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As the television business has become more global, and evolving consumer devices spawn the need for ever more formats, there has been an explosion of the number of versions that are needed for an item of content. The need to provide tens to hundreds of language versions provides added complications, with localized versions often being created at dispersed dubbing and captioning facilities. The Interoperable Media Format (IMF) has been developed as the solution to the sensible processing of motion pictures and episodic shows. In the linked e-book, Rohde & Schwarz explain IMF and introduce Clipster as a platform for IMF workflows.
As broadcasters accelerate IP migration we must move from a position of theory to that of practical application. Whether we’re building a greenfield site or transitioning through a hybrid solution, simply changing SDI components with analogous IP replacements will not achieve full COT’s goals and the benefits associated with it.
Today’s video production has gotten smaller, cheaper and faster paced. Crews with extensive resources are shrinking with more set-ups done each day. Yet, with the cumulative cost of location shoots, the pressure remains on crew members to get it right the first time.
Because we experience the world in three-dimensional sound, why shouldn’t we always choose a stereo over a mono microphone for a video camera? The question sounds like a no brainer, but stereo audio is not always the right choice in video production.
Moving from the luxury of dedicated point-to-point connectivity in favor of asynchronous, shared, and unpredictable IP networks may seem like we’re making life unnecessarily difficult for ourselves. However, there are compelling reasons to make the transition to IP. In this article, we look at the primary motivation for moving to IP and the benefits it provides for broadcasters.
The SMPTE (Society of Motion Picture and Television Engineers) has responded to demand for faster development of key standards aligned with emerging business processes by establishing its Technical Specification process.
Audio can be edited these days on virtually any personal computer. Professionals, however, need to understand storage drives in order to get the best results. Here’s what to look for when buying drives for audio editing.
Before we entered the world of file-based digital recording, planning storage needs for audio was simple. We’d simply buy enough audio tape to cover the recording time and then record the sound. In the world of analog, we knew a seven-inch tape reel at 7-1/2 ips lasted 33 minutes, while a 120 minute DAT tape lasted 120 minutes. Simple enough.
