In the area of virtual production, the times have certainly changed. From the early days of shooting against a green screen and compositing the image in real time, the biggest productions are now using large “volume” stages where actors are filmed in front of giant wrap around LED screens to capture the end result in camera.
Here we continue the story of motion compensated compression using macroblocks.
While the emergence of IP-based infrastructures has led to new ways of leveraging the traditional Production Control Room (PCR) and all of the hardware devices and software systems within, it continues to hold its important place as the center of an on-premise studio production in most content creation organizations.
DFT, a provider of high-end film scanning solutions that preserves, manages and delivers pristine film quality, in archives and post production facilities worldwide, will be showing its newest 8K film scanner, DFT POLAR HQ alongside its brand new Smart Motion WetGate at NAB 2023.
Here we look at reflection and refraction, which figure highly in the cameras and lighting equipment used by broadcasters, to say nothing of the real word in which images are captured.
Although IP and cloud computing may be the new buzz words of the industry, hardware solutions are still very much in demand, especially when taking into consideration software defined architectures. And in addition, a whole new plethora of FPGA based configurable systems are providing flexibility, resilience, and scalability.
Video and audio signals represent synchronous sampled systems that demand high timing accuracy from their distribution and processing infrastructures. Although this has caused many challenges for broadcasters working in traditional hardware systems, the challenges are magnified exponentially when we process video, audio and metadata in software.
Virtual production toolkit GhostFrame powers simplified, more efficient, and more creative workflows for LED Volume and XR stages.
