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Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja Zamojda and Anette Haellmigk. Ranging from the Royal Palace of Caserta in Italy to castles and estates all over England, the production also built extensive sets at Three Mills Studios in east London.
Genelec Senior Technologist Thomas Lund starts down the road to ideal monitoring for immersive audio by looking at what is real, and how that could or should be translated for the listener.
The impact of AI on videoconferencing bandwidth reduction couldn’t be accelerating at a more opportune time.
H.264 continues to dominate the video codec field, accounting for 91% of all usage by participants, despite all the hype around newer more advanced codecs such as H.265 and AV1.
Lawo’s Christian Scheck takes a tour of console functions and features that have a special place in immersive audio production, and how they are developing.
In the age of eager reporters surfing the internet for scandalous scoops, who is helping defend TV station newsrooms by detecting and tagging fake pictures and videos before they air, and how are they doing it? Hint: It’s not ‘golden eyes’ or government regulators.
In the mid-70s, Canon released the K35 series of primes, based on its then top-of-the-line FD mount stills lenses. It wasn’t the first or last time a set of glass elements designed for stills had been repackaged for movie work, but the K35s won an Academy Award in 1977 and have since amassed a glittering resume including Barry Lyndon, Aliens and American Hustle and many others.
It is unwise to pretend that gamma corrected signals can successfully be multiplied, added and subtracted in a matrix as if they represented linear light. Yet in television it is done all the time.
