Emerging standards are making the best of existing pixels. Understand the principles of HDR, learn how to build workflows to simplify production, and deliver the highest quality HDR pictures possible.
Veteran cinematographers and DOPs have long understood that lenses have a personality with a specific look and feel. In the same way that an actor imparts his or her interpretation on a film’s story, the DOP selects a lens that best supports the program’s emotional stakes. The ideal camera lens is one that contributes its own unique character and flare (literally) in order to produce the most compelling viewer experience possible.
In part-1 of this three-part series we discussed the benefits of Remote Production and some of the advantages it provides over traditional outside broadcasts. In this part, we look at the core infrastructure and uncover the technology behind this revolution.
Electronic camera manufacturers have spent – by some measures – something like the last twenty years trying to make digital cameras that shoot pictures that look like real movies. Now, they’re making cameras with larger and larger sensors, the better to simulate the sort of cameras that shot some of the greatest mid-twentieth-century movies, in the days of 70mm and VistaVision.
Due to the medical emergency the country now finds itself in, this year’s NAB Show in Las Vegas was postponed to later this year. If it had happened, the main themes of artificial intelligence (AI), high dynamic range (HDR) acquisition and remote production would have all been front and center, but several other technologies that bring new efficiencies in studio production and content distribution would’ve also been spotlighted.
Since its adoption for NTSC, essentially every subsequent electronic distribution means for color images has relied on color differences, making it a topic of some importance.
Recent international events have overtaken normality causing us to take an even closer look at how we make television. Physical isolation is greatly accelerating our interest in Remote Production, REMI and At-Home working, and this is more important now than it ever has been.
If there is a departure point from science to art in video production, it’s the control and quality of light. Creative manipulation of light can generate stunning images from an iPhone, while poor lighting can cripple even the most expensive, state-of-the art cinema camera.
With the advent of tiny battery-operated LED lighting, an extraordinary collection of creative lighting tools have been miniaturized and can now be carried in a small shoulder bag by videographers. Here’s a look at how to use such a kit for small video crews.