Version three of our short film experiment with RED and LaCie. This short action sequence was shot between 21:00 and 23:30 on 19th June 2021 using the RED DSMC2 MONSTRO 8K.
Version two of our short film experiment with RED and LaCie. This short action sequence was shot between 18:30 and 21:00 on 19th June 2021 using the RED DSMC2 MONSTRO 8K.
Version One of our short film experiment with RED and LaCie. This short action sequence was shot between 15:30 and 18:00 on 19th June 2021 using the RED KOMODO 6K.
When we talk about location production, our thoughts and processes are primarily driven by sport. This has always been the genre which has seen the most innovation: more cameras delivering more angles; more replays; more graphics; new formats like 4K and HDR UHD. Sports fans want to be continually engaged and informed: they want to understand the plays as well as appreciate them.
intoPIX new low-latency solutions reduce the need for high-bandwidth connections & eliminate the need for on-site hardware and people
IP networking has revolutionized media contribution and distribution along with the SMPTE ST2022 and ST2110 standards which lie at the core of new live workflows, dematerialized facilities and cloud-based operation.
VAR match officials can now work remotely from any location, with no latency thanks to JPEG XS !
Spurred on by the COVID-19 pandemic, intoPIX with all its customers and partners have devoted time and energy to develop and deploy a remote video access and cloud-based solution with zero latency and very high image quality.
Imagine a sponge or rather thousands of sponges to be transported over several kilometers. It would require several trucks to store and transport them all!
Let’s take all those sponges and squeeze them. If you look closely at the sponge, you will see that it has lots of holes in it, filled with air. When you squeeze it, you remove the air which is useless and the entire sponge takes up less space.
Over the last 20 years, the number of shared images and videos has considerably increased. In terms of resolution, we have moved from SD, HD to 4K – even 8K – and this is not about to stop. Higher frame rates, higher resolutions, more precision and higher dynamic range (HDR) imply a considerable increase in the amount of data to be transported on our networks. Bandwidth and storage are getting cheaper but this does not compensate the drastic increase of data to be transported or stored. Compression is therefore more than ever a fundamental step in distributing your video over the internet.
Every color pixel in a digital image is created through some combination of the three primary colors: red, green, and blue. Each primary color is often referred to as a “color channel” or “color component”, and has a range of intensity values specified by its bit depth. The bit depth for each primary color is termed the “number of bits per channel”, typically ranging from 8 to 16bits. The “bits per pixel” (bpp) refers to the sum of the “number of bits per color channel” i.e. the total number of bits required to code the color information of the pixel.
An uncompressed RGB image with a bit depth of 8 bits per color will have 24 bpp or 24 bits per pixels (8 bits for the Red, 8 bits for the Green, 8 bits for the Blue)