Veteran cinematographers and DOPs have long understood that lenses have a personality with a specific look and feel. In the same way that an actor imparts his or her interpretation on a film’s story, the DOP selects a lens that best supports the program’s emotional stakes. The ideal camera lens is one that contributes its own unique character and flare (literally) in order to produce the most compelling viewer experience possible.
Since its adoption for NTSC, essentially every subsequent electronic distribution means for color images has relied on color differences, making it a topic of some importance.
If we could get lights capable of full color mixing at the same price as conventional white-only ones, would we?
Within broadcast there has always been a quest for higher and higher resolution with improvements in wider color fidelity. The quest has always been to deliver what we see to the audience, often this is limited by technology or cost of production, but today there is the possibility to increase the resolution to 4K/UHD with High Dynamic Range (HDR) and Wide Color Gamut (WCG) that can convey that window on the world to the consumer.
Systems intended to convey color images all need to have a defined white point for practical reasons. The white point is where the luminance axis passes through the plane of the chromaticity diagram on its way from black to white.
At NAB, Densitron will expand its UReady display series and monitors ranging in size from 13.3-inches to 28.5-inches.