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With talk of an impending Metaverse and augmented reality graphics increasingly becoming part of mainstream television broadcasts and live eSports events, top graphics artists are looking past traditional 3D animation and virtual environments and using fully rendered 360-degree 2K and 4K video to get a more captivating effect.
John Hunter holds a unique distinction among broadcast audio mixers: he was the A1 for the NBA Raptors vs. Pelicans basketball game in November 2018, one of the very first sports events to be produced in immersive Dolby Atmos sound with 4K HDR picture for live distribution to homes across North America.
Filmmaking is now an artform with a long history, and that means a lot of received knowledge. Things like primes being better than zooms, and characterful primes best of all. The public attitude to that orthodoxy, though, is starting to show some signs of changing, and the dawn of a new year seems like a good time to examine some of the ways that’s starting to show up in production.
Flowics Graphics says it supports the GV Media Universe Alliance to add broadcast-quality HTML5 cloud-based graphics to live productions.
Creating an LED light that looks reasonable, both on camera and to the eye, is no longer that difficult.
If 2020 was considered a disruptive one for the television production community, 2021 was a year where trial and error and the lessons learned became real-world REMI deployments to keep live sports and entertainment content on the air. Production studios too learned to adapt with fewer crew allowed inside and social distancing becoming the new normal.
Teradek, a member of the Vitec Group’s Creative Solutions division, has announced a new ultra-low latency monitoring server for their Core cloud service: Wavelength Sputnik.
Here we look at the science of using a matched pair of microphones positioned as a coincident pair to capture stereo sound images.
