What's Face Detection?

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Many of the newer video cameras are following the still-camera features by offering face recognition technology. But how exactly does this technology work? This issue's Basic Training has a primer on this new technology along with some food for thought on those times when it might hinder your work and how you can work around it.

Plus... You're hearing about it all over the news... the end of Analog Broadcast is coming, is it really as frightening as the Y2K scare? Our "Digits Over the Air" feature explains what the change means to TV viewers and, more importantly, how it can affect video producers.

Hot Video Tip: About Face!

By Kyle Cassidy

Many video cameras now seem to include face detection capabilities. But what exactly is face detection? Our primer explains how it works and how it might stump you, too.

The story of face recognition technology begins back in 2005, when Nikon released the Coolpix 5900, a mid-range point-and-shoot still camera with what it called a Face Priority mode. The camera would use built-in algorithms to examine a scene and identify human faces. It would then adjust contrast, color balance and exposure to "properly" expose the faces...Continue

Test Bench: Canon VIXIA HG21 HD Camcorder

By Tom Skowronski

Load Up Your Canon!
Canon's new VIXIA HG21 is a high-definition hard-disk-drive powerhouse, with 120GB of hard-drive space and a ton of exclusive Canon-only features. Prosumers rejoice: the HG21 is the perfect fit for family events, weddings and entry-level professional videography. At $1,300, the HG21 is a welcome addition to the HDD library...Continue

More New Product Reviews

• Adobe Premiere Elements 7 Video Editing Software
• iBUYPOWER Video Pro Editing Workstation

Feature: Digits Over the Air

By Charles Fulton

The transition to digital over-the-air TV is nearly complete. So what does that mean for videographers?

While most of our discussions of television are generally about either criticizing the medium as a whole or trying to get distribution for our own productions, the technical aspects of television distribution generally never enter into the equation. However, we are at an interesting technical crossroads as the digital television transition nears its conclusion (and as some stations have been on the air in digital longer than 10 years at this point). As such, the fork in the road for this discussion goes in two different directions: what it means for the TV viewer and what this means for videographers.

To the TV Viewer
While we've been noticing that the average digital TV channel has at least one subchannel (e.g., an auxiliary service provided in addition to the main channel), the irony is that, after the transition is complete, there will actually be less spectrum available for television channels. The 1948 bandplan for TV eliminated channel 1 and reserved channel 37 for radio astronomy, leaving a total of 81 channels available. The first channels hacked off were 70-83, which went away in the 1980s to make way for cellular phones, leaving 67 channels available. Now, elimination of channels 52-69 for public safety radio leaves a scant 49 channels available. And, to compound the bandwidth impact, a group of consulting engineers calling themselves the Broadcast Maximization Committee proposes reallocating all AM stations to channels 5 and 6.

This is not to say that there will be no analog signals at all after February 17, 2009. Class A, low-power and translator stations may remain analog after that magical date. It's only full-power stations that must be digital after that date. However, some Class A, low-power and translator stations have applied with the Federal Communications Commission (FCC) to "flash-cut," to go from transmitting their current analog signals to transmitting digital signals instead...Continue

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