There are two components of gamma that have quite different purposes. One of them is always necessary because displays and their surroundings are never equally as bright as the original scene. The other one is a compression technique.
The Farm is a leading full-service post production group that started in Soho, London, subsequently opening facilities in Manchester and Bristol in the UK, and West Hollywood in Los Angeles. The Farm is well known for its ground-breaking creative approaches and its willingness to embrace all that technology has to offer to further that cause. The Farm team has been responsible for some of the most popular television projects of the last 20 years and has an array of awards to prove it.
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Steeven Petitteville’s background in cinematography begins with the sort of story that many people would like to be able to tell. Petitteville didn’t finish studying at the ESRA film school in Paris, having become too busy working in the camera department to do so. After ten years as a camera assistant, he arrived in Los Angeles to shoot a commercial. Seven years later, he’s still there.
Felix Krückels is a certified audio engineer who graduated from the Detmold University of Music and has been involved in immersive audio since 2012. He was there when NHK launched its Super Hi-Vision project with the help of Lawo.
There are a number of reasons why people like old lenses, and they’re all very valid. Cameras and lenses so good they’re invisible are a recent development. Most of the best films ever made, by default, predate today’s spotless pictures, and artists have always been a rebellious bunch in any case. This, though, is an article about why it’s not always a good idea to rebel, at least without knowing exactly what we’re getting ourselves into.
Lets’ start by stating the obvious: TV reporters are not trained lighting designers. When the pandemic hit, stations were forced to figure out new ways of socially distanced, on-air reporting, and initially asked reporters to pick a well-lit room in their house and place a lamp behind the camera to illuminate their face.
Planning the cinematography of a production which is quite literally about darkness is a challenge. Shooting a documentary with a skeleton crew in a place where power cuts are every day is an even bigger challenge. Director of photography Miguel Angel Viñas faced all that and more on The Road Bad and the Place Dark, a documentary shot in Sierra Leone for medical charity Médecins du Monde.
Engineers and production crews help local TV stations maintain distancing and a sunny on-air personality.
