In this second installment of our extended article looking into HDR for cinematography we look at the practical aspects and applications of HDR.
The future of DTH satellite TV services is bleak in leading developed markets, especially North America, but much more positive in some major emerging countries, notably India.
Public internet-based remote TV production adds new critical monitoring points to avoid digital cliffs.
High dynamic range and wide color gamut combined with 4K resolution and progressive frame rates have catapulted broadcast television to new levels of immersive experience for the viewer. As HDR and WCG are relatively new to television, we need to both understand their application and how we monitor them to enable us to surpass the levels of quality and immersive experience cinematographers’ demand.
Broadcasters such as the BBC and CNN were among major casualties of the recent global internet outage involving Californian CDN provider Fastly, which will lead to re-evaluation of measures to reduce impact of such disruptions in future.
There was a time when the mere mention of bringing artificial intelligence (AI) and machine learning into the media industry brought visions of robots replacing humans. Today that is certainly not the case—although we might be getting close: I saw a robotic camera operator move the cameras for a national television news show from his converted kitchen table. On-air, viewers never saw a difference from the programs they always watch.
UK audience measurement agency BARB (Broadcasters Audience Research Board) is about to launch regular data on SVoD (Subscription VoD) viewing, as well as video-sharing platforms.
What is the internet? Who is the internet? Where is the internet? These are the first three questions on the tip of every engineers and technologist’s lips. Before we can ever possibly hope to work with internet technology, we must be able to answer these three basic questions.
