The industry is buzzing about loudness control. EBU R128 and other such legislation around the world attempts to provide some level of consistency in perceived loudness between a program and its interstitials, hence the concept of loudness control.
TV Everywhere has become a way of life in the Nordic market, where every major broadcaster has succeeded in taking its services over the top and into the online video space. One of those broadcasters pan-Nordic pay-TV channel provider C More Entertainment has offered Web TV services for years through its online video portal.
Smartphones and tablets have provided a major technological breakthrough in how we operate. Look around and youre likely to see someone using their device to search for content, watch content or interact either directly or via social media applications.
Over The Top (OTT) video revenue is set to double to $15.1 billion in 2016, up from $7.8 billion in 2012. The number of connectable devices is growing rapidly; in fact, according to Idate, the installed base of connectable TV devices will more than triple by 2016.
With the immanent introduction of the F5 and F55 from Sony, perhaps we should take look back on the fantastic work done by its predecessor the PMW-F3 in the past year.
Stereographers are in demand, they have little time and the time they do have is highly valued. I first met Demetri at IBC this year during the showing of HUGO (see page XX) and we were fortunate enough to catch up with him again during a flight to LA where he was heading for the first stage of 3D post for 47 RONIN. His opinions on 3D filmmaking are respected the world over¦over to you Demetri¦.
OTT is generally understood to mean a technique where the transmission of video to the subscriber is based on the same underlying methods as those currently being used to serve out web pages on the internet today.
While the debate rages over the future of broadcast television with discussion of OTT and time-shifting increasingly hogging the limelight, theres one arena in which the power of broadcast indisputably holds sway and will do for many years to come: high quality live coverage.
The time has come. My home made autocue, although working well, needed to be upgraded.
It had served me well for a couple of years, but I needed something a bit higher quality and slightly bigger.
With over 20 years of experience as an ultra-mobile camera operator, John Gillan is one of the world's most successful exponents of portable television production. As principal of JGBroadcast, he owns two complete Polecam systems, one on each side of the Atlantic, and commutes between Britain and his base on the US west coast, serving clients such as the BBC, ITV, ESPN and Discovery networks.
With new equipment opening up new ways to film and encouraging film-makers, videographers and former photographers to cross over their outdated boundaries, comes a need for new supports to match these ambitions.
Just over eighteen months ago, Adrian Scott of the Bakewell House Consultancy was commissioned to guide Ravensbourne through the EU Tendering process to appoint a Systems Integrator to transform the broadcast facilities of Ravensbourne as it moved into its new multi-million pound home at Greenwich Peninsula.
Cameras and camcorders are shrinking at such a rapid rate that a lot of today's established support devices are looking completely out of scale. In some aisles of the NAB 2010 Central Hall, visitors were at perpetual risk of colliding with excited demonstrators nipping hither and yon with hand-held stabilisers for DSLRs. Most were only for single camera 2D but watch out for the 3D redesign at IBC in September or at NAB 2011.
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