Try our new AI powered Smart-Search!
Hackers are always improving the level of sophistication and constantly finding new surface areas to attack – resulting in the surging volume and frequency of cyberattacks.
Now the inaugural hype around Virtual Reality (VR) and Augmented Reality (AR) has subsided, deployments are ramping up, setting the stage for rapid growth over the next few years.
Microphone preamps are very simple. The basic function is to boost the low level signal from a microphone to a more robust line level. The signal can then be used for broadcasting, editing, recording or sound reinforcement.
Bob Dylan was riding a crest of social change when he wrote those lyrics in 1963. But the words popped back into my mind as I thought about several recent conversations with friends who complain of their struggle to stay afloat in today’s video production business.
The rg color space served to document the chromaticity gamut of the HVS, and so was a great step forward in understanding color and color vision. However, it was based on a certain set of primaries. As no set of primaries can embrace the whole of the HVS gamut, it is inevitable that the color matching functions have negative excursions. The CIE set out to remedy that by taking the color matching experimental data and representing it in a different way. The color space they developed is a cube having three orthogonal axes, X, Y and Z. The white point was defined as the equal energy point, otherwise known as Illuminant E (for equal).
The use of photorealistic technology is changing the way broadcasters are looking at virtual sets. Now it is possible to create scenes that are indistinguishable from reality, which provides excellent new possibilities for enhancing storytelling.
Sound engineers have spent over twenty years implementing and improving audio over IP systems. This has given audio a head-start in the race to migrate to IP. Not only does the sound seamlessly transfer across networks but recent designs have propelled advances in security, integration, and control.
The push to create the ideal digital cinematography camera has now been going on for, arguably, two decades. There were a couple of standout attempts in the 1980s involving high definition tube cameras, but the introduction of Sony’s HDCAM tape format in 1998 served more or less as the starting point of recognizably modern digital cinema. Since then, a huge effort has been made to meet the standards of a century of conventional, photochemical moviemaking. Arguments about whether that’s been achieved, or ever will be achieved, seem likely to rage forever, but in 2019 there seems at least some interest in going way, way beyond (some parts of) what 35mm film could ever do. The question is why.
