We continue our series on Broadcast Audio Systems with a discussion about workflow with multi-award winner Robert Edwards. We look at general purpose workflows, and some considerations for different types of production across news, sports and chat shows. As the degree of complexity and stress ramps up as soon as a live audience is introduced, part two will look at more expansive light entertainment shows which have audiences, multiple presenters, bands and egos.
At IBC 2022, DFT is unveiling the next generation of film scanning, designed to flex and grow as user needs and technology changes over time.
At IBC 2022, Evertz is showcasing its DreamCatcher BRAVO Studio virtual production control suite that gives content creators all the tools they need to create more stories in the Cloud.
Calrec Audio has unveiled a brand-new audio mixing system designed to keep pace with the changes broadcasters are experiencing in their production workflows. Designed to adapt to changing production needs, Calrec’s Argo is a new approach to audio mixing, with a flexible control philosophy that breaks the traditional geographic tie lines between processing and control.
In conjunction with its subsidiary Quintech, Evertz will show the large-scale XQRF-512 routing platform that is available in a range of flexible configurations.
Developed in response to the growing trend of LED volume use in Virtual Production and the need for hardware optimization, Pixotope’s XR Edition includes a range of tools to simplify setup and operation by reducing the technical complexities and associated resource costs of XR workflows and environments.
Developed with Polygon Labs – which was acquired by disguise earlier this year – the solution is made up of the new Porta 2.0 cloud app and px hardware. Together, they enable broadcasters to seamlessly create, control, and collaborate on real-time graphics directly from a web browser.
Much of the attention enjoyed by virtual production currently goes to the spectacular stages with LED displays the size of half a dozen cinema screens. The material we put on those displays, though, can come from a number of places, and anyone putting together a virtual shoot will quickly encounter some subtleties that can make life easier – or, if mishandled, a lot harder.
