Broadcast and remote production over cellular are coming of age in the 5G era as was evident at the recent IBC 2022 in Amsterdam. Remote production is being extended in the field by highly portable “5G in a box” systems, while for broadcast there is an active debate between two alternative architectures, one enhancing the existing mobile infrastructure and the other imposing an overlay via the HPHT (High Power High Tower) model.
Broadcasting is totally dependent on waves which crop up in a surprising number of places. Sound waves and light waves form the message, which is delivered by further types of wave.
At this year’s IBC Show in Amsterdam, finally in-person after two years, remote production solutions were scattered throughout the exhibition floors, to no real surprise. Reduced costs, travel and shipping expenses, scalable infrastructure and efficient use of resources were all cited as advantages, while a few reasons for migrating carefully were also discussed.
Training neural networks is one of the most import aspects of ML, but what exactly do we mean by this?
The techniques of 35mm film are seductively simple. The process is the same no matter what the camera in use, or how the film will be cut. Conversely, every digital camera might have its own ways of approaching different parts of the process, creating a forest of terminology – gamma, gamut, subsampling – that’s easily mistaken. Let’s follow a picture from the sensor to the recorded file and figure out exactly what all this means.
The more digital TV technology advances, the more the fundamental elements of TV remain the same.
As the wider broadcast industry picks up the pace with virtualized, cloud-native production systems we take a look at what audio vendors currently have available and what may be on the horizon.
FOR-A was founded in Tokyo in October 1971, to develop video processing devices. The name FOR-A is a deliberate echo of the Japanese expression Han’ei, which can be roughly translated as “prosperity with partners/customers”.
