As artificial intelligence (AI) continues to invade the video production space, and more specifically the unmanned robotic camera studio, the addition of automated shot correction/facial tracking and recognition software technology is helping to computerize tasks previously performed by a human operator in the control room and making life easier for everyone involved.
In the previous article in this two-part series we looked at how cloud systems are empowering storytellers to convey their message and communicate with viewers. In this article we investigate further the advantages for production and creative teams.
The CV568 and CV368 POV models also have genlock and are already shipping.
It’s traditional for film and TV technical journalists to play soothsayer in the run-up to major industry events. With NAB and Cine Gear virtual this year and the world’s manufacturers having enjoyed an unprecedented stretch of downtime to hatch their next technological plots, the temptation to speculate has never been greater.
Xavier University has chosen Ikegami HDK-99 cameras as part of an upgrade to its athletics live production facilities.
Practically all communication, including broadcasting, relies totally on electromagnetic waves that may be radiated far and wide from transmitters or guided along wires, waveguides or optical fibers.
The focus of much of the latest broadcast TV R&D is the Remote Integration Model (REMI). From millions of Skype meetings over consumer ISPs to the recent Winter Olympics TV broadcasts, REMI is significantly changing the internal dynamics of live, between-the-glass, remote TV production and viewing.
CreamOS 1.2.0 is a firmware update for its Creamsource’s Vortex8 650W 2’x1’ LED fixture. It introduces a FrameSync function which enables in-camera effects for directors, DPs and gaffers.
