If UHD is going to become a mainstream broadcast medium, we’ll need to be able to monitor, edit and review it. But can we?
With ATSC 3.0 poised to change the broadcast industry’s basic signal, we need to understand this signal is poised between HD and true 4K.
The impact of IP on the design of broadcast equipment and infrastructures is profound. Many broadcasters are replacing existing analog, AES3, MADI and SDI ports with a new class of interface for connecting to standard IT switch infrastructure, together with new control mechanisms for connection management and device discovery. In the process, they’re embracing an emerging set of open standards for interoperable, vendor-neutral signal transport.
AlphaDogs is one of the west coast’s premiere post houses, but even they find the prospect of creating UHD projects challenging.
If you’re like me, looking through layers of buried menus on digital devices for the one thing you need to do is enough to drive you batty. Yet, virtually every digital device in our lives today — from smartphones to cameras to simple audio recorders — comes with layer upon layer of menus in no certain order or place.
John Watkinson puts on his snake-oil-proof clothing and looks at speaker cables. Finally, some clarity behind the myths and magic that surround technical aspects of speaker interconnections.
In the first installment of this article series, we investigated a solution to the post-production editing challenge offered by Avid. Now it is time to see how a prominent facility puts that technology to work.
The opening of the rebuilt and refurbished Television Centre in west London was one of the most anticipated broadcast installation events of 2017. Five years on from being closed after the site was sold by the BBC, a smaller studios complex is now in operation. The facility is equipped with a 4k IP video infrastructure, while the audio side features Studer mixing consoles and the first installation of the new Riedel DECT-based wireless intercom running on an AES67 network.
