The six-episode BBC Series Shelf Stackers brings audiences lots of laughs with its witty teenage commentary. Dom Bridges directed and helped edit the popular show as well as automating the synchronisation of audio clips for its dual-system sound production
Digital cameras have brought some wonderful benefits to the filming community, 3D included, but unfortunately it has also highlighted a number of potential workflow issues that need to be addressed by Productions today.
As consumers, we all have experience of being let down by batteries (think rusty Italian cars in the 1970s!). But thankfully the world of batteries has moved on: the global battery industry is today worth $71 billion and is estimated to be growing at nearly 5% a year.
When I was a young scribbler in 1970, my then employers allowed me to launch and run on their behalf a magazine called Studio Sound. It was one of my better career moves and survived (mainly thanks to me leaving it in 1974) for about 35 years. Fairly good going for a trade publication..........
Murraypro recently received a request from Manchester's Granada Studio Complex to borrow a Test Chest 3G for an evaluation they wished to undertake. While Murraypro were delighted to lend them a demonstration unit for their technical testing, they had no concept of any of the background story developing at the TV Centre. Mr Steve Craddock, Technical Manager continues....
The true portability of modern HD mini-cameras and flash-RAM video recorders is encouraging programme makers to go way beyond reach of tethered power supplies. But are the battery-makers living up to the demands being placed on them?
tv-bay questions Ben Holmes, Owner and Senior Editor EditOut, a specialist edit company focusing on editing for Outside Broadcast, as well as some corporate work.
In todays turbulent economy, it can be tempting to cut corners with lower-cost, generic batteries. All too often, however, this comes at the expense of quality, reliability and safety.
As was mentioned in the sixth article of this series, depth budget is the single most important parameter in stereoscopic 3D TV. As well as observing the practical and desirable limits to which the depth parameters can be pushed, making a good 3D production required careful management of depth dynamics.
The further you look into 3D, the more it diverges from 2D. Titling, including lower thirds, on-screen burnt-in text and subtitles (aka closed captions) are common features of 2D TV and film presentations and so its not unreasonable to expect it to be used in 3D.
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