Welcome to Part 3 of ‘HDR & WCG For Broadcast’ - a major 10 article exploration of the science and practical applications of all aspects of High Dynamic Range and Wide Color Gamut for broadcast production.
Part 3 discusses the creative challenges of HDR & WCG, why automation is more challenging than it might first appear and the potential impact of ongoing developments in consumer display and camera technologies.
Shinobi II monitor supports Canon, Sony, Nikon touch to focus with new feature update.
Well-executed productions come off seamlessly to audiences, regardless of the delivery format, but their underpinning is complex. Today, crews often work with a host of high dynamic range (HDR) and standard dynamic range (SDR) cameras and equipment, each with its own color science. Achieving a consistent look often requires crews to be able to color match production cameras and easily convert between SDR and HDR standards. However, broadcasters can still encounter quality control (QC) issues, where the feed they output looks “off” and adjustments must be made.
Mediacorp, Singapore’s largest media conglomerate, has selected Lawo’s advanced IP broadcast technology for its alternative broadcast center (BBTC), reinforcing the company’s move towards IP-based infrastructure.
Professional Audio & Television (PAT) is proud to announce that RNZ (Radio New Zealand) has chosen Lawo mc²36 MKII audio consoles, associated I/O devices and Arista switch fabric for its prestigious recording locations at Auckland’s Town Hall and Wellington’s Michael Fowler Centre.
We can now capture video in much higher resolutions than we can transmit, distribute and display. But should we?
To get the best out of a microphone it is important to understand how it differs from the human ear.
Understanding the terminology and technical theory of camera sensors & lenses is a key element of specifying systems to meet the consumer desire for High Dynamic Range.
