Workflows, equipment, and technology breakthroughs. Discover who is using 4K/8K and why. Understand the theory and practical significance of providing more pixels, higher frame rates, and bigger and better color space.
Part 3 in our series of full length videos from ‘Real World IP’, a one-day seminar event from The Broadcast Bridge held at BAFTA in London, Daniel Boldt, Head of Software Development at Meinberg, uncovers the mysteries of PTP timing and discusses how it relates to broadcast television, the key components required, and how it forms the backbone of any ST2110 system.
Now that virtually anyone can afford a very high quality video camera, the democratization of video production is in full play. With that comes shortcuts adapted by newcomers that make the video quality dreadful, but become acceptable through frequent use. In a way, it is a dumbing down of video production.
Now that we have resolved the professional media over managed networks aka JT-NM aka SMPTE ST2110 + NMOS challenge – What about all the field production, i.e. News, UGC, etc. that is beginning to use the wild and unruly Open Internet to send it back to the home office? Sending files back has different options, there are more than a few cloud options and accelerator solutions plus VPN and extended network.
Broadcasters are continuing to adopt and take advantage of IT working practices as they transition to file-based workflows. However, some seemingly effective solutions are outdated, have not kept pace with advances in computing power, and are unable to efficiently transfer large media files. FTP, for example, is tried and trusted but its 1970s design philosophy has proven inadequate for large media file transfer.
In Part 1 of our series of full length videos from our one-day Real World IP seminar, hosted by The Broadcast Bridge and held at BAFTA in London, Tony Orme, Editor of The Broadcast Bridge, introduces the problem broadcast IP infrastructures solve, that is, to improve flexibility and scalability, resulting in reduced costs and improved workflows.
One of the classic examples of great motion picture photography is Orson Welles’s breathtaking tracking shot at the opening of his film, Touch of Evil. The camera, mounted on a Chapman crane, begins on a close-up of a ticking time bomb and ends a tense three-plus minutes later with a blinding explosion.
Esports viewership worldwide is on a steep upward trajectory and will soon begin to challenge traditional sports broadcast audience figures. As the esports and traditional sports communities converge, what can traditional broadcasters learn from the remote production workflows being pioneered by one of esports’ major game developers? In part 2 of this two-part series, we look at distribution platforms and infrastructure.
The broadcast industry is mired in a state of resolution confusion. HD is the format du jour, 4K UHD is emerging quickly and proponents of 8K refuse to stay quiet. For a broadcast engineer, it’s enough to make your head spin.