Covering a lot of ground from the humble cathode-ray tube to the latest 8k displays, Lodge explained what it takes to make a production truly immersive – so the scene feels as real as if viewers were seeing it with their own eyes.
The viewers’ vision is filled with what’s playing out before them; cuts, mixes and zooms don’t make sense in this environment. The production needs to find other ways to lead them from one scene to the next.
"Ensure you are wearing comfortable shoes" read the last line of the email sent to me from the RTS regarding what I’d need for my first ever IBC experience. With that - I slipped on my new smart shoes I’d bought from Topman the day before to try and ‘look the part’ before setting sail for Heathrow’s Terminal Five. It was just a few short hours later that the service 4 tram pulled in to Station RAI and I got my first look at the venue. “Ah,” I thought to myself as that last line re-read itself in my mind, “really wish I’d had a chance to bed these in”.
The NAB trade show, held every April in Las Vegas, used to bill itself as the place to see kit manufacturers parade their newest wares to broadcasters and producers. Headline-grabbing black boxes that perform cool, new tricks are, however, increasingly rare.
Today's production and post-production tools tend, instead, to be software. They are, therefore, open to incremental and regular upgrades, and not tied to the cycle of trade shows.
Even the hardware is designed to evolve with tweaks to the central chip set, rather than a wholesale redesign.
