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_460_259.png "StarTracker current generation (top left), StarTracker Max (top right) and StarTracker Mini (front centre).")
Mo-Sys Engineering plans to introduce two new StarTracker products together with an innovative exchange programme. The StarTracker Mini will expand the range, increasing its market reach to a new generation of Virtual Production creators, while StarTracker Max shows off its improved camera tracking technology for professional broadcast and cinematic use.
There has been an almost inevitable surge in TV production in the UK as the pandemic recedes. The way the sector has rapidly hit production capacity highlights some long-term issues with how the industry attracts and trains new talent.
The Fourier Transform is complex in the mathematical sense, which means that each coefficient is represented by complex number.
Dejero transmitters, encoders, receivers, network aggregation devices and content sharing service at the heart of HRT’s field reporting.
Most people are aware that any color can be mixed from red, green and blue light, and we make color pictures out of red, green and blue images. The relationship between modern color imaging and the human visual system was recently discussed by John Watkinson in his series on color. In this piece, we’re going to look at something that comes up often in modern film and TV technique: color gamuts. It’s a term that suffers a lot of misuse, but the basics are simple: a color image uses red, green and blue, and the gamut describes which red, which green, and which blue we’re using.
The 2022 Commonwealth Games will be the biggest sports event on UK shores since London 2012 with around 1.5 billion global audience expected to watch over the 11 day event beginning July 28. Bidding for the host broadcast contract began in summer of 2019 with the award announced for Sunset + Vine in April 2020. Here’s what S+V plan with a special focus on one of its OB partners, Gravity Media.
All lenses suffer from various imperfections that reduce sharpness. However, even if the lens elements were ideal and caused no loss of resolution, lenses still can’t focus to a perfect point.
Nobody’s risking much, in 2022, by assuming we’re living through the genesis of virtual production. There are enough high-profile productions happening to lend the technique some legitimacy, and while the surge in both interest and the provision of facilities makes it hard to say how demand and supply are matching up, activity is at fever pitch.
