There are two approaches to digital filtering. One is to implement the impulse response directly. The other is to use recursion. Here we look at the direct implementation.
It’s a truism of our craft that compelling visual stories in film and TV are communicated in the subtext of scenes, that is to say, what we exclude from the Frame is almost always more important to the storytelling than what we include in the Frame. As master image creators and craftsmen, we know and understand: The less you show, the more you know.
The film and TV business is a prominent producer of things that were once very expensive, but which have become much more affordable as developments overtook them. That’s never clearer than when browsing everyone’s favorite auction website, which has recently seen Spirit telecines, once seven figures, selling for less than the price of a good used car. For photochemistry enthusiasts, that’s exciting, though cooler heads might suspect a catch.
The need for synchronization rears its head in so many different endeavors that it has to be accepted as one of the great enabling technologies.
The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
Mission, a DIT and digital dailies service provider has invested in Leader LV5350 test instruments to support its monitoring of SDR and HDR on-set DIT, lab and DI pipelines.
Digital filters are ubiquitous. That has happened because they have significant advantages over the technology they widely replaced.
Still photo lenses find their way into film and TV work via many different routes and for many different reasons. It’s happened so much that the prices on some popular options have risen precipitously in recent years. Are there still good deals to be had?
Telestream Many of the world’s most demanding media and entertainment companies and businesses environments,