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 However, some seemingly effective solutions are outdated, have not kept pace with advances in computing power, and are unable to efficiently transfer large media files.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.
A case brewing in the USA between Comcast’s video advert division FreeWheel and Google could have major ramifications for the future of video advertising as it converges with online.
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.
Both live streaming and video quality measurement were dominant themes at IBC 2018 and in 2019 these two themes converged with various announcements and demonstrations.
Security is becoming increasingly important for broadcasters looking to transition to IP infrastructures. But creating improved software, firewalls and secure networks is only half the story as cybercriminals look to find new and imaginative methods of compromising data.
Serendipity — the unplanned random discovery of things of interest — is disappearing in the age of the internet. As the novelty of web surfing wears off, old human habits return. Today, most of us are spending more time on fewer and fewer web sites though greater variety exists.
In this series of three articles, we investigate the underlying aspects of computer server design for high value security and 24-hour operation. In the first article we look at advanced server security, in the second article we understand how servers are controlled, and in the third article we gain a deeper understanding of virtualization and the benefits for secure operation.
In the late 1980s, after co-producing a six hour audio retrospective of the best radio work of Orson Welles and the Mercury Theatre, I agreed to allow it to be played in its entirety over a major Los Angeles radio station. Yes, it was free to anyone who wanted to listen.