FOR-A Corporation of America says it has a suite of new products for deploying 12G-SDI 4K live production, including its HVS-1200 video switcher, MFR-1000 routing switcher, and the FA-9600 multi-purpose signal processor which provides optimal colour correction on large displays.
The Need For Sync - In any audio environment where multiple pieces of equipment are being used together, it is imperative that they are synchronized. If they do not run in time with each other it will be difficult - if not impossible - to produce a coherent end result where everything fits where it is supposed to.
The last twenty years has seen a lot of film and TV hardware turn into software that runs on workstations and servers. With Apple’s move away from Intel, though, and several other recent attempts to popularize alternative designs, anyone looking at new equipment finds a field in flux.
Extending its global leadership in IP-enabled hardware and software solutions, Riedel Communications has expanded the company’s new R&D hub in Vienna and ramped up its capacity to drive technical innovation and accelerate Riedel customers’ path toward the IP future.
The Blackmagic URSA Broadcast G2 features dual gain ISO up to +36dB, H. 265 and Blackmagic RAW file formats.
As broadcast facilities and other organizations that use media to educate and inform continue to carefully make the move to video over IP, they currently face two main options, with a range of others in the wings. They may opt for a full SMPTE ST 2110 design that leverages uncompressed pristine quality video for higher profile productions or lightly compressed NDI networking, which brings with it less costs and easy access to an expanding ecosystem of compliant products and systems.
The company’s latest Integrated Production Solution, MX Hybrid supports a mix of SDI, HDMI and IP Video sources.
“You need to be very predictable with the broadcast at all times. When I started doing this you had to be really careful with 5.1; there was no standardization,” he says. Indeed, for a long time, as broadcasters began to switch to HDTV across the U.S., it was not unusual for audio channels to be mixed up during transmission, or for audio processors to be incorrectly set or configured.
