The power and flexibility of cloud computing is being felt by broadcasters throughout the world. Scaling delivers incredible resource and the levels of resilience available from international public cloud vendors is truly eye watering. It’s difficult to see how any broadcaster would run out of computing power or storage, even with 4K and 8K infrastructures.
Video, audio and metadata monitoring in the IP domain requires different parameter checking than is typically available from the mainstream monitoring tools found in IT. The contents of the data payload are less predictable and packet distribution more tightly defined leading to the need to use specialist media stream centric monitoring tools.
Television is still a niche industry, but nonetheless, one of the most powerful story telling mediums in existence. Whether reporting news events, delivering educational seminars, or product reviews, television still outperforms all other mediums in terms of its ability to communicate to mass audiences.
Having a collection of PCs and MACs stacked under a desk to facilitate the multitude of operational requirements not only proves difficult to operate but challenges our modern ideas around security and makes maintenance almost impossible.
The complexity of modern OTT and VOD distribution has increased massively in recent years. The adoption of internet streaming gives viewers unparalleled freedom to consume their favorite live and pre-recorded media when they want, where they want, and how they want. But these opportunities have also presented content owners with unfortunate challenges, typically piracy and overcoming illegal content copying.
OTT delivery continues to expand to meet the relentless growing consumer demand. This trend shows no chance of abating and technologists are continually looking to innovation to scale infrastructures accordingly. But what does it mean to scale OTT? Where is the infrastructure? And who owns it?
As broadcasters continue to differentiate themselves through live programing and events, intercom is gaining more influence now than ever. This is especially true for large arena events where mobile crews demand the freedom of wireless connectivity. But as RF technology grows, the 2.4GHz band is becoming saturated.
In this fourth installment of the Immersive Audio series we investigate the production tools needed to produce live immersive content. Moving from channel-based output to object audio presents some interesting challenges as the complex audio image moves around in three-dimensional space.