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.
Having a collection of PCs and MACs stacked under a desk to facilitate the multitude of operational requirements not only proves difficult to operate but challenges our modern ideas around security and makes maintenance almost impossible.
With Blackmagic recently introducing a new 12K camcorder, the question arises (once again) how much resolution is enough. After all, even the most fervent resolution junkie would have to agree there is a practical upper limit to resolution and how much is actually discernible and worthwhile.
The industry experienced futureshock head-on in 2020. The impact will take a long time to unwind but it’s already clear that some changes will be profound and not all of them bad. These changes include remote workflow permanency, virtual production shifts from exotic to routine and genuine efforts to save the planet. Here’s hoping.
There’s no way to sugarcoat it: The pandemic has had a highly disruptive effect on video production and distribution in 2020 and many agree it will be felt for several years. The inability for people to gather safely has made it impossible for full-scale video production to go ahead as it did before. Yet, the industry has risen to the challenge in a myriad of ways and learned to be more efficient in the process.
Big-screen LCD TVs are not going away any time soon. Given the economy of scale, the LCDs in our homes and studios work well enough and will continue to work well enough for several more years. But given the advances in LED display technology, especially microLED, the writing of sub-micron size pixels is literally on the wall.
Rohde and Schwarz has evolved a heritage in the broadcast and media industry stretching over 70 years. Throughout this period, the company has developed a reputation as one of the leading developers of hardware-based technology solutions worldwide. However, recent years have seen Rohde & Schwarz placing far more emphasis on its software development skills.
Before pandemics and the downsizing at traditional, broadcast news operations, many news and non-fiction DOPs were already assuming a significant role in post-production. Whereas frame rates, f-stops, and the character of our lenses, once formed the backbone of our expertise and practice, DOPs in the non-theatrical realm increasingly find ourselves in a different kind of ditty bag, as correspondent, writer, director, and ersatz editor – all rolled into a one-person-can-do-anything-and-everything mode.
IP and COTS infrastructure designs are giving us the opportunity to think about broadcast systems in an entirely different manner. Although broadcast engineers have been designing studio facilities to be flexible from the earliest days of television, the addition of IP and COTS takes this to a new level allowing us to continually reallocate infrastructure components to make the best use of expensive resource.