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“‘Chris,’ she said, ‘it’s about an order of nuns who’re protecting the world.’”
Now the CRT is history, we have to justify the retention of gamma on its performance as a perceptual compression codec. That requires its effect on human vision to be considered.
Rohde and Schwarz has evolved a heritage in the broadcast and media industry stretching over 70 years. Throughout this period, the company has developed a reputation as one of the leading developers of hardware-based technology solutions worldwide. However, recent years have seen Rohde & Schwarz placing far more emphasis on its software development skills.
Will alternative immersive channels create an imperative for broadcasters? Veronique Larcher, Director of AMBEO Immersive Audio, Sennheiser, explores immersive content outside of the commercial broadcast space, including virtual, augmented, and mixed realities.
Digital audio relies completely on sampling and no treatment of the subject can be complete without looking at how it works.
Director of photography John Christian Rosenlund has at least a three-decade history with director Bent Hamer. Their most recent collaboration, The Middle Man, depicts a town in the northern United States during a post-industrial depression. It’s perhaps not a subject instinctively associated with Rosenlund and Hamer’s Norwegian roots, though when we learn that the production is based on a book by Norwegian author Lars Saabye Christensen, the link becomes clear.
HRTF stands for Head Related Transfer Function and, simply put, is a catch-all term for the characteristics a human head imparts on sound before it enters the ear canal. Everything from level tonal changes caused by our head, shoulders, and pinna (external ear parts), to arrival-time differences (Interaural Time Difference, or ITD) between the two ears have an effect on our perception of the direction and distance of sources.
Before pandemics and the downsizing at traditional, broadcast news operations, many news and non-fiction DOPs were already assuming a significant role in post-production. Whereas frame rates, f-stops, and the character of our lenses, once formed the backbone of our expertise and practice, DOPs in the non-theatrical realm increasingly find ourselves in a different kind of ditty bag, as correspondent, writer, director, and ersatz editor – all rolled into a one-person-can-do-anything-and-everything mode.
