Gain control in digital audio is essentially a numerical model of the same process in the analog domain.
Video, audio and metadata monitoring in the IP domain requires different parameter checking than is typically available from the mainstream monitoring tools found in IT. The contents of the data payload are less predictable and packet distribution more tightly defined leading to the need to use specialist media stream centric monitoring tools.
A recent Lawo remote activities case study notes, “It should be obvious by now that remote operation has been seriously underrated. For some, it allows to save substantial amounts of money, while others will appreciate the time gained from not having to travel.”
In this article, George Kroon, research broadcast engineer, takes a look at how Negative ARQ protocols similar to those used for internet streaming and contribution can be improved specifically for broadcast television.
The year 2020 was a big milestone for the broadcast industry. All major events were cancelled, but media operations still needed to produce shows and events even during the crisis. More than ever, broadcasters turned to the remote production and IP production; in fact, according to Omdia, 37% of media enterprises are now set to embrace remote production on IP.
Many people and cultures celebrate special New Year dates. Organizations designate fiscal years. Broadcasters traditionally mark their new technology year mid-April, at annual NAB Shows. Old habits die hard.
There are many types of codecs, all used for specific purposes to reduce file sizes and make them easier to distribute down a limited bandwidth pipe. Lossy compression and Lossless compression are the two most common categories of data compression used to reduce the size of data without significant loss of information.
In part 2 of this investigation, we look at why Apple’s new M1 processor benefits broadcasters.
