HDR

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.

Recent HDR Content

Creative Analysis: Part 12 - Cinematographer Mark Kenfield On ZiaNovember 30th 2020 - 09:00 AM

By sheer count of productions, the Indian film market is possibly the world’s largest for film in terms of admissions. On average, the country’s cinemas see more than 1.5 annual admissions per capita – and with a population of nearly 1.4 billion, that’s a lot of capitas – with more than 1600 features passing before the country’s censors in 2012.

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HDR: Part 17 - Creative Technology - Is RAW Really Uncompressed & Unprocessed?November 27th 2020 - 09:00 AM

It’s hard to object to raw recording. The last thing anyone wants is for the creative intent to be adulterated by unfortunate technical necessities like compression, and the flexibility of raw makes for… well. Let’s admit it: better grading, but also easier rectification of mistakes after the fact, to the point where the glitch isn’t really noticeable.

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The Media Links 8000 100G is designed to send an increasing number of channels of video signals to/from remote locations.

100GbE Switching And Transport Moves To The Forefront Of Contribution LandscapeNovember 24th 2020 - 09:00 AM

There was a time, not too long ago, when 100 Gigabit Ethernet (100GbE) IP switching was only considered for IT data centers moving large amounts of financial and military data. With the growth of media and the urgent need for remotely controlled production infrastructures, 100 Gb/s is no longer a far off dream for content distribution system engineers and has become a slow-but-steadily emerging contribution reality that meets the capacity needs of today’s bandwidth-hungry media industry.

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Update: The future has been slightly delayed. Please stand by.

NextGen TV Looks To 2021November 23rd 2020 - 09:00 AM

Broadcasters are famous for adjusting to changing circumstances during live broadcasts without missing a beat. Live radio DJs roll with the punches. Live TV news reporters, newscast directors, engineers and technicians move or cut away as fast as possible. It comes with the territory and it’s in our DNA. The trick is to make surprises appear to be part of the show and carry on.

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Is Gamma Still Needed?: Part 6 - Analyzing Gamma Correction In The Frequency DomainNovember 19th 2020 - 09:00 AM

To date, the explanations of gamma that are seen mostly restrict themselves to the voltage or brightness domain and very little has been published about the effects of gamma in the frequency domain. This is a great pity, because analysis in the frequency domain produces interesting results.

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Creative Analysis: Part 11 - Cinematographer Stephen Whitehead On An Elephant’s JourneyNovember 17th 2020 - 09:00 AM

There’s a famous saying about working with children and animals. During production of An Elephant’s Journey, cinematographer Stephen Whitehead would encounter both, and face the challenge of depicting the vast African landscape in a manner befitting a story from the grand tradition of children’s adventure writing.

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HDR: Part 16 - Creative Technology - LED Vs HMINovember 16th 2020 - 09:00 AM

Big movies still demand big setups, no matter what anyone tells you about the battery-powered light they’re trying to sell. Battery-powered lights are wonderful, of course, even if we only use the battery power for long enough to walk a light in and set it up, but popular ideas about just what they’re capable of can be, well, a little ambitious, and that’s occasionally getting people into trouble.

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Creative Analysis: Part 10 - Cinematographer John Brawley On The GreatNovember 3rd 2020 - 09:00 AM

Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja Zamojda and Anette Haellmigk. Ranging from the Royal Palace of Caserta in Italy to castles and estates all over England, the production also built extensive sets at Three Mills Studios in east London.

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