TV engineers are always busy behind the scenes, monitoring and maintaining technical quality to make the station and those in front of the cameras sound and look their best, and thinking of ways to make it better.
If there’s one thing the production community has learned during the pandemic, it’s that ensuring the safety of the crew on site or in the studio should always be first and foremost in people’s minds. The second takeaway is that sending less people on site and implementing more remote support is the new normal that the industry is, somewhat begrudgingly, coming to terms with.
Over the past year, as broadcasters and production companies have expended great effort to reconfigure their workflows and develop new ways of working amid strict safety protocols, so too have the manufacturers of the technology and systems they rely on.
SDI has been and continues to be a mature and stable standard for the distribution of video, audio and metadata in broadcast facilities. From its inception in 1989 to the modern quad-link 12G-SDI available today, it has stood the test of time and even with the advent of IP and Ethernet, it shows no sign of waning.
Digital TV broadcasting technologies continue evolving, but the industry’s goals can become a moving target when demands unexpectedly change.
A full-service, end-to-end post-production house based in London, ENVY Post Production supplies a variety of high-quality services to a growing stable of high-profile customers around the world.
This is the second instalment of our extended article exploring the use of Microservices.
It should constantly be borne in mind that although digital audio is a form of data, those data represent an audio waveform and there are therefore some constraints on what can and cannot be done to the data without causing audible impairment.
