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Y2K+20: The Polar Opposite
TV stations refocus their creative talents and energies on staying healthy and on the air. …Boom For Remote Collaboration In Broadcasting
Many businesses and individuals have had to adapt rapidly to remote online working and in many cases adopted innovative approaches to distant collaboration. …Sensors and Lenses - Part 3
There’s a terrible tendency in cinematography to concentrate too much on the technology, overlooking creative skills that often make a huge contribution. In the last two pieces of this series we’ve gone into some detail on the historical background to current camera technology. In this last piece on theBroadcasting 8KTV, Because You Can
The broadcast industry is mired in a state of resolution confusion. HD is the format du jour, 4K UHD is emerging quickly and proponents of 8K refuse to stay quiet. For a broadcast engineer, it’s enough to make your head spin. …Filmmakers New Mantra: “Fix It On Set”
Virtual set (VS) technology has been used by broadcasters for decades to create new types of sets, complete with 3D effects and (more recently) augmented reality graphics that can be changed for different styled programs and to help the on-air presenter tell their stories better. …Recently I was pondering on why cameras come in so many shapes, and what lies behind design decisions. Camera fall into two classes, live, and camera/recorders (camcorders). There was a time when the shape of a camcorder was defined by the recording medium. Cine cameras had two reels on top or to the rear, and video cameras were long to accommodate the tape transport. Now the only constraint is the component holding the sensor or prism block and the lens mount together in a fixed alignment.
In an effort to make the most of their significant content investments, major network broadcasters and content distributors are increasingly expanding their worldwide reach and sending a single piece of content to multiple outlets simultaneously. However, this global strategy is fraught with complex transcoding and the processing of sometimes dozens of files related to that single movie or TV series.
Why RAW? What’s the Deal?
The announcement by Blackmagic of their new RAW camera file format reminds us that there is choice to record RAW versus regular video with digital cinematography cameras. What is RAW, what are the pros and cons, and why should cinematographers capture RAW files rather than conventional video? At a firstThe Rise Of The PTZ Camera
A few years ago, remote Pan Tilt Zoom (PTZ) cameras were regarded as being low quality and not suitable for professional use. Thanks to the advances in sensor, IP technology, the introduction of fanless designs and optical image stabilisers, the balance has been tipped in favour of remote cameras asCameras and Their Viewfinders
The camera viewfinder is an essential tool to compose a shot and, in many cases, to focus. Early film cameras used a separate viewfinder, but the invention of the reflex mirror shutter by ARRI in 1937 allowed the operator a parallax-free view through the taking lens. Television cameras developed along a
