Quince Imaging, provider of high-resolution holographic displays and visually stunning esports events, has deployed multiple MediorNet FusioN 6B edge devices and a VirtU 48-S IP core infrastructure platform for one of its latest high-profile esports projects.
When are you going to virtualize? A common question to vendors. Let us pull apart that question. What does it mean in a media industry context? How do you virtualize live production with today’s computers and software? In this paper, we will start by listing the advantages that virtualization brings and discuss how to benefit from these. Through a newsroom case study, we will summarize the tools available to us and state-of-the-art techniques in software development. What can we learn from other industries? Finally, we will put this all together and introduce a framework suitable for distributed, low-latency, high-quality live production.
ATEM 4 M/E Constellation 4K is a new Ultra HD model of the ATEM Constellation family with 40 x 12G-SDI standards converted inputs with support for standards up to Ultra HD 2160p60. Featuring the same powerful features as the ATEM 4 M/E Constellation HD, this new 4K model has 24 x 12G-SDI aux outputs, 16 upstream ATEM advanced chroma keyers, 4 downstream keyers, 4 Ultra HD media players, 2 SuperSource processors and more.
While commercial deployments of 5G networks are steadily increasing, many commentators predict that the rise of more immersive communication, holographic telepresence, and social experiences powered by Extended Reality (XR)… IE ‘the metaverse’, will create vast amounts of generated data and applications that will rapidly exceed the current and future capabilities of 5G networks… challenges that may be solved by 6G.
Riedel’s family of software-based products for multicamera production, integrated into its portfolio after the acquisition of Simplylive, consists of the Simplylive Production Suite, the RiMotion and RiCapture replay and ingest solutions, as well as Venue Gateways and Web Multiviewers.
In the Spring of 2019, Jean Vanbraekel, Head of Operations and Distribution for RTBF, was tasked with helping to move the French-speaking public broadcaster into the IP age and he was nervous. Not because he thought it couldn’t be done, but because the required production equipment was not fully tested (or didn’t exist at all). Most devices, like production switchers and replay servers, were available only in SDI at that time.
Shock waves are interesting phenomena that take place in a number of different media. For an arcane physical process, they have done quite well to be adopted by the mainstream media as one of their clichés, along with Mae West life jackets and aircraft black boxes (which are orange).
Whether using cloud services in isolation or as part of a hybrid model, new working practices that may not be immediately obvious to broadcasters must be adopted from the very beginning of the design.
