In the high stakes world of auto racing, every second counts so whatever a team can do to improve its performance, both on and off the track, is put into play. For the highly successful Corvette Racing team, which competes in endurance races that last 24 hours to the finish, it’s secret weapon is reliable two-way communication between its drivers and crew.
In this second installment of our extended article looking into HDR for cinematography we look at the practical aspects and applications of HDR.
It’s nothing new for technological change to make things obsolete, but a camera manufacturer in the early 2020s might be forgiven a little nervousness. Just look at a catalogue from any electronics retailer in the late 80s. Bedside clock? More or less displaced by phones. Radio? Same. Walkman? Cellular communication devices do that, too. Dictaphones? You guessed it. And cameras? Well, holiday camcorders are a distant memory, as are point-and-shoot stills options.
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.
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.
We move on to looking at developments in noise cancelling technology and the role it can play in achieving clarity and comfort within headsets for intercom use.
This is the second instalment of our deep dive into the rapid growth of OTT, high user expectations and the developments in hybrid systems which combine CDN with storage and distributed processing to meet demand.
The term “paperless office” goes back at least to 1978. The parallel term “filmless movie” is actually far older, dating perhaps from a 1930 article by the Hungarian inventor Dénes Mihály in the West Australian, published in Perth on 9 April 1930. Given how long it took us to actually achieve a filmless movie even after Mihály had proposed the idea, it’s perhaps no great surprise that the paperless office is still, mostly, some way out of reach.
