KitPlus | Articles

Cue Systems, more important than ever in live OB producti...

An effective cue system performs a crucial role in coordinating broadcast activity, keeping directors, production crew and camera operators informed and in control. Data gathered from vision mixers, routers and other production path components generates tally information that can be displayed on under-monitor displays (UMDs) and multi-screen viewer...

Submitted by Bob Head

Published 01 April 2013

Getting to grip with it with Mark Scotton

By Mark Scotton, sales manager for Cameragrip. Getting the right equipment to ensure you add value to your production can be difficult, especially when there are so many products available that all seem to be offering different solutions. Creating moving shots can be done in a variety of ways by using products such as jibs, cranes, tracking dollies...

Submitted by Mark Scotton

Published 01 March 2013

4K or not 4K, that is the question

Peter Savage goes all literary to show how our industry draws on Shakespeare and Keyne. 4K or not 4K, that is the question. Whether 'tis nobler in the mind to suffer The slings and arrows of a much larger workflow Or to take arms against a sea of other formats And by opposing end them. 2K, to sleep No more--and by a sleep to say we end That format,...

Submitted by Robert Howard

Published 01 March 2013

The way forward for lighting control

High Quality LED Fixtures are the Way Forward for Lighting ControlPat Grosswendt, Co-Founder, LitepanelsThe majority of directors of photography (DPs) work by the motto that if anything looks lit then it has been done badly. Whether on the set or in the studio, lighting directors strive to create images that look as natural as possible. The key to...

Submitted by Pat Grosswendt

Published 01 March 2013

Ask the experts: What lens?

Ask the Expert with Paul Sargeant, Procam TVWhen choosing the right lens for your project, there are a huge range of options to choose from that depend entirely on your individual project and your needs. You need to think about the quality of filming you require, where the content will be placed, what camera you will be using to shoot it and how yo...

Submitted by Peter Daffarn

Published 01 March 2013

Finally a compact HD zoom lens!

By Steffan Hewitt, director, PolecamThere are a great number of situations in our industry where the requirement for a small low profile broadcast quality HD camera is needed, whether it be for documentaries, natural history, in car, on board, covert, news, drama, underwater, on a jib arm or small remote head – the list goes on, and expands from th...

Submitted by Steffan Hewitt

Published 01 March 2013

Three legs good... better, best

by Kieron SethFluid SticksWhy do exhibitions and open days still exist in the social media mad world? Why do manufacturers and resellers maintain show rooms when information is immediately accessible online?Simple: no matter which ‘celebrity’ DOP endorses a particular product, there’s no way to log on to assess how any camera balances on the should...

Submitted by Kieron Seth#

Published 01 March 2013

Will Strauss gets a grip!

By Will StraussOf all the many areas of television technology that tv-bay Magazine covers, you might think that camera support is the one that appears, on the surface at least, to move the slowest. Take the tripod for example. Fundamentally, the design hasn’t changed for a hundred years. Or how about the dolly? The wheels and track device that Alfr...

Submitted by Will Strauss#

Published 01 March 2013

Finding a Flexible Post Workflow

In the heart of London's Shoreditch is the award winning post-production house – Splice. Specialising in broadcast, commercial and corporate post production, the boutique studio is home to forty full-time employees and a grand display of state-of-the art technology spanning three floors including: two Baselight grading theatres, Avid DS suites and...

Submitted by KitPlus

Published 01 February 2013

Ask the Experts: What Workstation?

Investing in a new computer workstation or high end PC for use with digital video/or and media production can be a daunting task. With so many different manufacturers to choose from, and with a practically endless list of components to select from customers can be left with literally millions of possible choices. Scary if you aren’t a hardware guru...

Submitted by Mike Leach

Published 01 February 2013

The joy of field editing

In the world of remote working, cloud storage and instant news, the ability to edit on location at a shoot has become a pre-requisite. Only a few years ago, field editing used to be merely about the quick rough cut, the assembly of proxy files or simply the ingest of media in an edit-friendly format. These days, however, energy efficient, high perf...

Submitted by Kieron Seth#

Published 01 February 2013

Why does my project look different on every screen I watc...

By Thomas UrbyeThe age old question, asked by so many people who’ve come through my suite: “I’ve downloaded it to my laptop and it looks different?”Then there is the inevitable panic:“Thomas, how can we make sure that everyone who watches it, watches it ‘properly’?”This issue recently came to light with a campaign backed by moviemakers launched to...

Submitted by Thomas Urbye

Published 01 February 2013

Buyers guide to cellular uplinking

by Ronen Artman (VP of marketing LiveU) and Lorna Garrett (Director, Garland Partners Ltd)Cellular uplinking continues to change the way that video is gathered in the field, bringing new levels of flexibility and cost-effectiveness. The technology allows broadcasters to alter the way that they approach events, be that news, sports, community activi...

Submitted by Ronen Artman

Published 01 February 2013

The Future of 3D

Over the last 3 years I’ve worked in more than ten different countries on stereo 3D; and no matter where in the world I am I’m continually running across the rumour that 3D has done its dash and will soon be heading the way of the dodo. As with most rumours though I have yet to see any evidence of this. One of the most anticipated releases for Fran...

Submitted by Will Strauss#

Published 01 January 2013

A LONG VIEW BACK AND FORWARD

Peter Savage looks backwards and forwards to assess our industry, taking a uniquely long viewWell, here we are again. It’s the end of the year and with the usual party invitations means Christmas must really be upon us. So, in timely annual fashion, I have an opportunity to look back at 2012 and forward to 2013 for all things broadcast. A booming s...

Submitted by Bob Pank#

Published 01 January 2013