Network Interface Cards (NIC’s) are often seen as the bottleneck of data processing for ST2110 and ST2022-6. IT manufacturers have witnessed similar challenges with high speed trading and 5G networks but have been able to provide real-time solutions to overcome latency and blocking. In this article, we investigate IT’s achievements and how they are applicable to broadcast television.
Riding on the back of IT innovation allows broadcasters to benefit from virtualization. In this article, we investigate those benefits and learn how they apply to television. Especially as we learn of the new trailblazers waiting in the wings.
Networked modular audio stageboxes have been around for a while and were hailed as a convenient alternative to clunky snakes and the huge patch bays that came with them. Unlike analog stage- and wallboxes, which usually only transmit signals to fixed locations or else require intricate and time-consuming cabling, they simplify connections and provide flexibility with respect to the I/O types.
Ribbons were the first great microphones, mainly due to their very musical, natural sound qualities. Invented in the 1920s, their run of popularity lasted until the 1960s when ribbons fell out of favor. That was not because of the microphone itself, but due to changes in the way voices and music were recorded. Now ribbons are back in favor. How did that happen?
Live broadcast television was once considered to be unique as every bit of data had to be delivered to the viewers television set in real-time. However, as IT continues to leverage its influence on television, we discover the uniqueness of broadcasting isn’t as exclusive as we may have once thought.
As broadcasters accelerate IP migration we must move from a position of theory to that of practical application. Whether we’re building a greenfield site or transitioning through a hybrid solution, simply changing SDI components with analogous IP replacements will not achieve full COT’s goals and the benefits associated with it.
Today’s video production has gotten smaller, cheaper and faster paced. Crews with extensive resources are shrinking with more set-ups done each day. Yet, with the cumulative cost of location shoots, the pressure remains on crew members to get it right the first time.
Because we experience the world in three-dimensional sound, why shouldn’t we always choose a stereo over a mono microphone for a video camera? The question sounds like a no brainer, but stereo audio is not always the right choice in video production.