KitPlus | Articles

What you see is what you get? Doubtful!

by Robin PalmerThe colour you see is not necessarily the same colour experienced by someone else looking at the same thing. It all depends on the viewer and the viewing conditions as well as the actual colour of the thing. In some professions having perfect colour vision is a matter of safety as in the case of airline pilots and those in railway si...

Submitted by Robin Palmer

Published 01 March 2013

Alex Fine: Following the Ravensbourne 3

A lot of young people studying film production such as myself are always looking to set up as a film production company. We do little jobs where we make studio diaries for young (or old on the rare occasion) musicians; low budget music video’s, [very] short film’s about nothing in particular, or corporate video’s with clich dolly- moves and scratch...

Submitted by Alex Fine

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

Professional Video Editing Just Got Better

Endorsed by twenty five thousand Facebook fans, six industry awards and thousands of new users through the trial download and active forum communities, Autodesk, Inc.,announced that the new Autodesk Smoke 2013, professional video editing software is now shipping. “The anticipation for Smoke, since its thrilling announcement at the National Associat...

Submitted by KitPlus

Published 01 February 2013

Robin Palmer and why flashy programmes are not so good?

by Robin PalmerEver since the 1997 Pokmon phenomenon when hundreds of Japanese children were struck with epileptic fits provoked by a series bright red flashes in a TV cartoon programme broadcasters have become only too aware of PSE. Photo-Sensitive Epilepsy is a rare condition affecting perhaps only 1 in 4,000 people where flashing lights or image...

Submitted by Robin Palmer

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

Character generation today means real-time 3D graphics

In the constantly evolving world of television, graphics departments could be the ones facing the most complicated challenges. Designers have changed from 2D stills to 3D real-time animations and many sections of the department, such as news graphics or CG specialists, had to cope with the most radical changes, both because new technologies and the...

Submitted by Bob Pank#

Published 01 January 2013

3D filmmaking

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 ar...

Submitted by Bob Pank#

Published 01 January 2013

3D for Cinema, ProAV and Events

Over more than a century of motion picture presentations there have been periods when 3D has emerged, and each time interest has faded away. The latest 3D wave goes back to the advent of digital technology for cinemas. Digital Cinema Initiatives (DCI) was formed in 2002 and delivered its first DCI Specification in 2005, when Doremi was well ahead w...

Submitted by Bob Pank#

Published 01 January 2013

Ask the Experts - 3d with BSkyB

This month we had an exclusive opportunity to talk to Cara Cheeseman, Post Production Supervisor for all 3D content, both internally and externally, at BSkyB. The 21 questions are gathered from a variety of industry professionals with an interest, some sceptical and some fanatical, in 3DWhen it comes to 3D conversion... creating 3D images from 2D s...

Submitted by Bob Pank#

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

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

Call of Duty Black Ops II: World Exclusive First Look Str...

I work a lot in live online broadcasting, and backup systems are top of mind when designing any live event. Being off air for any reason is unacceptable, so I build systems knowing that should something fail, I can easily reroute the signal or switch to another machine. This was on my mind when we were asked to live stream for four straight days at...

Submitted by Will Strauss#

Published 01 January 2013

3d Screens

Often exhibitions such as IBC and NAB can be summed up as progressive – slightly better products but nothing really new. Sometimes there is a breakthrough such as Ampex’s introduction of the VTR in 1956. The early years of digital production and post tools were rich in totally new things. At the time I worked at Quantel and seeing inventions like P...

Submitted by Bob Pank#

Published 01 December 2012

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