Among a number of things, the pandemic has accelerated product development timelines for remote production and the migration to virtualized IP infrastructures, supporting the ability to produce content remotely and stay socially distanced. Many of these new tools were already in place but were often still in early stages, and some were cobbled together nearly on the fly as broadcasters coped with the careful return of live sports.
Big-screen LCD TVs are not going away any time soon. Given the economy of scale, the LCDs in our homes and studios work well enough and will continue to work well enough for several more years. But given the advances in LED display technology, especially microLED, the writing of sub-micron size pixels is literally on the wall.
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“‘Chris,’ she said, ‘it’s about an order of nuns who’re protecting the world.’”
Now the CRT is history, we have to justify the retention of gamma on its performance as a perceptual compression codec. That requires its effect on human vision to be considered.
Rohde and Schwarz has evolved a heritage in the broadcast and media industry stretching over 70 years. Throughout this period, the company has developed a reputation as one of the leading developers of hardware-based technology solutions worldwide. However, recent years have seen Rohde & Schwarz placing far more emphasis on its software development skills.
Will alternative immersive channels create an imperative for broadcasters? Veronique Larcher, Director of AMBEO Immersive Audio, Sennheiser, explores immersive content outside of the commercial broadcast space, including virtual, augmented, and mixed realities.
Digital audio relies completely on sampling and no treatment of the subject can be complete without looking at how it works.
Director of photography John Christian Rosenlund has at least a three-decade history with director Bent Hamer. Their most recent collaboration, The Middle Man, depicts a town in the northern United States during a post-industrial depression. It’s perhaps not a subject instinctively associated with Rosenlund and Hamer’s Norwegian roots, though when we learn that the production is based on a book by Norwegian author Lars Saabye Christensen, the link becomes clear.
