There has been an almost inevitable surge in TV production in the UK as the pandemic recedes. The way the sector has rapidly hit production capacity highlights some long-term issues with how the industry attracts and trains new talent.
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.
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.
Dealing with brightness in camera systems sounds simple. Increase the light going into the lens; increase the signal level coming out of the camera, and in turn increase the amount of light coming out of the display. In reality, it’s always been more complicated than that. Camera, display and postproduction technologies have been chasing each other for most of the last century, especially since a period in the late 1990s or early 2000s, when electronic cameras started to become good enough for serious single-camera drama work.
Virtual production based around LED walls involves a disparate collection of technologies, and the people best placed to get the best out of the technology are often multi-disciplinarians with experience across several fields.
Over the century or so we’ve been making moving images, a lot of improvements have been dreamed up. Some of them, like stereo 3D and high frame rate, have repeatedly suffered a lukewarm reception. Other things, like HD, and even sound and color, enjoyed more or less universal acclaim.
DoPchoice and TRP Worldwide premiere a new mounting solution for Snapbag softboxes: the Rabbit-Rounder Universal. It’s the versatile answer to mounting a variety of DoPchoice Snapbags, Octas, and Lanterns to the growing range of fixtures with Aputure, Fiilex, Nanlux, and others with industry standard Bowens mounts. With the patent-pending Rabbit-Rounder Universal, one system fits a range of lights and softboxes.