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PTZOptics, manufacturers of broadcast-quality robotic cameras, and the MIDI Association, the international stewards of MIDI technology, announce a new frontier for MIDI control. In a joint project, they are bringing fully configurable MIDI control to the line of PTZOptics robotic cameras.
_460_287.png "LiveU continues its cutting-edge testing of 5G network capabilities for remote contribution.")
In a recent “first”, LiveU tested how 5G slices – the ability to segment a 5G network to provide guaranteed upload bandwidth and latency – can serve global media remote production.
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.
Here we look at alternating current (AC) systems and how generating AC often requires an intermediate step of converting to DC to improve the efficiencies of AC generators.
That lump of glass on the front of the camera is often taken for granted, but John Watkinson argues that choosing and using lenses wisely can make a big difference in captured image quality.
Virtual production based around LED walls involves a disparate collection of technologies, and the people best placed to get the best out of the technology are often multi-disciplinarians with experience across several fields.
Information can never be separated from its nemesis, which is uncertainty. The former is only possible by limiting the latter.
ZEISS Cinematography has introduced its first service of the new CinCraft ecosystem for the digital application of lens looks into compositing and matchmoving workflows.
