CNN becomes the first network to receive an FAA waiver to fly drones over crowds. A Vantage Robotics Snap is currently the approved unmanned aircraft system.
The hit series Hunted sees a number of everyday people going on the run from agents who are tracking them down using replicated governmental resources. The series producers, Shine TV, needed to implement an acquisition workflow that would be light, covert and easy to both use and manoeuvre. Shine TV wanted Hunted to look as cinematic as possible. The initial point of reference for the series was the Bourne Identity. DP Dan Etheridge chose the Canon XC10 and LEGRIA mini X for location self-shooting, cutting the footage with broadcast cameras used for the interior shots.
Relaxing in the evening, if there is nothing interesting on the internet I turn to television. When there is no new programming that appeals, I may watch reruns, scripted shows, both drama and episodic. Over the last few years the new productions have such a different look from earlier material, and I got to wondering what are the key technologies that have enabled this change to a more realistic look? I came to the conclusion that the key technologies are the CMOS imager and compression algorithms. The former set the standard of the capture image, the latter allows it to be delivered to the viewer.
We shooters, and the broadcasters that hire us, have long had a noble and worthy goal: that what we see with our naked eye should match what we see on our TV at home. This goal may have seemed elusive or impossible in the past but today, given the advances in technology, especially HDR, the dream of 1:1 capture and display is not only realistic but is already here.
It has been over ten years since the first video-capable DSLR cameras hit the market. Not only did the new generation of smaller video cameras turn the video production on its head, but it propelled a decade of innovation of high-quality audio for these small cameras.
There is much talk of 8K ranging from film studios to broadcasters looking to shoot world-class sports events. The Winter Olympics was covered at 8K resolution – proving it's no longer a lab experiment. But is there an advantage in ever increasing resolutions, and what is the business case?
Since the beginning of motion pictures and of television, directors and engineers have been on a quest for better pictures in order to convey artistic intent, or greater realism. This quest includes a move to more pixels, higher frame rates, higher dynamic range, and wider color volume. These together can deliver subtler and more realistic scene rendition and reduced motion artifacts. However, there are constraints, some from the laws of physics, and some from the cost of producing, distributing and delivering higher data rates.
Marketers like large numbers, hang the physics of realising an image and the psychovisual complexities of rendering a scene into the visual cortex.
We saw all this with HD. Most European countries adopted 1080 interlaced HD, disregarding tests that showed 720p50 pictures looked better. We know that to avoid the artefacts of interlace vertical resolution had to be sacrificed, so a progressive scan picture with fewer lines looked sharper, but the number 720 was not that much more than the old SD standard of 625 lines. The detail that the SD picture had only 576 active lines was irrelevant, it’s all about numbers. On top of that the public were sold 1080P receivers, when broadcasts were interlaced, OK you could view 24P movies, but even today, 1080P remains overlooked, passed over in the numbers game.
OTT video consumption via smartphones is escalating in Sub Saharan Africa as premium satellite TV services decline, although the two trends are only partly connected.
The global pro camcorder market is currently undergoing the largest shift in dynamic since the introduction of the large sensor product in 2010. The 1-inch sensor segment is gathering momentum in the global pro camcorder market.
Cellphone Apps Put Control And Monitoring In The Palm Of Your HandDue to the flexibility and virtually unlimited access of the Internet Protocol, manufacturers of broadcast and production equipment have for years provided customers with the remote ability, via an HTML 5 browser interface, to monitor and control hardware devices via a smart phone, tablet or laptop. Vendors have now begun to