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The new Apple iPhone X is an excellent video camera for news and documentary interviews. But creating a very lightweight package around it can be challenging. I took the challenge and here are the results.
On 25 May 2018, a new EU General Data Protection Regulation comes into force and will apply across all EU member states. Pending the outcome of Brexit this also includes the UK. There are potentially serious implications for drone filmmakers and in an increasingly litigious society it is probably only a matter of time before an operator is taken to court under the new rules. When infringements can be subject to fines of up to EUR 20 million or in the case of in the case of a business, up to 2% or 4% of the total worldwide annual turnover of the preceding financial year, whichever is the higher – then it’s worth paying attention to what the rules do and do not permit.
A quick look at the lens to display pipeline highlights some trivial-seeming bottlenecks that place important constraints on motion imaging systems. One of these is the connection to the consumer display. The announcement of HDMI 2.1 is key to advancing to 4K and beyond, with additional support for HDR, and increased frame rates for UHD video.
4K imagery has become the quality standard for many broadcast applications. A key requirement is that the transmission links be of sufficient bandwidth. Links using H.264 can be overwhelmed by the much higher bandwidth requirements of 4K video. HEVC is often the better solution. How does it work and what are some benefits?
In the five months since The Broadcast Bridge published Frank Beacham’s article discussing Using the iPhone for Professional Video there have been many world events that offered ideal opportunities to cover events with smartphones rather than traditional ENG camcorders. Opportunities where the camera or camera/newscaster would have been far safer shooting with a cellphone.
Apple’s iPhone has been with us for ten years now and the onboard cameras for each generation have gotten incrementally better. Some broadcasters began using iPhones to shoot video for television news several years ago. However, with the latest generation, the image quality has gotten so good that the all-iPhone television news operation now makes a lot of economic sense.
In the world of video production, change in data storage comes so fast it is often out of sight, out of mind. For some applications, we have switched in the past few years from hard drives to flash memory. Each new model of gear we buy — whether cameras or editing — accommodates faster formats and generates ever larger files. Where is storage heading?
Live TV is a like a magic act. It works best when the audience can’t see what’s really happening.
