Was it to embarrass me or simply the only way to get the shot?
While cameras continue to be its forte’, Sony’s most recent virtual press conference made it abundantly clear that the company has gone to considerable lengths over the past few years to emerge as a comprehensive solutions provider that is no longer just helping customers make pretty pictures. Sharing those files, collaborative workflows and remote production are all part of the portfolio now.
It’s still early days for live Dolby Atmos broadcasting in the United States, but Glenn Stilwell, senior audio engineering and operations manager for the Pac-12 Networks, is ready for it. Indeed, not only has Stilwell been experimenting with creating Dolby Atmos mixes in preparation for its more widespread use in live broadcasting, but he is also helping to train A1s in the technical aspects of the immersive format.
Live TV production may not be the best fit for perfectionists who can’t recognize ‘good enough’ and move on. Live TV has no patience, no second chances and can never be late. Every live shot is a first impression.
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.”
