Consumers have been taught that better images come from higher pixel count. While that has sold millions of TV sets, new image improvements will be harder to market. HFR, HDR, what role do broadcasters play?
Anyone can buy and fly a UAV-drone. All the exhibits at this year’s NAB show made that obvious. What was typically glossed over were the finer points of the flight science that makes them work—and why drones can make a less-than-perfect camera platform. Helicopter and UAV pilot John Watkinson reviews some of the science that makes drones both easy—and risky to fly.
When it comes to sports broadcasting, IP technology is changing the game with winning results. The use of IP has the potential to simplify sporting applications making them more cost effective and operationally efficient. From major global sporting events, to the coverage of smaller, niche sports, broadcasters can overcome a number of challenges, including issues surrounding scalability, and tackling the high level of cost and complexity associated with remote production, through the introduction of IP.
While the Federal Aviation Administration has begun to allow the use of drones in film and TV production, there are still too many restrictions, according to filmmakers. Particularly around camera weight and night time shoots.
The UAV or unmanned air vehicle is also popularly called a drone. Once the province of the military, they are now available for commercial purposes and to the consumer. In this new series, John Watkinson looks at how they work, what they can and can’t do, with an emphasis on safety.
A camera’s gamma setting greatly affects the “look” of the resulting video. Understanding how gamma affects the image is the key to unlocking a wealth of new creative options.
The SD Association, a consortium of companies that sets standards for SD memory cards, has launched its fastest speed class to deliver real-time multi-file recording and to support for 8K video resolutions.
In early 2001, Patrick Grosswendt was working as a gaffer on Robert Altman’s Gosford Park, a murder mystery that was in production at Shepperton Studios in Surrey, England. Like so many creative people working behind the scenes in film production in the pre-digital era, Grosswendt was constantly thinking of how the process could be improved.
