Twenty years ago, there was a clear divide between how you shot and finished a project for Cinema compared to the typical workflows used in broadcast TV. With the advent of streaming services that provide 4K/UHD to a broad audience the lines are now blurred between these two worlds.
Most film and TV jobs start with some simple questions, as Gregory Irwin puts it. “What is it, where is it, when is it.” In April 2018 Irwin found himself asking those questions of cinematographer Lawrence Sher, with whom he’d collaborated on five previous films beginning with John Hamburg’s I Love You, Man in 2009, as well as the 2019 production Godzilla: King of the Monsters, directed by Michael Dougherty, and the three Hangover films by director Todd Phillips. Sher’s call concerned another Phillips collaboration which would go on to gross over a billion dollars; it was to star Joaquin Phoenix and titled simply Joker.
The first burst error correcting code was the Fire Code, which was once widely used on hard disk drives. Here we look at how it works and how it was used.
Video encoding is running up against a complexity barrier that is raising costs and reducing scope for further improvements in quality.
Compared to simple ATSC 1.0 PSIP, ATSC 3.0 Signaling & Announcement data tells Nextgen TV receivers about incoming data structures, their interrelations, and what to do.
If an 8K content service from OTT providers like Amazon, Netflix and YouTube is ever going to be successful, and that’s still a hot topic of debate, new types of compression will have to be part of the solution. Terrestrial broadcasters don’t have the infrastructure to handle it, regardless of the compression used.
Need a live shot from inside an unmarked moving rental sedan during a thunderstorm? No problem.
Gamma is a topic that pervades almost all forms of image portrayal, including film, television and computers. Gamma has become a tradition, which means that its origins are not understood, and it is not questioned. Perhaps it is time that it was.
