Much of the attention enjoyed by virtual production currently goes to the spectacular stages with LED displays the size of half a dozen cinema screens. The material we put on those displays, though, can come from a number of places, and anyone putting together a virtual shoot will quickly encounter some subtleties that can make life easier – or, if mishandled, a lot harder.
In the last article in this series, we looked at SDP files and the importance they play in identifying source and destination devices. In this article, we look at why we combine layer-2 switching and layer-3 routing, and why broadcasters are moving towards Software Defined Networking (SDN).
While cloud services and remote production have dominated many conversations at recent trade shows, cameras and image processing remain a key part of any workflow. At the upcoming IBC Show, many companies will show new technology for capturing an image at its highest resolution and then converting it into a useable format for the variety of distribution platforms that broadcasters and content distribution organizations must support.
Streamlining IP based production, virtualization of audio production technology and enabling immersive experiences for mainstream viewers are key themes at IBC 2022.
Virtual production in today’s physical world means creating in-camera stunning backdrops and immersive environments for live action talent to interact with for feature film and television projects. Volumetric video capture (VVC), as it’s called, refers to creating 3D CG from images taken by multiple cameras, and using this data to produce video that looks like it has been shot at a real location. Dedicated studios that cater to this market are popping up around the world as production companies see the value and efficiencies it brings.
IP is incredibly versatile. It’s data payload agnostic and multiple transport streams have the capability to transport it over many different types of networks. However, this versatility provides many challenges, especially when sending video and audio over networks.
We continue our series on things to consider when designing broadcast audio systems with the beating heart of all things audio – the mixing console.
Remote Integration Model (REMI) production is more than remote cameras. It’s a new way of thinking and working. This tale of trying to implement a REMI production model within tight financial constraints highlights some of the operational challenges involved.
