Most live remote outside broadcasts are thoroughly planned by producers and directors who are often too busy to consider potential equipment problems. Technology is an engineering responsibility. Engineers must be ready for any circumstances that threaten to take the show off-script or off-air, from dead wireless mic batteries to unexpected foul weather. In live TV, anything can happen and probably will, usually at the worst possible time.
The audio vectorscope is an excellent tool for assuring quality in stereo sound production, because it makes the virtual sound image visible in the same way that a television vectorscope allows the color signals to be seen.
With the media landscape changing due to COVID, Austin-based live streaming company ADL Productions began searching for reliable and broadcast-quality equipment that would allow them to stream events with a limited team. Owner Don Souza and his wife/business partner, Nancy, were tasked with bringing Strongman competitions back into the mainstream and knew they needed to provide pay-per-view-quality content for the project. The duo found the solution they were looking for with KY-PZ100 PTZ cameras as well as the GY-HC900 CONNECTED CAM from JVC Professional Video.
Season 4 of Star Trek: Discovery will bring viewers further into the story than previous seasons, as lead Director of Photography Philip Lanyon adds shooting in full frame to his creative look with Cooke Optics (1.8x) Anamorphic/i Full Frame Plus SF (Special Flare) prime lenses, to supplement the (2x) Anamorphic/i SF lenses that have been used since Season 2. Although each lens range has a different de-squeeze factor, they can be cut together seamlessly.
Time base correction is an enabling technology that crops up everywhere; not just in broadcasting.
Matthews Studio Equipment announces the end of extended wait times for the much-anticipated Cine Reflect Lighting System CRLS 2.0 C-Drive and C100 Kits.
Motion Impossible’s AGITO Trax modular dolly system helped bring about the emotion of the singer’s performances for the recently aired two-hour CBS special.
The last twenty years has seen a lot of film and TV hardware turn into software that runs on workstations and servers. With Apple’s move away from Intel, though, and several other recent attempts to popularize alternative designs, anyone looking at new equipment finds a field in flux.
