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Filtered Tag: cel-scope (10 results)

Meeting standards in 3D

It has been said that poor quality stereoscopic TV will ‘poison the water’ for everyone. This was because in the past 3D was made to quite poor and uncontrolled production and delivery standards. But since BSkyB’s “Technical Guidelines for Plano Stereoscopic 3D Programme Content” were published over two years ago programme makers have had specific...

Submitted by Bob Pank#
Published 01 January 2013

The highs and lows of histograms

Histogram displays for video analysis probably followed those found in common computer graphics programs such as Adobe Photoshop. This can be very useful in finding video signal problems that would be difficult or impossible to see with a conventional waveform display. The histogram is a way of showing statistical results as a bar-chart. The range...

Submitted by Kieron Seth#
Published 01 December 2012

Pointing out the right colours

In the old days of PAL and NTSC analogue television, a vectorscope was an essential tool for examining chroma at every part for the programme production and transmission chain. This was because the colour information was carried as a phase and amplitude modulation which could be sensitive to a variety of transmission or recording non-linearities an...

Submitted by Bob Pank#
Published 01 October 2012

Are you out on the range

The main parameters to worry about in any stereoscopic scene are the most negative and positive disparity values. These numbers are usually expressed in percentage terms rather than in actual screen pixels. The distance between the numbers is the depth range. The depth budget is the maximum value this range can be allowed without being too uncomfor...

Submitted by Will Strauss#
Published 01 May 2012

Keeping both eyes on the ball

It goes without saying that spectator sports are made for television; of course they are, as can easily be proved by trying to follow a football match on radio. A skilled radio commentator can describe key aspects of the action fairly well but television actually gives viewers the impression that they are sitting in the stadium. Widescreen high def...

Submitted by Bob Pank#
Published 01 September 2011

On the level

In shooting 3D you naturally have two cameras and two lenses: albeit, there are some weird and wonderful single lens/single sensor contraptions out there. This usually means there are any number of ways each camera lens combination could be producing images with minor are major signal level differences. If these level differences are not dealt with...

Submitted by Bob Pank#
Published 01 July 2011

One Eyed 3D

The illusion of a single 3D image is created within the brain based on the spacial displacement of our two eyes. So how can you make a 3D production with one camera?The 3D stop frame animation feature film 'Coralline' was largely made with just one camera for each scene. The same DSLR camera was used to take left and right images successively. For...

Submitted by Bob Pank#
Published 01 April 2011

BVE 2011 retrospect

BVE 2011 had much of the buoyancy and buzz of an IBC. The organisers claimed an attendance of over 15,500 visitors and 240 exhibiting companies. Many of the UK-based stalwarts who make the annual pilgrimage to Amsterdam could be seen exploring the show, confirming that BVE is now taken seriously by mainstream broadcasters. It is perhaps over-optimi...

Submitted by Bob Pank#
Published 01 April 2011

Dont lose the 3D plot

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. This is mostly done in post production to ens...

Submitted by Bob Pank#
Published 01 February 2011

Anaglyph, old hat but still useful

There are now many technologies for viewing 3D on television or the cinema. The oldest, dating from the 1850’s, is the anaglyph glasses. I’m sure everyone is familiar with the ‘red’ and ‘green’ style of old, though those particular single colours are hardly used these days. The basis of an anaglyph is to separate left and right image components for...

Submitted by Bob Pank#
Published 01 January 2011