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Color and Colorimetry – Part 8 January 22nd 2020 - 09:00 AM

The derivation of the famous CIE horseshoe was explained in the previous part in terms of a re-mapping or distortion of rg color space. The derivation is somewhat abstract because the uses of color science go far beyond the applications in broadcasting. However it is equally possible to describe CIE color space from a more television-centered point of view.

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Game Creek Video’s Encore truck will handle the main game feed.

54th NFL Super Bowl Telecast Gets HDR Treatment For Viewers With 4K TV Sets January 20th 2020 - 11:00 AM

While the annual NFL Super Bowl typically serves as a great technology showcase for trying out new ways of covering the game on television (e.g., augmented reality graphics and immersive audio), this year’s main Super Bowl LIV game production will employ a well-rehearsed game plan.

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Why On-Camera Filters Still Matter January 16th 2020 - 09:00 AM

We live an era of immensely powerful post-production tools with advanced color-correction and software plug-ins to serve every conceivable function. We can routinely remove guy wires from scenes, change day to night, and add just the right amount of coral or other color to fit any desired mood or impulse. Accordingly, some engineers and DITs grow livid at the thought of placing any camera filter over the lens, arguing the practice is no longer warranted or advisable. Why, they say, bake in a look during image capture that can’t be changed later? Besides, they argue, sometimes quite vociferously, the additional glass surfaces placed in a light path can only lower resolution and contrast, and increase flare, which surely no responsible DOP would ever want to introduce in an irreversible way.

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Sensors and Lenses - Part 2 January 13th 2020 - 09:00 AM

Last time, we talked about the history that created modern digital cinema technology, and particularly the factors which lead to the modern push for ever larger sensors. It’s been going on in some form for twenty years, to the point that we’re now asking for bigger imagers than cinema has ever commonly used, achieving more resolution than cinema commonly achieved, with greater sensitivity than was ever available to directors of photography in the twentieth century. To get that we’re tolerating all kinds of inconveniences in terms of the lenses we must use and the light levels, or sheer accomplishment in focus pulling, that big chips tend to demand.

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Future Production January 10th 2020 - 09:00 AM

It’s not controversial to say that film production in London has been booming for a few years, and there’s no real secret as to why: in 2006, Gordon Brown’s government introduced tax incentives that have played at least a part in provoking a doubling of production spend since 2009, and the post-financial crash and post-Brexit-referendum state of the pound has probably helped too. There are all kinds of arguments to be made about whether tax incentives for film production actually represent public funding of private enterprise, and whether they drive a race to the bottom in which various jurisdictions vie with each other to give away the largest amount of potential public money.

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Volunteer Rebecca Mossop captures a Hope City Church worship service with a Z-HD5500 camera.

Hope City Church Expansion Leads To New HD Cameras From Hitachi January 8th 2020 - 01:00 PM

In the midst of a new expansion earlier this year, Hope City Church, located in Edmonton, Alberta, Canada, was looking to improve the quality of its live video productions, It purchased three Hitachi Z-HD5500 cameras with Fujinon HD lenses to capture its Sunday worship services for remote distribution and in-venue image magnification.

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