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.
May 14, 2019 may not have seemed a particularly important date for those who edit and color grade on Mac’s and PC’s. But it was. By chance, that day I went looking for the May Windows 10 Feature Update (1903). I was surprised to find a scary warning about something I had never heard of: MDS.
HDR is a technology that is evolving quickly on the Professional and Consumer side. Like all new technologies, the devil is in the details. There is confusion about the technical aspects of which HDR technique and implementation are best for a given situation.
Dealing with brightness in camera systems sounds simple. Increase the light going into the lens; increase the signal level coming out of the camera, and in turn increase the amount of light coming out of the display. In reality, it’s always been more complicated than that. Camera, display and postproduction technologies have been chasing each other for most of the last century, especially since a period in the late 1990s or early 2000s, when electronic cameras started to become good enough for serious single-camera drama work.
Never in human history has it been easier to be a creative person when using video, audio or music production technology. All media-making gear is better and cheaper than it has ever been. Yet, that “blank slate” that has confronted all creative people for the ages remains unchanged.
The exponential growth of eSports as a spectator activity has hit home through success of major events such as the North America League of Legends Championship Series (NA LCS) running through the summer of 2019 and the Intel Extreme Masters series staged in various countries.
High Dynamic Range (HDR) has been getting a lot of attention lately. Dynamic range is the ratio between blackest black and the brightest white that can be seen on a display. High Dynamic Range is the next major step in improving television pictures.
With 4K UHD only just turning the corner and with much of the world still in SD is 8K a distraction from the rollout progress of 4K or just natural technological progress? The Broadcast Bridge takes stock of the current fuss around 8K which, like it or not, will be a major talking point at IBC2019.
Virtual set (VS) technology has been used by broadcasters for decades to create new types of sets, complete with 3D effects and (more recently) augmented reality graphics that can be changed for different styled programs and to help the on-air presenter tell their stories better.