Part 5 in our series from ‘Real World IP’, a one-day seminar event from The Broadcast Bridge held at BAFTA in London, Phil Myers, Senior Director – IP Systems, Lawo, discusses real-life applications for IP infrastructures including green-field sites, hybrid installations, and remote broadcast.
Part 4 in our series of videos from ‘Real World IP’, a one-day seminar event from The Broadcast Bridge held at BAFTA in London, Gerard Phillips, Systems Engineer at Arista Networks, discusses network topologies and ethernet switches.
Part 3 in our series of full length videos from ‘Real World IP’, a one-day seminar event from The Broadcast Bridge held at BAFTA in London, Daniel Boldt, Head of Software Development at Meinberg, uncovers the mysteries of PTP timing and discusses how it relates to broadcast television, the key components required, and how it forms the backbone of any ST2110 system.
Now that virtually anyone can afford a very high quality video camera, the democratization of video production is in full play. With that comes shortcuts adapted by newcomers that make the video quality dreadful, but become acceptable through frequent use. In a way, it is a dumbing down of video production.
Now that we have resolved the professional media over managed networks aka JT-NM aka SMPTE ST2110 + NMOS challenge – What about all the field production, i.e. News, UGC, etc. that is beginning to use the wild and unruly Open Internet to send it back to the home office? Sending files back has different options, there are more than a few cloud options and accelerator solutions plus VPN and extended network.
In a multi-disciplinary subject such as color space, it is hard to know where to start. John Watkinson argues that the starting point is less important than the destination.
In Part 1 of our series of full length videos from our one-day Real World IP seminar, hosted by The Broadcast Bridge and held at BAFTA in London, Tony Orme, Editor of The Broadcast Bridge, introduces the problem broadcast IP infrastructures solve, that is, to improve flexibility and scalability, resulting in reduced costs and improved workflows.
One of the classic examples of great motion picture photography is Orson Welles’s breathtaking tracking shot at the opening of his film, Touch of Evil. The camera, mounted on a Chapman crane, begins on a close-up of a ticking time bomb and ends a tense three-plus minutes later with a blinding explosion.
