The term “paperless office” goes back at least to 1978. The parallel term “filmless movie” is actually far older, dating perhaps from a 1930 article by the Hungarian inventor Dénes Mihály in the West Australian, published in Perth on 9 April 1930. Given how long it took us to actually achieve a filmless movie even after Mihály had proposed the idea, it’s perhaps no great surprise that the paperless office is still, mostly, some way out of reach.
The recent news that NTV has become the first Russian TV channel to experiment with 5G broadcast, one of many such transmission tests that have been conducted over the past 18 months, illustrates that broadcasters see a bright future in the next-generation cellular data delivery system.
In the beginning, there was television. And whenever people tried to make television programmes effective video signal monitoring was an essential pre-requisite.
Synchronizing became extremely important with the growth of AC power systems, which ended up being used to synchronize all sorts of equipment, from Radar to television.
Core to any successful television production is the effective application of clear and precise communications. Camera operators, sound assistants, playout, slow-mo operators, and floor managers all need to hear direction from the production teams. Without comms, the production would soon degenerate into a chaotic cacophony of incoherent images and sounds.
Over the past year, as broadcasters and production companies have expended great effort to reconfigure their workflows and develop new ways of working amid strict safety protocols, so too have the manufacturers of the technology and systems they rely on.
Several things are widely held to be true about HDR. Subjectively, it looks nice; most people instinctively like it. Also, it’s often described as being about higher brightness, and while that’s rather missing the point, it’s still very common to specify displays solely on the basis of their peak light output. More power is good, right?
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New York City has been impersonated by a lot of places, from Gangs of New York (shot in Italy) to Escape From New York (Atlanta) to Wall Street story American Psycho (Toronto), and even the toponymic 42nd Street, which was mocked up in Burbank. One production that did shoot in its purported home town, though, and which has enjoyed a four-season, forty-episode run, is Search Party.
