While cameras continue to be its forte’, Sony’s most recent virtual press conference made it abundantly clear that the company has gone to considerable lengths over the past few years to emerge as a comprehensive solutions provider that is no longer just helping customers make pretty pictures. Sharing those files, collaborative workflows and remote production are all part of the portfolio now.
It’s still early days for live Dolby Atmos broadcasting in the United States, but Glenn Stilwell, senior audio engineering and operations manager for the Pac-12 Networks, is ready for it. Indeed, not only has Stilwell been experimenting with creating Dolby Atmos mixes in preparation for its more widespread use in live broadcasting, but he is also helping to train A1s in the technical aspects of the immersive format.
LiveU Solo and a fully cloud-based online workflow used to cover over 900 NBL1 live games across Australia increasing nationwide exposure to the games and simplifying the production workflow.
Live TV production may not be the best fit for perfectionists who can’t recognize ‘good enough’ and move on. Live TV has no patience, no second chances and can never be late. Every live shot is a first impression.
Once the basic requirements for reproducing sound were in place, the most significant next step was to reproduce to some extent the spatial attributes of sound. Stereophony, using two channels, was the first successful system.
Malaysian talk show Talking Grace has migrated to cloud production with the help of TVU Networks, a California based provider of cloud and IP-based live video technology.
Cinematographer Sam Levy chose Cooke Anamorphic/i primes to accompany him on his journey in shooting Mayday, a new film from writer/director Karen Cinorre.
In the last article in this series, we looked at why integrated monitoring is a necessity in modern broadcast IP workflows. In this article, we dig deeper to understand what is new in IP monitoring and how this integrates with traditional workflows.
