With increasing regularity, digital cinema cameras like Sony’s VENICE and RED’s KOMODO cameras are making their way onto the fields of major live sporting events and into multi-camera video coverage to create a “cinematic” look that enhances the viewing experience.
Built for broadcast engineering, operations and post production personnel who need to visually QC files when they are remote from the media, GLIM plays master video files of any size and format directly to a browser on-the-fly without the need to generate a proxy.
Genelec’s Smart Active Monitors are helping to make SOUND360 stand out from the crowd in South Korea, with the country’s first 9.1.6 Dolby Atmos studio. The SOUND360 studio is the creation of CEO Jung Hoon Choi, who is already a very well-known figure in the Korean music industry through his Audioguy record label.
Vizrt, the home of software-defined visual storytelling (#SDVS) and real-time and mixed graphics, reveals its newest innovation; graphics powered by Viz AI – premiered by FOX Sports in its production of the NASCAR season-opening Daytona 500.
Companies, educational institutions, and live event organizers around the world raced to revamp their content creation strategies during the pandemic and virtualize a range of activities – from internal training and communications to delivering dynamic content to remote audiences.
In digital television broadcasting, what matters is that the pictures should be displayed at the correct frame rate and lip-sync should be achieved in an isochronous system.
Deploying Riedel’s Bolero wireless intercom system on its broadcast-camera motorcycles, Danish RF video specialist Krickhahn TV ensures seamless communications between the camera operator, driver, and production team during live coverage of cycling road races.
Cooking has long been a popular subject for television, partly because everyone has to eat, but also because it’s the sort of programming that can, in principle, be turned out of a studio in half-hour chunks, several times a day.
