marmack darriah welbie
Juan Navarro
Oh, and for iPhone 15 peoples, the existing two-years free applies. Meaning that on the whole, Apple has deferred this potential-payment-problem decision till 2025. These days, the feature is available in the following countries, for both iPhone 14 and iPhone 15 users.
The core difference with an app like RideWithGPS is that it also has sensor support (even Garmin Varia radar integration), as well as uploads to all the various 3rd party platforms like a head unit (whereas Google Maps will most definitely not upload to Strava).
Two Things:
1-I like the PeakDesign phone holder on the handle bars, good choice!
2-I wish Peloton would allow none Peloton bikes to connect to their system, specifically for their scenic rides. I like to do those rides from time-to-time, but I am not a fan of the bike itself as I prefer to ride my Cannondale on my Wahoo.
Most other communicators (EPIRB/PLB, 911 call on a cell phone) will pass through an emergency call without any other charges, so long as the device functions. I think where Garmin and others in the satellite device arena are making their money is non-emergency check-ins and tracking, as well as messaging, rather than on a cost per emergency call.
I doubt it will ever happen, but it would be interesting if NordicTrack finally feels enough pressure to add Netflix to its platform after years of users having to use all kinds of workarounds to get it working.
Hi Ray, on my peloton bike+ (UK based) I only see the Disney App in the Beta Entertainment function. Is there a way of getting access to more providers or is all pushed depending on your country etc? There is the netflix app hidden away in the Apps area but there is no ride data displayed in a sidebar so pretty useless. Anyone else had similar experiences?
Wanna save some cash and support the site? These companies help support the site! With Backcountry.com or Competitive Cyclist with either the coupon code DCRAINMAKER for first time users saving 15% on applicable products.
This document outlines various scenarios and solutions, along with their associated risks and benefits, to provide information on the available technologies that align with our technical expectations. It is important to note that this is not a requirements document, nor is it an official endorsement of any specific solutions mentioned.
The most suitable solution will depend on the specific requirements of each production and the capabilities of the parties involved. The information provided here is intended to foster collaboration, encourage discussion, and share our knowledge. We encourage you to reach out to your designated Post Management contact at Netflix for guidance tailored to your specific title(s).
A remote color grading or review setup will be compromised in comparison to expertly designed facility environments that adhere to industry standards for calibration and room lighting. The compromises will vary for each setup, and ultimately have an effect on color appearance. This may be acceptable, especially if the title is looking to make progress in the color grade, versus achieving final delivery.
While accurate monitoring for color grading and creative review is important, we understand there may be scenarios where a remote review is required. The following are some possible scenarios for remotely monitoring HDR and SDR projects. .
There are very few options for reference viewing of HDR if grading can not be performed at the post facility in a professional color suite. For colorists, this would mean that an HDR reference monitor is used for at-home grading scenarios.
For situations where at-home HDR monitoring is not possible for a creative (such as a director, show-runner or cinematographer), a review of the Dolby Vision-derived SDR version is possible. SDR video streaming for remote review is standard practice in the industry and supported by many video review and live-streaming solutions. This may be a good option for shows that want to continue to make progress grading in HDR while reviewing in SDR (using the Dolby Vision-derived SDR) and expect to be able to do a final pass in HDR.
While we want to continue with grading in HDR when a show has already begun doing so, a show can still make progress in the color grade using only SDR monitoring. If the project is color managed properly, the grading work can still be used as the basis for a final pass performed later when HDR reference monitoring is available.
For example, if a show is working in ACES, the colorist can use an SDR Output Transform and preview in SDR in order to keep progress going, while keeping the ability to switch back to HDR Output Transform for final checks and reviews. An SDR trim pass using the Dolby Vision tools would still be required when going back to finish in HDR in this scenario.
Many of the streaming solutions referenced in this document are limited to HD (1920x1080) resolution. HD monitoring and review should be considered acceptable for color decisions, but final approval of image texture (grain, sharpening, blur, etc) should be done in UHD (3840x2160) if critical. Even then, compression involved may not be able to fully represent the image texture compared to a review of uncompressed images which may not be possible outside of the post facility.
The solutions in this section, at their core, have functioned as video streaming solutions to play content on multiple platforms for various needs. To date, there has not been a solution that can operate at global-average home internet speeds while maintaining the fidelity required for color critical work.
Most review solutions are based on the H.264/AVC codec at 8-bit. This is usually sufficient for general viewing, but due to the 8-bit nature, it may induce banding or other artifacts that may introduce questions about the grade. This is something to be aware of when working with any 8-bit video solution. When codecs can take advantage of 10-bit, the images can achieve higher fidelity.
In an asynchronous scenario, a colorist completes their work, renders out a file, and uploads it for review by creatives at a later time. Session-based watermarking should be enabled for any review solution.
Some remote review solutions support HDR10 and some support Dolby Vision. When a consumer device/display is being used for color review and Dolby Vision is an option, it is recommended to use Dolby Vision. This is because the color accuracy of Dolby Vision will usually be higher (particularly on devices like the iPad Pro), but HDR10 can also provide an approximate HDR experience to continue making progress on an HDR grade.
In certain scenarios (e.g. bandwidth constrained), local files on iPad Pro (5th gen+) can be transferred and played using Apple Files (SDR, HDR). See playback instructions and recommended security settings for guidance.
In this scenario a colorist works on a calibrated monitor, either at a facility or at home, and streams a synchronous video feed to the creative reviewing in real-time. Authentication and encryption must be enabled for all solutions. Two-factor authentication (2FA) is recommended where possible.
Anytime a file is transferred (physically or via internet) checksums should be run to ensure the files' integrity. A checksum (e.g. md5, mhl) manifest should be provided along with the media assets for verification on the receiving end.
Transferring content using home internet services may become a hurdle due to bandwidth limitations. When possible, transferring files via the internet using a secure transfer protocol like Aspera is the best case scenario; Aspera is commonly used by most major facilities as well as Netflix Content Hub. When bandwidth is limited, the only other option for moving digital assets is using fully disk encrypted hard drives.
Especially in remote review scenarios, utilizing proper color management, such as frameworks like ACES, is highly encouraged. Color management provides the flexibility to change between different display types, i.e. HDR vs. SDR, at the facility vs. at home, while maintaining color decisions and color appearance across displays.
There are several remote color grading scenarios that may be considered depending on the accessibility of facility based systems and the level of engineering experience required for setup. Below are considerations for some of the scenarios. Due to the variability of the circumstances for a given project, please reach out to Post Management contact at Netflix for guidance on your specific title(s).
If the plan is to render the IMF straight from the color grading project, please be aware that this is highly dependent on the version of the color grading software being used. We highly recommend that before starting a new color grading project, the latest version of the color grading software is used. For example, only the latest version of Resolve (16.2.4) is able to create a properly tagged Dolby Vision IMF straight from the color grading project (no need to create the IMF from a VDM).
This list is not exhaustive, but includes some of the more common displays we recommend for their tier of general use. We always recommend that displays be calibrated to industry standards. Color Grading & Calibration Guidelines provides minimum specifications for HDR and SDR displays as well as calibration and viewing environment guidelines.
We understand that having the proper working or viewing environment at home can be difficult to achieve on such short notice. If proper viewing environment guidelines can not be met (Color Grading & Calibration Guidelines) then please make sure the working and viewing environments are not completely dark or extremely bright. A dimly lit environment with neutral (6500K) color temperature is the best guidance we can give.
You boot up the box, set the network to wireless or Ethernet connectivity. You get a five digit code, head over to netflix.com/activate using a browser on a PC or other device, log into your Netflix account and enter the code. The Roku box gets your queue and the movie/show cover art. There are HDMI and optical connections on top of the standard video outs, but those cables are not included.
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