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Big movies still demand big setups, no matter what anyone tells you about the battery-powered light they’re trying to sell. Battery-powered lights are wonderful, of course, even if we only use the battery power for long enough to walk a light in and set it up, but popular ideas about just what they’re capable of can be, well, a little ambitious, and that’s occasionally getting people into trouble.
Computer security is always a hot topic, but what do we mean by security and why do systems seem to be ever vulnerable. Comparing hardware to software helps understand vulnerabilities in software security.
Strategies for capturing immersive audio for scene and object-based audio.
Like most industry gatherings this year, the 2020 SMPTE show is virtual and runs from November 10-12, complete with an interactive environment that incorporates a main conference hub, meeting rooms, theater space for sessions and the annual awards gala, and an exhibition hall with private meeting spaces. Many of the events, in addition to the Awards Gala, have been pre-recorded so attendees can view them at their leisure.
To maintain high quality of experience for their customers, content providers need a way to monitor hundreds—sometimes thousands—of channels without compromising real-time error detection. In most cases, the immense scale of their service offerings makes continual visual monitoring of all streams physically impossible and error prone. To meet this need, the flexibility, scalability and agility of software-defined monitoring systems is applied to achieve unlimited multiviewer scaling and fully automated monitoring and alarming to meet this rapidly increasing need.
It was on December 13, 2011 that the Federal Communications Committee (FCC, the governmental body that oversees TV broadcasting in the U.S.), along with many irritated consumers, had had enough and decided to do something about the often times huge disparity in the audio level of commercials versus program content. This was after the U.S. congress passed the Calm Act bill on September 29, 2010.
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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.
