Need a live shot from inside an unmarked moving rental sedan during a thunderstorm? No problem.
Gamma is a topic that pervades almost all forms of image portrayal, including film, television and computers. Gamma has become a tradition, which means that its origins are not understood, and it is not questioned. Perhaps it is time that it was.
Program delivery to mobile devices and smart televisions has fueled the growth for internet delivery. But one of the challenges broadcasters and media content providers face is that the internet was never originally designed to stream large amounts of video and audio with virtually no dropout or latency.
There are two basic reasons to know the level of an audio signal. One of these is more technical and one of them is more subjective.
Playout automation has been enabling fewer people to control more channels for decades but we’re not quite at the point where human interaction can be eliminated altogether. Since most linear broadcasters will either move to a software-based deployment for their channels themselves or give them to a service provider that carries out that transformation for them, The Broadcast Bridge assesses the benefits and the challenges in so doing. Part II examines the crucial role of IP and the workflows and skillsets needed to operate such infrastructure.
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Glasgow in December is a place and a time with a particular look, and The Nest is a production which enthusiastically embraces that aesthetic. Broadcast in the UK beginning in March 2020, it was produced for the BBC by Studio Lambert as five one-hour episodes featuring a couple, played by Martin Compston and Sophie Rundle, trying to start a family via a surrogate, played by Mirren Mack in her first leading role. The final two episodes were photographed by director of photography Tim Palmer, BSC, whose credit history begins in the late 90s and includes a choice selection of British television, including Life on Mars, Silent Witness, Hustle, Being Human, Line of Duty, Critical and Doctor Who, and many more.
In 2017, at that year’s VidTrans conference a regional gathering of members of the Video Services Forum (VSF), a new protocol for delivering audio and video over lossy IP networks (including the public Internet), was born. It was an idea that many had been skeptical of, since the open Internet brought with it all kinds of quality, security, latency and reliability issues.
Monitoring has always been the engineers’ best friend as it turns apparent chaos into order and helps us understand what is going on deep inside a system to deliver high-quality pictures and sound. As OTT continues to play a more prominent role, the need to monitor internet distribution systems is becoming increasingly compelling.
