In the previous article lenses, the concept of the optic flow axis was introduced. This is the all-important fourth dimension of moving pictures because the human eye is capable of following, or tracking, motion. Let us look closer at how optic flow affects key aspects of imagery.
Today’s smartphone owners carry more powerful video technology in their pockets than the best state-of-the-art TV broadcast or production facilities could provide two decades ago at any price. The second decade of this century is when off-the-shelf computing matures to the point that it can facilitate and manage nearly all technology-based tasks in broadcast TV stations and TV networks in real-time.
Virtual reality may be all the rage, but acquiring 360° degree video is all a matter of compromise. Depending on the project and the budget producers and VR camera operators will find themselves quickly having to trade off image quality against manoeuvrability against the cost of stitching video feeds in post. The Broadcast Bridge talked with Paris based cinematographer / stereographer Thomas Villepoux to get a handle on cinematography, camera and rig choice for VR projects and his responses are enlightening for anyone experimenting in the medium.
With the number of drone-related incidents rising in Europe and the U.S and with the U.S authorities set to tighten regulations by imposing a register for all UAV owners, the professional UAV filmmaking industry is alive to the concerns. Keen to help producers with advice on finding and working with a UAV partner, Eric Bergez, VP at Intuitive Aerial the Swedish manufacturer of the Aerigon drone has provided this core guidance.
Bringing the new UHD television format to market is a herculean project . Not just because multiple companies and products have to be developed, but an entire infrastructure must be designed and put into place. With UHD, that means supporting H.265 and VP9 streaming. Now, Google plans to release VP10, which is twice as efficient as HVEC/VP9.
The number of drone related incidents has prompted the U.S. Department of Transportation to introduce new laws requiring owners to register their UAVs. The initiative is an effort to address the rising number of unauthorized drone sightings near airports and crowded public venues.
The Federal Aviation Association is backing a ban that would prohibit extra lithium batteries as cargo on commercial passenger airliners. However, globetrotting video crews who depend on lithium ion technology should not panic that the cargo ban will affect their travel for video production.
With close to a 1000 CAA licensed drone operators in the UK the challenge of finding a company capable of doing the right job is presenting an issue for film and TV producers. The industry is growing so fast that researching an outfit by viewing their website or requesting a showreel is not sufficient. “This is the most we are tackling at the moment,” says Ben Fisher, Co-Founder & CEO of UAV bookings agency Bookadrone. “How do producers distinguish the options and make the right choice in an increasingly busy market?”
Here is some guidance for prospective producers in search of a drone operator:
