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This year’s Super Bowl LIII telecast on CBS will be produced and broadcast into millions of living rooms by employing the usual plethora of traditional live production equipment, along with a few wiz bang additions like 4K UHD and an 8K camera for replays, and specially equipped wireless handheld cameras supporting augmented reality graphics and motion tracking on the field. The network said that 115 cameras would be used, 86 for the main broadcast alone, giving viewers an unprecedented television viewing experience.
“More video content is viewed today than ever before, but with more devices, more choice, more platforms and a fragmented viewing market, how does a content owner use MAM and IMF to improve their business?”
The cost of top-quality audio recording gear is falling fast, making professional recording accessible in just about any kind of space. But the one remaining factor in “out of studio” recording is room acoustics. The sound in a space can make a major difference in the quality of your audio.
When mixing any audio program, it is no doubt that a good set of studio monitors in a well-treated acoustic space is the best way to go. But there are times, like at live concerts or sporting events, when the mix has to be done on headphones. Here are some tips of how to overcome issues with headphones on a live mix.
We are living in the new era of makeshift audio studios. Fewer and fewer major commercial studios exist today and the ones that do are expensive. Most professional and non-professional audio production is now being done in small scale studios in rooms originally built for other purposes.
At CES 2019 it was announced that several leading display technology manufacturers have formed a new coalition to help promote 8K products to consumers and other commercial industries. The so-called 8K Association (8KA) will work on developing the entire value chain for 8K, with an initial focus on supporting the early commercialization and adoption of 8K displays.
Traditionally, most video content teams operated within a well-defined and narrow scope. Also, the tools, data and processes used were siloed within their organizations. But such a solution is no longer sufficient to manage today’s multichannel distribution workflows.
All your chosen hardware is in place and working well. You are hard at work mixing your audio project. But the end result is disappointing. It just doesn’t sound that good. What’s wrong? It may have nothing to do with your gear.
