We are creating and saving more data than ever, but we are no longer limited as to where we store that data. Centralized home servers, remote storage facilities, and, of course, “the cloud” in all its incarnations have changed the way we think about saving data, what we save, and for how long. Ultimately, these storage options also have changed how we use or consume that data. Creating and acquiring massive amounts of content has become easier than ever. A terabyte of data once was barely manageable, and now a single petabtye seems common.
What broadcast engineer, video or audio technician or camera person hasn’t wanted to work the Super Bowl? Being part of the broadcast team for the most high-profile event in U.S. television is considered by many to be a career-crowning achievement. For those who do work the Super Bowl, it may be just another weekend football game—albeit one with an intensity that is off the chart!
If video is a big part of your business, the risks can be great when self-hosting your media. Providing access to your media can be difficult enough in terms of the technology required to store and deliver your video via a searchable website. But more critically, how can you make sure that only your intended audience can access your media?
Intelsat and its partners demonstrate the readiness of 4K UHDTV technology for satellite delivery
The Super Bowl is as much about sound as it is the specular images generated by millions of dollars in video gear.
One of the prevailing technology narratives across the industry is the wholesale transition of processes from dedicated machinery housed on site and managed internally to remotely located servers which offer greater scalability and efficiency. Yet the answer is rarely as simple as transitioning an entire process to the cloud, and nowhere is more apparent than in transcoding/ repurposing. Here, select transcoding vendors share advice with operators on where to place their investment. Broadly speaking they come down on the side of hybrid solutions but there are nuances.
In a modern production workflow, online tools enable different people to participate from different locations. Media files and production information, often separately stored and managed at different locations, need to be exchanged. Due to a lack of standards, producers rely on Facebook or exchanging documents via email. As a result, individual media fragments are hard to retrieve, reuse of content is expensive, and the overall production cost explodes as the number of distribution possibilities increases.
The key to solving this problem is an electronic script. It enables concurrency and systematic interaction between the story editing, shooting and various post-production operations downstream. Proper interaction reduces production cycle times and the overall production cost, it minimises the time to market, and enables the production crew to focus on maximum quality.
Just as in stadia and in cinemas where audiences expect to be able to enjoy the same connectivity on their second screen as they enjoy at home, so the airline industry is waking up to the potential of in flight broadband. Airlines want to enable their passengers to have access to this connected environment within the aircraft, allowing them to interact with both social media, email and, increasingly, on-demand and even live TV at 35,000 feet. While domestic flights in the US have long had this advantage, given the size of the territory for content licencing deals and air to ground WiFi transmission, the market is now being opened up globally making Inflight Entertainment and Connectivity a market to watch.
