With hundreds of thousands of hobbyist drones expected to arrive as gifts this holiday season, the race is on to put some kind of regulation in place to mitigate the rising number of near miss air incidents recorded this year.
Live TV field production of one-off sports events is an open invitation for surprises of all kinds. The show must go on and it’s the worst possible time for drama. It’s a good fit for passionate engineers who thrive on winning and enjoy alternating bursts of despair and adrenaline. The more adrenaline a field sports production generates, the greater the thrill. Like a magic act, the trick is keeping production secrets hidden from view.
Unless you’ve been sleeping, it’s hard to miss all the recent hype about technology that takes us to alternate realities. It began in the world of video gaming, has attracted major investors and is now positioned as “the next big thing” in the world of must-have gadgetry.
Many productions rely on multiple cameras, sometimes from different manufacturers. This creates a color-space problem in production. Lattice can help resolve those issues by color matching the images.
RF modulation is the ink of broadcasting. Broadcasters understand RF and get government licenses to transmit on assigned frequencies. They depend on the government and local frequency coordinators for interference-free privacy. The latest, most popular emerging RF systems are unlicensed and operate in extremely high frequency (EHF) public Wi-Fi bands. The key word is public. How does a broadcaster find privacy on a public band?
In the previous article lenses, the concept of the optic flow axis was introduced. This is the all-important fourth dimension of moving pictures because the human eye is capable of following, or tracking, motion. Let us look closer at how optic flow affects key aspects of imagery.
Today’s smartphone owners carry more powerful video technology in their pockets than the best state-of-the-art TV broadcast or production facilities could provide two decades ago at any price. The second decade of this century is when off-the-shelf computing matures to the point that it can facilitate and manage nearly all technology-based tasks in broadcast TV stations and TV networks in real-time.
Virtual reality may be all the rage, but acquiring 360° degree video is all a matter of compromise. Depending on the project and the budget producers and VR camera operators will find themselves quickly having to trade off image quality against manoeuvrability against the cost of stitching video feeds in post. The Broadcast Bridge talked with Paris based cinematographer / stereographer Thomas Villepoux to get a handle on cinematography, camera and rig choice for VR projects and his responses are enlightening for anyone experimenting in the medium.