Instant AR Detection Meets NLS+ Envy's auto aspect ratio (AR) detection has been the fastest in the industry for quite some time. But why stop there? So, we're excited to share with you that Envy's AR detection speed is now not only fast, but actually instant! In a recent newsletter we asked, "What happens when you combine instant aspect ratio detection and black bar management with our non-linear stretch?" Well, for users who like NLS, they can now seamlessly fill their scope screen all the time, regardless of the native aspect ratio of the content. There will be even more exciting news to share about Envy instant AR detection and next-generation NLS+. In the meantime, please contact Frangioni Media to learn more about the Envy and how it will take your video experience to an entirely new level.
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David Frangioni has worked in hundreds of studios as both the installer and engineer/producer/technologist for artists such as Aerosmith, Ozzy Osbourne, Ricky Martin, Ringo Starr, Sting, Bryan Adams, The Stones, Pat Metheny, Kiss and dozens more. David will discuss his approach to choosing loudspeakers for a recording studio or reference quality playback room, incl. sizing the right speaker, how many pairs of speakers do you need for a studio? Surround or stereo? Specific brand and type? Acoustics and speakers and much more.
Audioholics welcomes legendary jazz drummer and composer @AntonioSanchezDrums back to our channel along with David Frangioni, Platinum award winning music technologist, producer & CEO @ModernDrummerOfficial. Born in Mexico City, 4-time Grammy Award winner Antonio Sánchez began playing the drums at age five and performed professionally in his early teens in Mexico’s rock, jazz and latin scenes. He pursued a degree in classical piano at the National Conservatory in Mexico and in 1993 enrolled in Berklee College of Music and New England Conservatory, where he graduated Magna Cum Laude in Jazz Studies. Antonio Sanchez is best known for his work with jazz guitarist Pat Metheny and as a composer and Grammy winner of the film score for the 2014 film Birdman.
In this exciting livestream, we will talk about the following with Antonio Sanchez and David Frangioni: Modern Drummer Cover Story - The Time to Lead is Now The Experience of working on “The Way Up” with the Pat Metheny Group How Antonio’s playing has evolved in his solo career Bad Hombre II – the Collabs, the music, impressions, potential for Spatial Audio Mix Only Now – How Antonio Sanchez feels about the perception of Jazz with Today’s audience Future Projects & Collabs
In this episode John DeChristopher and David Frangioni, CEO & Publisher of Modern Drummer discussed their recent collaboration of “Live From My Drum Room” becoming the Modern Drummer Podcast, their 40 year history, what inspires them as drummers, their experiences working in the Drum Industry and much more!
David Frangioni, CEO of Modern Drummer, makes an exclusive announcement about the future of Modern Drummer right here on Drum History! Not only do we learn about the exciting news, we also get an update on what has been happening with the magazine since the Frangioni family took things over in February 2020, just weeks before the pandemic changed the world forever, and how this has shaped the exciting new plans for the magazine. David then takes us through his life and career which began with eye cancer as a child and his persistent rise to the top in the fields of music, technology, and collecting. This is a really good one that is full of great information!
David Frangioni's immersive audio mix of Diana Ross' hit song "I'm Coming Out" was recently regarded by MusicRadar.com as a top 10 Spatial Audio Track that Hit The Mark. The mix was created using the latest immersive audio technology, providing a truly immersive listening experience. The attention to detail and mastery of the technology resulted in a mix that perfectly captures the energy and spirit of the original song. The mix places the listener right in the middle of the music, with instruments and vocals seemingly coming from all directions. It's a truly unique and captivating listening experience.
Subtitle Management with Scope Screens
We recently covered how our non-linear stretch (NLS+) platform makes it easy to fill your entire screen, regardless of its aspect ratio (AR) and the AR of the content. In case you are not familiar, a "scope" screen generally refers to a screen that is wider than the standard HDTV 16:9 aspect ratio.
In today's newsletter, we're changing gears a bit to answer a related question that often comes up about subtitles - specifically how to handle subtitles within the black bars in scope movies.
Understanding the Problem
Subtitles within the black bars of a scope movie are a problem, because when using a scope screen to watch a scope movie (e.g. watching a 2.40 AR movie on a 2.40 screen), the projector is usually zoomed so that the movie fills the entire screen, like this:
Back in June of 2012, Steve Heller of The New York Times Sunday Book Review wrote an in-depth review of my book Clint Eastwood Icon: The Essential Film Art Collection. I appreciated the kind words--and critiques--that Mr. Heller had to offer, and I was very proud to have my hard work featured in such a prestigious review.
Stefan Blitz of the pop-culture website ForcesofGeek.com wrote a terrific article profiling my book Clint Eastwood Icon: The Essential Film Art Collection. The book features film posters, art work, and assorted memorabilia from Clint’s early spaghetti westerns all the way up to his most recent directorial projects.
Stefan references some of the most famous pieces as well some of the more obscure items in the collection including a movie theater ticket stub from the Dirty Harry premier.
