We live in fascinating times: increasingly, we live in the era of cloud-based broadcast operations.
Building optimized systems that scale to meet peak demand delivers broadcast facilities that are orders of magnitude more efficient than their static predecessors. In part 2 of this series, we investigate how this can be achieved.
For many years broadcasters have been working with static systems that are difficult to change and upgrade. This two part series explores the unfolding of a more elastic future based on COTS hardware and flexible licensing.
In the beginning, there was television. And whenever people tried to make television programmes effective video signal monitoring was an essential pre-requisite.
Television production these days is tricky enough without adding virtual elements like augmented reality (AR) graphics, but that’s exactly what Taipei-based production company Getop did for the live telecast of the 2020 Golden Melody Awards (GMA). The highly rated annual televised awards ceremony - considered the “Asian Grammys” by many - celebrates top musical talent from across southeast Asia.
With the emergence of the cloud into the media production and delivery space, the broadcast and media industry must embrace an entirely new approach to acquiring and deploying technology. Large capital expenditures (CapEx) are increasingly being replaced by operating expense (OpEx) budgets that are more flexible and aligned with the operational requirements of broadcast facilities.
Need a live shot from inside an unmarked moving rental sedan during a thunderstorm? No problem.
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 However, some seemingly effective solutions are outdated, have not kept pace with advances in computing power, and are unable to efficiently transfer large media files.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.