Workflows, equipment, and technology breakthroughs. Discover who is using 4K/8K and why. Understand the theory and practical significance of providing more pixels, higher frame rates, and bigger and better color space.
While the annual NFL Super Bowl typically serves as a great technology showcase for trying out new ways of covering the game on television (e.g., augmented reality graphics and immersive audio), this year’s main Super Bowl LIV game production will employ a well-rehearsed game plan.
We live an era of immensely powerful post-production tools with advanced color-correction and software plug-ins to serve every conceivable function. We can routinely remove guy wires from scenes, change day to night, and add just the right amount of coral or other color to fit any desired mood or impulse. Accordingly, some engineers and DITs grow livid at the thought of placing any camera filter over the lens, arguing the practice is no longer warranted or advisable. Why, they say, bake in a look during image capture that can’t be changed later? Besides, they argue, sometimes quite vociferously, the additional glass surfaces placed in a light path can only lower resolution and contrast, and increase flare, which surely no responsible DOP would ever want to introduce in an irreversible way.
Offering a full slate of post-production services, Elite Media Technologies, in Santa Clarita, California, has added two Sony 4K HDR master monitors to support its variety of postproduction services. The new 31-inch monitors (model BVM-HX310) will be used alongside existing BVM-X300, 30-inch 4K/HDR OLED reference monitors in critical monitoring situations, mastering and quality control environments.
HDR is taking the broadcasting world by storm. The combination of a greater dynamic range and wider color gamut is delivering images that truly bring the immersive experience to home viewers. Vibrant colors and detailed specular highlights build a kind of realism into broadcast productions that our predecessors could only have ever dreamed of.
As the world prepares for 2020, broadcasters, video content creators and providers grapple with new formats and distribution models, and what it takes to test and maintain them.
As more and more organizations endeavor to use video as part of their business strategy, the capability to stream online at low latency has become as critical as ever for less demanding applications. That’s because viewers of all types now expect a positive experience similar to what they see on their living room TV set.
Looking to address an increase in demand for 4K UHD production, UK Outside Broadcast specialist Cloudbass has completed work on an end-to-end 4K UHD with HDR Outside Broadcast vehicle based on the ST2110 video-over-IP standard. At its core is Axon Digital Design’s Neuron signal processing technology.