KitPlus | Articles

Eye to Eye: Acquisition and Production

Back in the days of the Audio Fair which annually graced London's Russell Hotel, my co-hack Frank Jones of Hi-Fi News put his head into the KEF Electronics demonstration room and bellowed the time-honoured question "What's new?"KEF was showing established products that year so its founder, the avuncular Raymond Cooke, responded with his own questio...

Submitted by Bob Pank#

Published 01 March 2010

Filming Underwater

Filming underwater remains one of the toughest assignments for any professional production, whether documentary or drama. There are safety concerns involved in having crew and, possibly talent, working underwater. Documentary filmmakers often operate in remote locations, far from medical aid and, especially, decompression chambers needed to treat b...

Submitted by Bob Pank#

Published 01 March 2010

Business conditions of Nigeria v UK

Peter Savage continues his series of articles on maximising business opportunities with a sideways look at opportunities in with emerging marketsDue to the efficiency (ahem) of TV Bay’s management and my own scheduling skills, I find myself, the day before going to press, writing an article whilst sitting in a hotel in Lagos, Nigeria. So, for a com...

Submitted by Dennis Lennie

Published 01 February 2010

Location test equipment

What to look for…. SizeRuggedFast switch on timeLight weightMultiple applications from one unitDaylight readable displayLong Battery lifeSound monitoring as well as videoMountings (when you need both hands!)A number of years ago Hamlet gave itself the impossible task of developing the world’s first 3G, HD and SD capable, video and audio measurement...

Submitted by Dennis Lennie

Published 01 February 2010

The best job in the Met

If you have ever wondered “How did they do that?” when you watch the car chase in Spooks or the gun fight in Ashes to Ashes or even the thrilling gun shot scene at Waterloo Station in Bourne Ultimatum, then you may want to talk to the Metropolitan Police Service Film Unit (MPS FU). “COPS FORM A LUVVY SQUAD” was how one red-top newspaper commented o...

Submitted by Dennis Lennie

Published 01 February 2010

Robotic cameras on location

Television is such a natural extension of the human senses that I doubt if more than one viewer in a thousand gives much thought to the effort put into modern programme production. Much of the original push for creative freedom came from outside broadcast crews, initially using turret-mounted optics and later zoom lenses to obtain close-ups of dist...

Submitted by Dennis Lennie

Published 01 February 2010

Broadcasting Audio in 5.1 Format

One of the positive consequences of digital television transmission is the ability to include fully embedded multi channel audio with suitable metadata to control both channel displacement and even sound levels within the domestic environment. While at the receiving end of the transmission chain there are many innovations and protocols to make life...

Submitted by Dennis Lennie

Published 01 January 2010

De Wolfe Celebrates Centenary

De Wolfe Music Publishers, the longest-running independent film and television music library resource in the world, is celebrating its remarkable centenary this year. Over the last hundred years, the music library’s vast collection of instantly recognisable and iconic tracks has helped shape popular culture; if you've ever seen Man About The House,...

Submitted by Dennis Lennie

Published 01 January 2010

12 Frequently Asked Questions About On-Camera Lighting

1. Why/when would someone use an on-camera light? The main purpose of an on-camera light is for “fill” light. Simply put, you are just trying to remove any shadows from your talent’s face to give them a nice clean natural look. If you use too much light, however, you will drown out your background and get no depth to the video. Also, in today’s’ ru...

Submitted by Dennis Lennie

Published 01 December 2009

LED lighting for image creators

Somehow I ended up on a growing number of LED Lighting equipment manufacturers e-mail mailing lists. Most of them were from China, some from the States and elsewhere. They must have thought that, as we supply broadcast, film and video lighting, that we would be interested in LED lighting. They were right. So I used to dutifully reply, asking them q...

Submitted by Dennis Lennie

Published 01 December 2009

SATIS in a day

Aware that several French distributors had pulled out of this year's SIEL & SATIS, I chunnelled to Paris on day two of the October 20-22 show with minimal expectations. The small size of the Guide de Visite (20 pages A5) added to my misgivings but the event itself proved respectably large, crowded and buzzing. Nearly 280 companies occupied stands i...

Submitted by Dennis Lennie

Published 01 December 2009

Lighting the X Factor

It’s Friday morning at a television studio in the shadow of Wembley Stadium’s iconic arch and already there are fans and paparazzi outside waiting to catch a glimpse of their favourite contestants and judges arriving for rehearsals. Now three weeks into the live final shows, nine contestants have reached ‘Rock Week’, once again singing for their li...

Submitted by Dennis Lennie

Published 01 December 2009

3D Post

The state of 3DRewind a couple of years and 3D was a hot topic but there was very little production and few companies able to offer suitable support for efficient 3D post production. Many people thought it would fade, as before. A few even hoped it would go away! Now many are supporting stereoscopic 3D. The most activity is in the DI (digital post...

Submitted by Dennis Lennie

Published 01 October 2009

Eye to Eye New post-production kit at IBC 2009

This alphabetical overview of new video and film post-production kit at IBC 2009 was going to start with Apple but the company pulled out of both NAB and IBC in 2008. I begin instead with Avid which has certified its Media Composer, NewsCutter, Symphony and DS software to run on the new HP Z series Workstations – the HP Z800 and HP Z400. Avid custo...

Submitted by Dennis Lennie

Published 01 October 2009

Converting for displays

Behind every great display there’s a great converter. Ever since television started to go digital in studios and post production, the number of digital formats has grown. For a while the television standards bodies got a grip and succeeded in pulling nearly everyone along the ‘SDI’ track; now itself expanded to HD-SDI and 3G-SDI – carrying a multit...

Submitted by Dennis Lennie

Published 01 September 2009