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There are two basic reasons to know the level of an audio signal. One of these is more technical and one of them is more subjective.
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Glasgow in December is a place and a time with a particular look, and The Nest is a production which enthusiastically embraces that aesthetic. Broadcast in the UK beginning in March 2020, it was produced for the BBC by Studio Lambert as five one-hour episodes featuring a couple, played by Martin Compston and Sophie Rundle, trying to start a family via a surrogate, played by Mirren Mack in her first leading role. The final two episodes were photographed by director of photography Tim Palmer, BSC, whose credit history begins in the late 90s and includes a choice selection of British television, including Life on Mars, Silent Witness, Hustle, Being Human, Line of Duty, Critical and Doctor Who, and many more.
The current social and medical situation with lockdowns and distancing is unleashing new ideas at local TV stations. Some will become the new normal.
OTT delivery continues to expand to meet the relentless growing consumer demand. This trend shows no chance of abating and technologists are continually looking to innovation to scale infrastructures accordingly. In this sponsors perspective, Ryan Nicometo, SVP of Product for Vecima, presents the OTT Scale – Maturity Quadrant to help decision makers clearly see the potential technical challenges and opportunities to meet the demands of OTT delivery.
It’s one thing to be confronted by a big pile of technology and to be confused by it. It’s another to know something about that technology and conclude that things could be a lot simpler than they are. That’s the reaction a lot of people have to color and brightness handling in modern cameras which offer more than enough options to make things confusing. Clearly, we need standardization, but with each camera manufacturer keen to promote the benefits of its proprietary approach, it seems pretty unlikely that we’ll one day find that every camera is outputting signals and files that can be treated identically.
It’s all very well reading all this theory about colorimetry, but what can be done in practice? First of all, it is necessary to consider that imaging, be it still or moving, is a creative process that relies totally on technology. Wherever that happens, there are always two different ways of thinking about choices: objective and subjective.
Whether we’re routing signals or remotely operating equipment, the need for reliable system control is one of the most important aspects of a broadcast facility. But as we migrate to IP, some of the working practices we took for granted with SDI operation don’t necessarily transfer and this is most evident in signal routing.
For many years broadcasters have been working with static systems that are difficult to change and upgrade. Although we have video and audio routing, the often-tangled mess of jackfield patch-cords is testament to how flexible broadcast systems really need to be to meet the demands of modern program making.
