With 6K acquisition becoming more common, you may be considering getting ahead of the editing curve by upgrading your computer system. Likely you’ll want a hot system based upon one of the new AMD or Intel 6- or 8-core microprocessors. As the saying goes, be careful what you wish.
It is almost a hundred years since the color space of the human visual system was first explored. John Watkinson looks at how it was done.
In the first part of this four-part series we described the basic principles of the Precision Time Protocol. In part two, we investigate PTP redundancy, specifically for media networks.
Jackinabox is a unique Flyaway Gallery/ PPU designed by John Surdevan and Sam Gardner, a multicamera director and a computer vision software engineer. After working together for years and looking at how things could be improved, they began to customise their own suite of live production kit that harmonises industry…
The 5G Media Action Group launched at IBC 2019 to promote broadcast over future 5G cellular networks has just held its first General Assembly at the Geneva headquarters of the EBU (European Broadcasting Union).
Move over, video. When it comes to the medium of choice for powerful storytelling, audio wins hands down. That’s why — in its golden age — radio was called the theatre of the imagination.
The techniques of 35mm film are seductively simple. The process is the same no matter what the camera in use, or how the film will be cut. Conversely, every digital camera might have its own ways of approaching different parts of the process, creating a forest of terminology – gamma, gamut, s…
Following the settlement this summer of a bitter court fight between Fujifilm and Sony over patents relating to the next generation of Linear Tape-Open (LTO) magnetic tape data storage technology, global shipments of LTO-8 media are now reaching end users. It’s a huge relief for large media organizations looking t…
The emergence of high dynamic range (HDR) acquisition in live and studio production has brought numerous possibilities for improved picture quality and creating an immersive experience for viewers. But it has also added cost and complexity to production workflows that broadcasters and content distributors are not eager to pay.
The companies that make in-line microphone boosters have until now promoted their transparency, increasing only the output of dynamic or ribbon microphones without adding color to the signal. At AES 2019, that changed when Soyuz introduced its “Launcher,” a new mic booster that purposefully colors the signal.