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Why wasn't it jarring in early Superbowl games?

by HeatrayEnjoyer 2y ago

lgeorget 2y ago
Fewer cameras, lower resolution, poor color rendering even with one camera anyway?
- devmor 2y ago
  And less color fidelity on receiving displays I would imagine!
davidbou 2y ago
They used around 150 cameras for the last Super Bowl. Most of them were Sony studio cameras, controlled with Sony remotes to ensure perfect alignment. But now, they’ve added a lot of specialty cameras: probably 4 or 8 pylons, each equipped with 2 to 4 cameras, plus drones, handheld mirrorless cameras, mini high-speed cameras, and a few other mini-cams for PoV (Point of View) shots. Last year, they even had a mini-cam inside the cars driving from the Bellagio to the stadium, controlled remotely over cellular. An Elixir process ran on a RIO in the car to manage the camera and connect to a cloud server, while the remote panel was linked to the same server to complete the connection. All three ran Elixir code, with the cloud server acting as a simple data relay. If you want the green of the grass on all the pylon cameras to match your main production cameras, adjustments are a must. And with outdoor stadiums, this is a constant task—lighting conditions change throughout the day, even when a cloud moves across the sky. When night falls, video engineers are working non-stop to keep everything perfectly aligned with the main cameras.
danielvf 2y ago
There was even more color correction happening then - cameras were worse and more analog! It just was not being controlled from offsite, instead there was a dedicated room and engineer in the broadcast truck doing camera configuration + color correction. The usual technique was to start by holding up a color card on the stage/floor then use a vectorscope[1] and get all the dots to line up in the right place. Then with a waveform monitor for exposure. During the event, there would be fine tuning by eye, or as things drifted out of line. [1] https://en.wikipedia.org/wiki/Vectorscope#/media/File:PAL_Vector.png https://en.wikipedia.org/wiki/Vectorscope#/media/File:PAL_Ve... PS: You can also see modern vectorscope / waveform monitor images in this photo from the cyanview blog. Look for the black and white X-ray looking things on the screens. https://www.cyanview.com/wp-content/uploads/2022/10/20221006-AMP-BPI-1.jpeg https://www.cyanview.com/wp-content/uploads/2022/10/20221006...

Why wasn't it jarring in early Superbowl games?

lgeorget 2y ago

Fewer cameras, lower resolution, poor color rendering even with one camera anyway?

devmor 2y ago
And less color fidelity on receiving displays I would imagine!

davidbou 2y ago

They used around 150 cameras for the last Super Bowl. Most of them were Sony studio cameras, controlled with Sony remotes to ensure perfect alignment. But now, they’ve added a lot of specialty cameras: probably 4 or 8 pylons, each equipped with 2 to 4 cameras, plus drones, handheld mirrorless cameras, mini high-speed cameras, and a few other mini-cams for PoV (Point of View) shots. Last year, they even had a mini-cam inside the cars driving from the Bellagio to the stadium, controlled remotely over cellular. An Elixir process ran on a RIO in the car to manage the camera and connect to a cloud server, while the remote panel was linked to the same server to complete the connection. All three ran Elixir code, with the cloud server acting as a simple data relay. If you want the green of the grass on all the pylon cameras to match your main production cameras, adjustments are a must. And with outdoor stadiums, this is a constant task—lighting conditions change throughout the day, even when a cloud moves across the sky. When night falls, video engineers are working non-stop to keep everything perfectly aligned with the main cameras.

danielvf 2y ago

There was even more color correction happening then - cameras were worse and more analog! It just was not being controlled from offsite, instead there was a dedicated room and engineer in the broadcast truck doing camera configuration + color correction. The usual technique was to start by holding up a color card on the stage/floor then use a vectorscope[1] and get all the dots to line up in the right place. Then with a waveform monitor for exposure. During the event, there would be fine tuning by eye, or as things drifted out of line. [1] https://en.wikipedia.org/wiki/Vectorscope#/media/File:PAL_Vector.png https://en.wikipedia.org/wiki/Vectorscope#/media/File:PAL_Ve... PS: You can also see modern vectorscope / waveform monitor images in this photo from the cyanview blog. Look for the black and white X-ray looking things on the screens. https://www.cyanview.com/wp-content/uploads/2022/10/20221006-AMP-BPI-1.jpeg https://www.cyanview.com/wp-content/uploads/2022/10/20221006...