Spatial audio has become mainstream in gaming because it takes the principles and technology of immersive audio effectively and places the player inside the on-screen action. This series of articles defines the current formats and technologies and asks the obvious question; with such widespread adoption by next generation consumers, what is its potential in broadcast?
Most people are aware that words like “gamma” and “gamut” are connected with the way a camera processes brightness and color, respectively. Some modern cameras might easily have half a dozen settings for each, and it’s not always obvious which is best for the circumstances at hand. To be clear up front, it’s not the purpose of this article to prescribe which settings to use in which situations. There’s an infinity of reasons to do various things, that sort of advice would date very quickly.
What once meant broadcasters sharing space inside a building now condenses the concept into a single chassis – with new challenges and opportunities.
We conclude this two-part article examining how IP is an enabling technology that facilitates the use of data centers and cloud technology to power media workflows.
Designing and building a production control room means different things to different people and is often accomplished in a myriad of ways.
With the advent of camera-to-Cloud recording, will in-camera recording media be relegated to the dust bin of history alongside the Jaz Drive and the Sony Memory Stick? It could soon well be the case, but for it to happen, The Broadcast Bridge’s Tony Orme cites the need for a major change in mindset among industry professionals, a group understandably hesitant to abandon the tried-and true practices that have long paid the bills.
Ashley Xu blew up on social media when she started making ‘thirst traps’ (adverts) in her college dorm. Check them out, you may be surprised by just how good they are. It did not take long for major brands to see it and commission her. It’s a fascinating example of how talent and technology are converging to change the future.
The global high dynamic range (HDR) market is expected to surpass $126 million by 2030, according to Allied Market Research. The projection shouldn’t come as a shock to media and entertainment (M&E) professionals who have been delivering HDR content for platforms like Netflix, Hulu, Disney+, and others for years. Meanwhile, HDR-capable displays have become standard in most production and post environments and across consumer displays. With these developments, HDR has emerged as the preferred production standard, and with just cause; HDR enhances imagery in ways resolution alone can’t while making for a more dynamic audience experience.
