In part-1 of this three-part series we discussed the benefits of Remote Production and some of the advantages it provides over traditional outside broadcasts. In this part, we look at the core infrastructure and uncover the technology behind this revolution.
Electronic camera manufacturers have spent – by some measures – something like the last twenty years trying to make digital cameras that shoot pictures that look like real movies. Now, they’re making cameras with larger and larger sensors, the better to simulate the sort of cameras that shot some of the greatest mid-twentieth-century movies, in the days of 70mm and VistaVision.
Since its adoption for NTSC, essentially every subsequent electronic distribution means for color images has relied on color differences, making it a topic of some importance.
Recent international events have overtaken normality causing us to take an even closer look at how we make television. Physical isolation is greatly accelerating our interest in Remote Production, REMI and At-Home working, and this is more important now than it ever has been.
NAB 2020 will not be rescheduled this year, the NAB has announced. Instead, the organization will begin NAB Express in April, an online initiative, and will enhance the NAB Show New York at the end of the year with additional programs and expanded participation.
If there is a departure point from science to art in video production, it’s the control and quality of light. Creative manipulation of light can generate stunning images from an iPhone, while poor lighting can cripple even the most expensive, state-of-the art cinema camera.
With the advent of tiny battery-operated LED lighting, an extraordinary collection of creative lighting tools have been miniaturized and can now be carried in a small shoulder bag by videographers. Here’s a look at how to use such a kit for small video crews.
The increasing use of High Dynamic Range (HDR) and wide color gamut (WCG) acquisition has not only improved signal quality on live sports and other telecasts, it has also helped the bottom line of those that make professional 4K lenses. Both visual and lab tests have shown that the superior quality of a 4K UHD lens helps even HD cameras look better, and that’s helping lens sales in a Broadcast market that—with the emergence of handheld, fixed lens (with 1/3 and ¼-inch sensors) camera models now used extensively in newsgathering—gets harder every day.
