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The impact of AI on videoconferencing bandwidth reduction couldn’t be accelerating at a more opportune time.
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 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.
Here, we take a look at the landmark installation at the University of Notre Dame that highlights one of the biggest advantages of IP-based systems - flexibility. In the past networks have required a lot of cables and interconnections, today, a single cable can deliver every signal to any endpoint in real time, and with outstanding quality, and robustness.
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Recreating a period New York in Hungary might seem an unreasonable challenge until it becomes clear that the country has become a hub for international production with at least two large-scale backlots for just that purpose. In the summer of 2019, these facilities were leveraged by The Alienist: Angel of Darkness, based on Caleb Carr’s book of the same name. Produced for TNT by a consortium led by Paramount Television, the series stars Daniel Brühl, Dakota Fanning and Luke Evans as a group investigating a serial killer in 1890s New York. Cinematography on the first season by P. J. Dillon, ISC, was nominated for a Primetime Emmy, leaving Cathal Watters, ISC, with big shoes to fill on the second.
Digital audio relies completely on the accuracy of quantization and it is important to see how it works.
Now that the virtual IBC 2020 has passed with hardly a whimper on the world broadcasting stage, paradoxically vendors, service providers and content producers are counting the indirect cost of the real event’s absence.
