The broadcast industry is mired in a state of resolution confusion. HD is the format du jour, 4K UHD is emerging quickly and proponents of 8K refuse to stay quiet. For a broadcast engineer, it’s enough to make your head spin.
As High Dynamic Range (HDR) and Wide Color Gamut (i.e.BT.2020) are increasingly mandated by major industry players like Netflix and Amazon, DOPs in the broadcast realm are under intense pressure to get it right during original image capture. We all know (or learned the hard way) that the
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.
Almost since photography has existed, people have pursued ways of modifying the picture after it’s been shot. The “dodge” and “burn” tools in Photoshop are widely understood as ways to make things brighter or darker, but it’s probably less widely understood that they refer to techniques for exposure control tha
Dealing with brightness in camera systems sounds simple. Increase the light going into the lens; increase the signal level coming out of the camera, and in turn increase the amount of light coming out of the display. In reality, it’s always been more complicated than that. Camera, display and p
The First Alliance Church (FAC) in Calgary, Alberta produces two distinct live video feeds of their services, each optimized for a particular purpose: image magnification (IMAG) to enrich the worship experience for on-site visitors, and online streaming to reach congregants unable to attend in person. Recently upgrading its production infrastructure
Over the century or so we’ve been making moving images, a lot of improvements have been dreamed up. Some of them, like stereo 3D and high frame rate, have repeatedly suffered a lukewarm reception. Other things, like HD, and even sound and color, enjoyed more or less universal acclaim.
After more than a year’s worth of engineering, designing and struggling to find “not-yet-built” IP equipment, Mobile TV Group, a television production company based in Englewood, Colo., is now supporting its clients with a fully outfitted production truck whose infrastructure sends and receives audio and video as data packets, not S
Timeline is supplying technical broadcast facilities for BBC’s Blue Planet Live. Broadcasting live from three different locations across the planet: Baja, Mexico; the Bahamas; and Australia’s Great Barrier Reef.