Targeted at video monitoring and analytics across all geographies, at the 2019 IBC Show, Telestream will introduce its second OptiQ live service. OptiQ Monitor helps identify efficiencies in capital and operational expenditure while helping broadcasters, service providers and network operators to ensure optimum levels of Quality of Service and Quality of Experience for their customers.
HDR is a technology that is evolving quickly on the Professional and Consumer side. Like all new technologies, the devil is in the details. There is confusion about the technical aspects of which HDR technique and implementation are best for a given situation.
At the upcoming IBC Show, Ikegami will spotlight its full range of 4K and HD monitors. Among them is the new 31-inch 4K UHD master-grade monitor with a 4,096 × 2,160 pixel 10-bit resolution and high brightness (1,000 candela per square meter). The HQLM-3125X can be controlled remotely via Ethernet, RS-485 or locally from the front panel.
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.
High Dynamic Range (HDR) has been getting a lot of attention lately. Dynamic range is the ratio between blackest black and the brightest white that can be seen on a display. High Dynamic Range is the next major step in improving television pictures.
The human visual system (HVS) sees color using a set of three overlapping filters, which are extremely broad. As a result, the HVS is completely incapable of performing any precise assessment of an observed spectrum.