In the last article in this series, we looked at why integrated monitoring is a necessity in modern broadcast IP workflows. In this article, we dig deeper to understand what is new in IP monitoring and how this integrates with traditional workflows.
A few years ago, a prominent manufacturer of studio support equipment did something unusual: it went to NAB with an experienced broadcast camera operator to discuss a part of live production that’s invisible when done well. Following a driven golf ball is one of the trickiest tasks in any branch of film and TV, demanding not only skill but equipment which allows people to exhibit that skill.
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 is less predictable and packet distribution more tightly defined leading to the need to use specialist media stream centric monitoring tools.
Doug Deems had 25 years of experience under his belt as a monitor engineer, touring the world with some of the biggest music artists in the U.S., when he became a live broadcast sports A1. “I’m surprised there aren’t more monitor engineers, specifically, that come over to broadcast sports,” he says. “Because there is a lot in common.”
Will AI and ML make TV engineers obsolete? Or will it give engineers more time to focus on crucial live production details and new revenue opportunities?
As artificial intelligence (AI) continues to invade the video production space, and more specifically the unmanned robotic camera studio, the addition of automated shot correction/facial tracking and recognition software technology is helping to computerize tasks previously performed by a human operator in the control room and making life easier for everyone involved.
In the previous article in this two-part series we looked at how cloud systems are empowering storytellers to convey their message and communicate with viewers. In this article we investigate further the advantages for production and creative teams.
It’s traditional for film and TV technical journalists to play soothsayer in the run-up to major industry events. With NAB and Cine Gear virtual this year and the world’s manufacturers having enjoyed an unprecedented stretch of downtime to hatch their next technological plots, the temptation to speculate has never been greater.
