tracking purposes allows Video Labs to support its clientele in their quest to secure maximum broadcast air time. Customers seeking verification of broadcast air time, be it public service announcement (PSA), video news release (VNR) or electronic press kit, seek Video Labs help in applying pertinent tracking signals to their master source.
The service of applying signals for tracking purposes allows Video Labs to support its clientele in their quest to secure maximum broadcast air time. Customers seeking verification of broadcast air time, be it public service announcement (PSA), video news release (VNR) or electronic press kit, seek Video Labs help in applying pertinent tracking signals to their master source.
Media formats now being used at Video Labs to support its clients broadcast (PSA), mastering and copying needs include HDCAM, DVCPRO, DVCPRO HD EX, HDV, PROHD, Digital Betacam, Betacam SP, Beta SX, IMX, DVCAM, mini DV, Umatic, 1”, M II, D 2, et al.
With the addition of the HD SpoTTrac encoder, Video Labs continues their commitment to invest in technology and media distribution capability. As for an increase in capacity, Video Labs enhanced solutions now offers its clientele the widest range of digital file conversion, videotape/broadcast duplication, High Definition cloning, International standards conversion, Blu-ray/DVD/CD duplication/replication, authoring, packaging, distribution and digital media delivery. Of course, Video Labs continues to provide its clients with the best customer service.
===============================================================
For more information, please contact Video Labs at 301-217-0000 or reach Video Labs on the web at http://www.videolabs.net/ or via email - mailto:sales@videolabs.net/mweiss@videolabs.net
Thursday, March 3, 2011
QR Not ER
If ER stands for emergency room, what does that have to do with QR? And what is QR? I'm glad you asked. QR, or quick response, as reported in Wikipedia, is a specific matrix barcode (or two-dimensional code), readable by dedicated QR barcode readers and camera phones. The code consists of black modules arranged in a square pattern on a white background. Information encoded can be text, URL or other data.
QR codes storing addresses and URLs may appear on magazines, signs, buses, business cards, or on just about any object which users might need information. Users with a camera phone containing the correct reader application can scan an image of some QR Code to display text, contact information, connect to a wireless network, or open a web page in the phone's browser.
What does this all have to do with media services? Another good question from the peanut gallery. Think about this...................your looking for as much exposure as possible for a beautifully produced PSA. Sure, SpoTTrac encoding will enable Nielsen to track airplay. However, if more than just TV viewers were able to learn about your PSA, wouldn't you cherish the extra attention? Of course you would. Adding a QR code to PSA materials will grab the extra viewership you're seeking.
It's simple, really. By request, Video Labs can add a QR code to your disc, label, insert, wrap, whatever. This QR code will then link to your website of choice. Adding this QR code will enable you to capture an audience consisting of millions of mobile users. Simple, inexpensive and an effective way to bring added attention to your message.
QR codes storing addresses and URLs may appear on magazines, signs, buses, business cards, or on just about any object which users might need information. Users with a camera phone containing the correct reader application can scan an image of some QR Code to display text, contact information, connect to a wireless network, or open a web page in the phone's browser.
What does this all have to do with media services? Another good question from the peanut gallery. Think about this...................your looking for as much exposure as possible for a beautifully produced PSA. Sure, SpoTTrac encoding will enable Nielsen to track airplay. However, if more than just TV viewers were able to learn about your PSA, wouldn't you cherish the extra attention? Of course you would. Adding a QR code to PSA materials will grab the extra viewership you're seeking.
It's simple, really. By request, Video Labs can add a QR code to your disc, label, insert, wrap, whatever. This QR code will then link to your website of choice. Adding this QR code will enable you to capture an audience consisting of millions of mobile users. Simple, inexpensive and an effective way to bring added attention to your message.
Uses for QR codes...............
- Add to the face of an audio disc and users will learn how to buy more of your music.
- Place on a DVD wrap which holds a documentary and your audience will have another means to peek behind the scenes.
- Apply to a corporate message and give co-workers or clients a chance to better understand recent activities within your organization.
- Situate a code on to a piece of art and the viewer of that piece can link to a narrator describing what inspired the artist.
Focused on your media? Yep. That's why you partner with Video Labs.
- Add to the face of an audio disc and users will learn how to buy more of your music.
- Place on a DVD wrap which holds a documentary and your audience will have another means to peek behind the scenes.
- Apply to a corporate message and give co-workers or clients a chance to better understand recent activities within your organization.
- Situate a code on to a piece of art and the viewer of that piece can link to a narrator describing what inspired the artist.
Focused on your media? Yep. That's why you partner with Video Labs.
Contact Video Labs today and we'll get you set up with QR.
Thursday, January 20, 2011
One Stop Media Shop
You've been partnering with Video Labs for years. Most of the time you've asked us to support your needs for disc or tape copies, captioning and standards conversion. We are glad that you have entrusted us with supporting those needs. In the event you don't realize how Video Labs appreciates and focuses on customer feedback (and we do), we've taken your suggestions, paid attention to changing requirements, and have evolved into a premier creative shop. Over the past few years, Video Labs has added significant creative tools and talent to allow for the manipulation of content. Since our transformation, we've been fortunate enough to have edited and authored programming for award winning independent producers, associations, corporations and broadcast entities. Our media gallery provides samples on how we've helped.
So, Video Labs is actually the premier One Stop Media Shop for all your communication needs.
Let's review we're we came from................
VHS Duplication (go ahead, laugh away)
SD Tape Duplication
Standards Conversion
Fulfillment
Warehousing
Where we have gone.....................
Broadcast Duplication
High Definition Utilization
Disc Authoring
Blu-ray
PSA Distribution
SpoTTrac Encoding
Digital Delivery
Archiving
Postproduction
Graphic Design
Media Packaging
Project Management
Consultative Services
Where we are going.............
Ah. Not yet. To many variables to factor in. 3D is on our radar. More robust asset management is being looked at. While Video Labs does its research, and if we don't have the capability you need, just say something. As you need our help, we'll secure the resource to support your project.
Isn't it nice having one stop support of all your media needs? Well, our clients have spoken and the answer is a resounding "Yes!" One stop............................ one place to keep you sane in these crazy economic times.......................... one 32 year old media services firm to help create and spread your important message. Video Labs is your One Stop Media Shop.
Contact Video Labs and let us show you how we can help.
http://www.videolabs.net/
sales@videolabs.net
800-800-8240
So, Video Labs is actually the premier One Stop Media Shop for all your communication needs.
Let's review we're we came from................
VHS Duplication (go ahead, laugh away)
SD Tape Duplication
Standards Conversion
Fulfillment
Warehousing
Where we have gone.....................
Broadcast Duplication
High Definition Utilization
Disc Authoring
Blu-ray
PSA Distribution
SpoTTrac Encoding
Digital Delivery
Archiving
Postproduction
Graphic Design
Media Packaging
Project Management
Consultative Services
Where we are going.............
Ah. Not yet. To many variables to factor in. 3D is on our radar. More robust asset management is being looked at. While Video Labs does its research, and if we don't have the capability you need, just say something. As you need our help, we'll secure the resource to support your project.
Isn't it nice having one stop support of all your media needs? Well, our clients have spoken and the answer is a resounding "Yes!" One stop............................ one place to keep you sane in these crazy economic times.......................... one 32 year old media services firm to help create and spread your important message. Video Labs is your One Stop Media Shop.
Contact Video Labs and let us show you how we can help.
http://www.videolabs.net/
sales@videolabs.net
800-800-8240
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