Broadcasters now find themselves on one side of a digital gap. On one side we have SDI, the other side IP. Engineers want to reach the far shore, but do so without sacrificing their investment in current SDI solutions. This article reviews some of the key concerns engineers may face when migrating from SDI to IP.
In today’s fast-pace media world, content often needs to be edited where the content is being produced. A workflow has been developed by Avid that supports an off-site, high-end post production workflow. All the editor needs is an adequate internet connection.
Some engineers may be confused about key differences between a Precision Time Protocol (PTP) l transparent clock and a PTP boundary clock. This article will help clear up any confusion and suggest which of the two may be more suited to an IP broadcast center.
The recent announcement by French media technology firm Technicolor that it is seeking a buyer for most of its patent business is not only a major strategic U-turn for the company itself but also a signal of the changing times for video technology, especially codecs.
Storing assets is pointless if the correct procedures are not in place to manage where these assets are, keep them secure and ensure they are discoverable. In short, those who implement the bare minimum in plain storage risk missing out on the business benefits of object storage entirely.
The news of the potential vulnerability of processors to attack is just the latest discovery in a long line of vulnerabilities of networked computer systems. It is a salutary reminder of the game of whack-a-mole that systems administrators have to play in order to protect computer networks. Coming at a time when broadcasters are embracing software applications running on commercial-off-the-shelf systems (COTS) and outsourcing to cloud service providers, it reinforces the need for continuing vigilance to ensure business continuity and to avoid the theft of media files.
Because of the the holiday season, a lot of young people now have new video gear and may be anxious to try out their video production skills. The good news is today’s technology can provide great images at a lower cost than ever. An important, less technical, skill is for the director to bring organizational skill to the shoot.
The race to ever higher pixel counts never seems to end. One result is that consumers now believe that the path to higher quality images is through more pixels. Yet, other technologies like HDR, WCG and HFR can enhance every TV pixel by adding clarity, depth, and realism without requiring more bandwidth or expensive new production and broadcast workflows. The path forward depends choices made by television set makers as well as broadcasters.
