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.
John B. Goodenough, M. Stanley Whittingham and Akira Yoshino were jointly awarded the Nobel Prize in Chemistry for their development of lightweight lithium-ion batteries, the Royal Swedish Academy of Sciences has announced.
Back in the mid 1970s, when I was starting out in the video business, television engineers told me the U-Matic tape format was not good enough for broadcast. Within a few years the 3/4-inch cassette transformed TV, creating the ENG revolution. Not much has changed since in attitudes.
The broadcast industry is mired in a state of resolution confusion. HD is the format du jour, 4K UHD is emerging quickly and proponents of 8K refuse to stay quiet. For a broadcast engineer, it’s enough to make your head spin.
In this fourth installment of the Immersive Audio series we investigate the production tools needed to produce live immersive content. Moving from channel-based output to object audio presents some interesting challenges as the complex audio image moves around in three-dimensional space.
