In this tutorial on the science of lenses (Part 4), John Watkinson examines lens resolution and discusses how to determine the lens performance needed so as to get the maximum performance from your camera sensor.
A large warehouse fire comes across the police scanner and a news camera operator and an audio guy jump in their car, specially outfitted with a laptop for editing (mounted to the dashboard) and a tripod that folds out of the trunk, and race to get the story. It’s a scenario that plays out hundreds of times each day at TV stations across the country.
We discuss the business case and technology challenges of using cinema cameras in live sports broadcast with Mark Chiolis of Mobile TV Group.
In an increasingly digital world, it may be useful to look at the amount of data needed to represent various media. Note that the amount of data is being considered; the amount of information will always be somewhat less than that.
Solar Panels, or photo-voltaics (PV), have their uses, but they also have their drawbacks.
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.
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.
