The Society of Motion Picture and Television Engineers (SMPTE), the organization whose standards work has supported more than a century of technological advances in entertainment technology, has published standards for binding Ad-IDs to commercials and Entertainment ID Registry (EIDR) codes to programming content. The standards specify use of Kantar Media’s audio watermarking technology, an open solution available for licensing and paves way for streamlined cross-platform measurement by enabling faster and more accurate tracking and audience measurement of content and ads across media
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For the first time in the history of live television we can now abstract away the video, audio, and metadata streams from the underlying hardware. This innovation presents unprecedented opportunities empowering broadcasters to deliver flexibility, scalability, and highly efficient workflows.
This Essential Guide, “A Brief History of IP,” is far more than a look back at internet protocol (IP) technology. Rather, author and technology consultant, Tony Orme has created a reference guide filled with the precise kind of information about IP systems media engineers wished they had, but mostly do not.
In this series of articles, we explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we investigate analogue audio and its importance in television.
More so than many other technology trends, artificial intelligence (AI) has quickly become one of the main buzzwords in broadcast and media production. As a result, marketeers in every area of the industry are now presenting products that integrate AI to deliver better production workflows. Increasingly though, the definition of AI has become somewhat cloudy – many automation-centric tools are being mis-labeled as intelligent. With automation being such a key technology within media and content production, many vendors are now mixing definitions of the two to better market applications while AI is such a talking point. So, before we start labeling everything AI-enabled, let’s first look into defining exactly what artificial intelligence is.
When making a checklist of essential equipment for a recording studio, most prospective buyers cite only the gear that handles the audio. In many cases, little attention is paid up-front to non-audio staples that are needed by every studio. These “comfort” items tend to send many budgets over the top.
ATSC 3.0 is slowly rolling out in the form of actual on-air tests at multiple sites. This type of launch provides engineers the perfect opportunity to use the time to better understand this complex technology before equipment purchase decisions must be made. This primer peels back the multiple layers of ATSC 3.0 and explains what each does and how they all work together to create a high-quality, multiple-format and new business model signal.
In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we look at camera lenses, why, and how we use them.
