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.
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.
Offering a full slate of post-production services, Elite Media Technologies, in Santa Clarita, California, has added two Sony 4K HDR master monitors to support its variety of postproduction services. The new 31-inch monitors (model BVM-HX310) will be used alongside existing BVM-X300, 30-inch 4K/HDR OLED reference monitors in critical monitoring situations, mastering and quality control environments.
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.
At the 2020 CES Show this week, South Korean TV set maker LG Electronics announced that it would add “Next Gen TV” receiver chips into six new OLED TV models, including its top-of-the-line ZX 8K TV series that includes 88- and 77-inch sets. LG also said it will build ATSC 3.0 reception capability into 55-, 65- and 77-inch models of its new 4K OLED Gallery TV series, including its 65-inch 4K “rollable Wallpaper” OLED model.
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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