We’ve encountered media companies along all aspects of migrating their workflows to the cloud. Some with large on-premises media processing capabilities are just beginning to design their path, while others have transformed some of their workflows to be cloud-native, and still, others are all in – meaning all their media files reside in the cloud and are processed there.
Most people are aware that any color can be mixed from red, green and blue light, and we make color pictures out of red, green and blue images. The relationship between modern color imaging and the human visual system was recently discussed by John Watkinson in his series on color. In this piece, we’re going to look at something that comes up often in modern film and TV technique: color gamuts. It’s a term that suffers a lot of misuse, but the basics are simple: a color image uses red, green and blue, and the gamut describes which red, which green, and which blue we’re using.
The 2022 Commonwealth Games will be the biggest sports event on UK shores since London 2012 with around 1.5 billion global audience expected to watch over the 11 day event beginning July 28. Bidding for the host broadcast contract began in summer of 2019 with the award announced for Sunset + Vine in April 2020. Here’s what S+V plan with a special focus on one of its OB partners, Gravity Media.
For the past 15 years, Chris Shepard, chief engineer and owner of American Mobile Studio, has been responsible for the music mixes broadcast over a variety of streaming platforms from some of the biggest festivals in the United States, including Coachella, Stagecoach, Lollapalooza, Bonnaroo and Outside Lands. His intention is simple: “It’s so important for it to sound exciting,” he says.
Nobody’s risking much, in 2022, by assuming we’re living through the genesis of virtual production. There are enough high-profile productions happening to lend the technique some legitimacy, and while the surge in both interest and the provision of facilities makes it hard to say how demand and supply are matching up, activity is at fever pitch.
Almost since photography has existed, people have pursued ways of modifying the picture after it’s been shot. The “dodge” and “burn” tools in Photoshop are widely understood as ways to make things brighter or darker, but it’s probably less widely understood that they refer to techniques for exposure control that date all the way back to the earliest days of darkroom image processing. Bring moving images into the mix and consistency becomes a big concern too. Individual still photographs might be part of a single exhibition, but they don’t have any concept of being cut together in a sequence.
Once relegated to lower-thirds and corner score bugs, today’s sports graphics are now used for a lot more than just reporting the score, they are helping tell the story of the game in highly creative ways. In fact, many sports outlets, in an effort to distinguish themselves from the pack, are taking their cues from online video gaming, augmented reality and Hollywood-style volumetric video capture (VVC) to create graphic looks that draw the viewer into the program or game coverage, making it a more immersive experience that builds viewer loyalty and keeps them coming back.
Every TV viewer compares live content with what they regularly see on TV, with multimillion-dollar talent with more multimillions in technical equipment and support.
