It’s a great pity that in order to enjoy the benefits of digital imaging, we must use pixels that may only be one of a comparatively small selection of colours, as opposed to the effectively infinite subtlety of nature. Phil Rhodes spreads light and understanding about quantization and noise.
We're replaying some of the best articles from 2012 in case you missed them the first time round. Today: What does "broadcast quality" mean these days by Phil Rhodes
The big camera announcements this year have been for large (in terms of capability), top-end cinema-type devices. That's all very exciting. But it does actually take time for cameras to be evaluated, bought, and then used in a production. That's why we're only just starting to see major feature films being made with Sony's natively 4K F65 (After Earth, with Will Smith, for example)
In many ways IBC2013 was a quiet show. Yes it boasted record visitor numbers, but few things happened out in Amsterdam that hadn’t been predicted beforehand: namely HEVC-powered 4K is on the horizon, the second screen is increasingly important to broadcasters’ plans, and higher frame-rate imaging is moving closer and closer to mainstream acceptance. Andy Stout looks back on five days in Amsterdam
The conventional view is that cameras that allow you to work with multiple lenses are always better. Barry Braverman disagrees.
So, we've seen the announcement from Sony of two new 4K cameras, new codecs, new recording media and a new 30" 4K LCD monitor. Just how significant is this, and is this the 4K Tipping Point, at least for production, if not all the way to the home?
This is a camera that's small enough to always have with you, but don't be deceived by the size: it's a very good imager, as Barry Braverman finds out
There seems to be no limit to the minutiae that can be displayed in a camera’s viewfinder. Focal distance, zoom percentage, date and time, battery condition, shutter, and umpteen other things, all contribute to the clutter; indeed, there is no shortage of miscellany that can obscure the viewing image and the edges of the frame