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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.
Flowics has announced several new additions to its catalog of Data Connectors. The move broadens the assortment of native integrations of live external data that can directly populate broadcast graphics created with the Flowics’ cloud-based engine.
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.
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.
Singular.live, the pioneer of revolutionary cloud-based technology for live graphic overlays, easylive.io, the cloud-based, all-in-one, streaming production studio, and WSC Sports, the provider of innovative workflow automation solutions for sports media-right owners, are working with Beach Soccer Worldwide (BSWW) to provide transformative Artificial Intelligence (AI) powered, cloud-based, content production solution to drive fan engagement for the world’s largest beach soccer tournament - and beyond.
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.
