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
10
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
April 2012
January-February
2018
Digital technologies
art of storytelling
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.
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 fu-
ture 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
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