The MediaKind Universe represents our portfolio of solutions and services, designed to offer the best of media technology to cater to the needs of our customers’ workflows. Content owners, broadcasters, service and pure OTT providers will discover how our solutions can enable them to engage the consumer. Our broad portfolio of market-leading and award-winning offerings continues to evolve and adapt to shifts in the media landscape.
The Reed Solomon codes are defined by what the decoder expects to see and the encoder has to be configured to suit that.
Felix Krückels is a certified audio engineer who graduated from the Detmold University of Music and has been involved in immersive audio since 2012. He was there when NHK launched its Super Hi-Vision project with the help of Lawo.
There are a number of reasons why people like old lenses, and they’re all very valid. Cameras and lenses so good they’re invisible are a recent development. Most of the best films ever made, by default, predate today’s spotless pictures, and artists have always been a rebellious bunch in any case. This, though, is an article about why it’s not always a good idea to rebel, at least without knowing exactly what we’re getting ourselves into.
Thanks to Over-the-Top (OTT) streaming video, content owners and broadcasters have a very different relationship with the end consumer – often a direct one.
More broadcasters are seeing the benefits of moving their operations to the cloud, especially as we are becoming more reliant on remote working. But the transition isn’t necessarily a linear move and hybrid working practices help us balance the unique requirements of large media files and the flexibility cloud systems offer.
The latest MPEG codec H.266 has been unveiled by Germany’s Fraunhofer Heinrich Hertz Institute with claims it will at least double the compression efficiency of its predecessor H.265, also known as HEVC.
IP and COTS infrastructure designs are giving us the opportunity to think about broadcast systems in an entirely different manner. Although broadcast engineers have been designing studio facilities to be flexible from the earliest days of television, the addition of IP and COTS takes this to a new level allowing us to continually reallocate infrastructure components to make the best use of expensive resource.
