Welcome to Part 1 of ‘Live Sports Production’ - This new multi-part series uses a round table style format to explore the technology of live sports production with some of the industry’s leading system designers. It is a fascinating insight into what is being done every day around the world.
Part 1 discusses whether remote, OB or new hybrid workflows are being used for different sports in the US and Europe. It explores the longevity of the composition of the gallery creative team. It also begins to explore what approaches are being taken to production infrastructure design with a discussion of compute processing resource.
The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
Advances in application motion tracking in audiovisual production, both live and recorded, have been slow until recently accelerated by the advent of modern AI techniques associated with neural network based deep learning and mathematical graph theory. These advances have converged from multiple application domains including robotics, medical imaging, sports science and video surveillance, as well as broadcasting.
HDR can make choices easier - or harder - at every stage of production but the biggest challenge may be just how subjective those choices are.
This new multi-part series uses a round table style format to explore the technology of live sports production with some of the industry’s leading system designers. It is a fascinating insight into what is being done every day around the world.
As we head into another new year it seems ok to indulge in some obvious speculation about what the future may bring. Here we consider the proposition that eventually, and probably not far into the future, broadcasters will have to deal with immersiveness. Why is this likely, and how should we approach it?
Eswatini Broadcasting and Information Services (EBIS) radio, the national broadcaster of the Kingdom of Eswatini, has embarked on a major technology upgrade with the installation of Lawo’s diamond Modular Broadcast Consoles.
Most microphones need a diaphragm in order to follow some aspect of the air motion that carries the sound.
