PANELLISTS
❝ Apart from the surging demands from moviemakers for digital motion cameras to create the filmic look , broadcasters are also increasingly ‘ upping their game ’ to create more filmic looking content for their
drama and documentary production to impress their audiences .❞
10
April January-February 2012
2018
Digital technologies
ChyronHego hires Marco Lopez as CEO
Marco Lopez has joined ChyronHego , a portfolio company of Vector Capital , as its CEO . Lopez will replace Johan Apel , who will continue serving the company as executive chairman of the board with an emphasis on ChyronHego ’ s market leadership in sports solutions . Welcoming Lopez to the ChyronHego family , Apel commented : “ With this change in our executive team , Marco will apply his experience and leadership skills to grow our business among broadcast customers , while I will work with the team to continue expanding our worldwide presence in sports . I look forward to working with Marco , as we enter this exciting new growth phase .”
PCCW Global ’ s VR project wins at WCA
PCCW Global has won the Moving Pictures Award at the World Communication Awards 2017 in London , UK . The success of the award was attributed to the collaboration between PCCW Global and content partners at the 2017 Cathay Pacific / HSBC Hong Kong Sevens rugby tournament , where PCCW Global delivered a 360 ° virtual reality ( VR ) viewing experience to its viewers . In a statement , PCCW Global said the success of the project showcased the company ’ s ability to deliver live VR streaming experience to the 360 ° VR audience while demonstrating its ability to extend its traditional broadcast capabilities to include a live VR service to other events and broadcasters .
Next Month @ Creation
Subtitling and Closed Captioning Systems
PANELLISTS
Dr Ahmad Zaki Mohd Salleh
Group GM , Engineering Media Prima
Phan Tien Dung
CTO Vietnam Digital Television
Mike Whittaker
CTO Fox Networks Group art of storytelling
A picture is worth a thousand words .
Marrying this saying with the advancement of technologies , content producers today have even more tools at their dispense to enhance the art of storytelling , as Josephine Tan writes more .
I
n the late 1990s , director George Lucas took moviemaking into a new era with his decision to film Star Wars : Episode II — Attack of the Clones on digital 24p high-definition video cameras . Shot using the HDW-F900 , Sony ’ s first 24p digital camera , the movie shaped the future of digital cinematography as Locus showcased how digital acquisition is capable of empowering creative minds .
The success of the HDW-F900 ushered in the development of Sony ’ s CineAlta digital camera series . The range has since expanded to include the F23 , F35 , F65 , F55 / F5 , as well as Venice , a 6K full-frame digital motion camera .
Equipped with 24x36mm full-frame image capture ability , Venice is able to manage 6K recording in Sony ’ s 16-bit acquisition format , X-OCN , when paired with its AXS-R7 recorder . To enable filmmakers to create emotion in every frame , Venice is enhanced with image capture in key areas of dynamic range , colour rendition and large-format aspect ratio freedom .
Hiroyuki Takahama , assistant general manager , content creation solutions marketing , professional solutions company ( PSAP ), Sony Corporation of Hong Kong , tells APB : “ Apart from the surging demands from moviemakers for digital motion cameras to create the filmic look , broadcasters are also increasingly ‘ upping their game ’ to cre-
In Asia-Pacific , there is an escalating demand for bigger 4K / Ultra HD ( UHD ) and high dynamic range ( HDR ) TV sets , alongside 4K / UHD and HDR content productions .
❝ Apart from the surging demands from moviemakers for digital motion cameras to create the filmic look , broadcasters are also increasingly ‘ upping their game ’ to create more filmic looking content for their
drama and documentary production to impress their audiences .❞
— Hiroyuki Takahama , Assistant General Manager , Content Creation Solutions
Marketing , Professional Solutions Company ( PSAP ), Sony Corporation of Hong Kong ate more filmic looking content for their drama and documentary production to impress their audiences .
“ And with the multitude of formats available for acquisition , content producers are given the flexibility to achieve the best possible quality . Moreover , they enjoy the option to re-master in different resolutions and dynamic range , based on the maturity of the media industry and network infrastructure as well as viewers ’ preference .”
In Asia-Pacific , there is an escalating demand for bigger 4K / Ultra HD ( UHD ) and high dynamic range ( HDR ) TV sets , alongside 4K / UHD and HDR content productions , Takahama points out . “ The powerful appeal of HDR constantly drives Sony to enhance our offerings . For instance , we have developed solutions such as the 4K / UHD HDR workflow for our digital cinema cameras — F65 and F55 — that captures 16-bit linear RAW data with high-latitude HDR .”
For TV distribution , he reveals that Sony ’ s HDC-4300 and HDC-4800 cameras have been well received by media companies . Coupled with the SR Live for HDR workflow , the cameras can create both 4K / UHD HDR and HD
Venice is Sony ’ s new 6K digital motion camera , which is equipped with a 36x24mm full-frame image sensor , designed for the demands and performance of cinematography .
SDR pictures based on Sony ’ s S-Log3 or hybrid log gamma ( HLG ) format .
And in the area of sports broadcasting , technologies have been empowering broadcasters to deliver live action from the pitch to audiences across the globe . This year , some of the major sports events that will be taking place include the Winter Olympics in Pyeongchang , South Korea , the Commonwealth Games in Gold Coast , Australia , and the FIFA World Cup in Russia .
During the broadcast of these sports events , broadcasters are required to provide slow-motion playback so that viewers are able to catch the detailed movement of a particular action replayed in split seconds . In such circumstances , technologies like high frame rate ( HFR ) allow broadcasters to capture more of the action in frames , resulting in a “ smoother ” slow-motion replay during sports events , such as a goal scene of a football game , says Takahama .
Suggesting that HFR brings “ dynamic excitement ” of live sports to life in vivid details , he adds : “ Today ’ s TV sports fans demand better-looking pictures , revealing every instant of explosive on-pitch action with clarity , colour and contrast . The adoption of