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Working with older storage technology, here we mean small gauge film, is a challenge requiring special techniques. In this concluding segment of a three-part series, we examine image quality differences that may result in when transferring Super 8 and 8mm film to video.
The IEEE Standards Association (IEEE-SA) has adopted the OpenFog Consortium’s reference architecture for fog computing. This may prove significant to broadcasters in the OTT era.
In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we investigate microphones and how they are used in television.
Aaron Sims Creative, a full-service creative boutique for cinematic visual effects based in Los Angeles, has adopted Litepanels’ all-new Gemini 2x1 LED soft panel with precision color control and a broad array of dynamic lighting and cinematic effects for versatility in creating unique lighting setups.
Cloud is undoubtedly one of the hottest topics in the broadcast and media industry at present, and if you were to judge the state of cloud adoption by the huge volume of noise around the subject, you could be forgiven for feeling like a dinosaur if you haven’t already fully embraced it.
Part one of this article, first published in the Journal of the IABM asks what’s the real state of play? We spoke to eight IABM members to find out what their end-user customers are actually doing now in the cloud, what they’re not, whether it’s public, private or hybrid, and where the future will take us. Are we truly heading towards a dematerialized industry, and if so, what’s holding us back today?
The best video is not watchable by mass audiences unless the sound is equally good. That’s why monitoring sound with good quality headphones is essential. But, why do so many videographers shun headphones in the field?
Much is written about expensive microphones that either emulate classic models or do one specific task very well. For most small studios, however, it is more important to choose cost-effective microphones that can handle most situations. Here are some suggested choices.
The Society of Motion Picture and Television Engineers (SMPTE), the organization whose standards work has supported more than a century of technological advances in entertainment technology, has published standards for binding Ad-IDs to commercials and Entertainment ID Registry (EIDR) codes to programming content. The standards specify use of Kantar Media’s audio watermarking technology, an open solution available for licensing and paves way for streamlined cross-platform measurement by enabling faster and more accurate tracking and audience measurement of content and ads across media
