So you’re a producer, and your cinematographer is campaigning for the use of anamorphic lenses. Problem is, they’re expensive, and for people who aren’t cinematographic propeller heads, it can seem hard to justify. Let’s look at what’s going on and how we got here, without assuming the reader has a masters’ in cinematography.
One of the earliest and most widespread applications of synchronizing was in television.
In Part 1, we looked at how the internet operates and the components that make it so effective. In this article, we consider the broadcast applications available and what it means to “connect to the internet”.
The random-access characteristic of the disk drive made it attractive for audio editing purposes and when drive prices fell as computers became popular the attraction was even stronger.
With mature, cloud-based services now prevalent across the industry, helping to process and distribute content faster and more accurately than ever before, the long sought-after promise of producing content in the cloud—reducing cost and physical barriers—prompted broadcasters and production companies to experiment with new ways to make it a common reality.
IP is empowering broadcasters the world over to improve flexibility, scalability and resilience. We often describe the internet in “fluffy cloud” terms, but to truly leverage its capabilities, broadcasters must now dig into the detail of its operation.
In the high stakes world of auto racing, every second counts so whatever a team can do to improve its performance, both on and off the track, is put into play. For the highly successful Corvette Racing team, which competes in endurance races that last 24 hours to the finish, it’s secret weapon is reliable two-way communication between its drivers and crew.
In this second installment of our extended article looking into HDR for cinematography we look at the practical aspects and applications of HDR.
