For a long time, selecting camera gear has been fairly easy. For twenty years, digital cinema cameras have never quite had everything we wanted, and the choice often boiled down to comparing the compromises. That’ll always be true to a degree, but for the last year or two it’s felt like we’re arriving somewhere. We can’t have anything, but we can have more than enough, and those compromises are boiling down to a zero-sum game.
Warning: Live TV production troubleshooting contradictions can trigger cognitive dissonance.
As IP, COTs and IT systems advance through broadcast infrastructures, monitoring continues to play a critical role in the efficient and reliable running of a facility. Combining traditional video and audio monitoring with network and system analysis soon increases in complexity, so what do we need to do to optimize monitoring and provide the most reliable system possible?
Without doubt, virtualization is a key technological evolution focus and it will empower many broadcast and media organizations to work differently, more efficiently and more profitably.
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It’s perhaps a little unfair to blame modern visual effects people for the fact that audiences are becoming a little jaded about green screen. If we’re to conclude that there’s some sort of quality problem with VFX, we’d need to be sure that we were noticing each and every use, so we know how big the sample is. Many of the applications of VFX, in modern movies, are actually comparatively simple fixes or paint-outs of inappropriate details that nobody ever notices – the boom reflected in a window, the anachronistic sign in a period piece. If we’re not aware of these VFX, they can’t really be objectionable, and we have no idea what proportion of VFX are actually a problem.
Sennheiser examines the theory, implementation, and uses of the Ambisonic soundfield, and its important role in the immersive audio world.
There are two components of gamma that have quite different purposes. One of them is always necessary because displays and their surroundings are never equally as bright as the original scene. The other one is a compression technique.
Digital audio has a remarkably short history, but apart from a few enthusiasts of legacy technology, the takeover has been total.
