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Mobile editing that is self-contained on a cell phone has become a reality with capabilities that can be astonishing.
The announcement by Blackmagic of their new RAW camera file format reminds us that there is choice to record RAW versus regular video with digital cinematography cameras. What is RAW, what are the pros and cons, and why should cinematographers capture RAW files rather than conventional video? At a first pass, a RAW image file consists of the data from the image sensor with some basic processing, but cannot be viewed as a regular red, green and blue (RGB) video file.
Microsoft has adopted technology from IO Industries to raise Virtual Reality production to new heights of realism and flexibility.
Back in 1972 — when the arcade video game, Pong, came on the scene — electronic gaming was born. Now millennials are drawn to eSports and NAB NY 2018 will show broadcasters ways to help capture that audience.
The options for sophisticated post production editing are becoming ever more varied. Now, you can even carry them with you in your pocket.
Broadcasting used to be simple. It required one TV station sending one signal to multiple viewers. Everyone received the same imagery at the same time. That was easy.
A few years ago, remote Pan Tilt Zoom (PTZ) cameras were regarded as being low quality and not suitable for professional use. Thanks to the advances in sensor, IP technology, the introduction of fanless designs and optical image stabilisers, the balance has been tipped in favour of remote cameras as an industry standard.
As we migrate to IP, broadcasters are thinking about how they will interface their SDI, MADI, and AES systems together. Many see the benefit of IP and one day all devices will be IP-enabled. But until that time arrives, we need to understand how to interface new and old together. In this article we investigate real applications on how to connect existing and new technologies.
