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Timing accuracy has been a fundamental component of broadcast infrastructures for as long as we’ve transmitted television pictures and sound. The time invariant nature of frame sampling still requires us to provide timing references with sub microsecond accuracy.
Lockdowns have accelerated some societal or technological trends that were already happening, such as remote production and home working in general.
For content providers (studios, content owners, content aggregators, or other content licensors) and their licensees (affiliates) operating in a multiplatform world - and pirates looking to obtain illegal access to the most popular content - it’s an unrelenting game of cat and mouse. While the internet has provided a cost-effective and easy way to deliver content to consumers, it also opens up new vulnerabilities that content pirates are eager to expose.
Vizrt has announced a new business model for its content creation and distribution products that now makes them available virtually, in pre-selected workflow “solution suites”, at a monthly price. The company’s new Flexible Access initiative works like many SaaS offering in that a series of microservices behind the scenes can be spun up or down to provide access to Vizrt’s array of software products and its Viz Engine real-time 3D compositing, rendering and playout server.
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Allowing one actor to play two roles in the same scene has been possible, at some level, at least since 1961’s The Parent Trap, in which one of Hayley Mills’ arms disappears visibly behind a soft-edged split screen. To put it mildly, techniques have improved, but keeping the necessary technology out of the way of a director whose tastes run to very freeform moviemaking is a challenge in itself.
Production company SoKrispyMedia’s newest release, “Stick Figure War” was shot in Blackmagic RAW using Blackmagic URSA Mini Pro 4.6K G2 and Micro Studio Camera 4Ks, with post work done in DaVinci Resolve Studio.
IBC announces that the call for Technical Papers is open for the IBC2021 Conference.
It’d be easy to think that when Bryce Bayer’s name appeared on the Kodak patent for single-sensor color cameras in 1976, it was a new idea. Sufficiently new to be patentable, perhaps, but actually the idea of covering a sensor with a pattern of primary-colored filters goes back to the earliest days of color photography.
