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Talk to any audio engineer in the broadcast or live segment and they will tell you that separating the control surface (some call it the front end) from the I/O stageboxes and routing/patching section (the back end) as well as the DSP processor makes their lives so much easier, especially if such a setup evolves around an intuitive management system.
The Bathurst 1000 is a massive production by anybody’s standards, with 175 cameras, 10 OB’s, 250 crew and 31 miles of fiber cable. Here is how the team at Gravity Media Australia pull it off.
Ikegami Electronics announces the delivery of 27 UHK-X700 4K-UHD HDR camera systems to a leading Iberian public service television network.
Outside broadcast adds layers of complexity to audio workflows. We discuss the many approaches to hybrid remote production and discuss the challenges of integrating temporary or permanently distributed production teams.
It’s difficult for local stations generally focused on earning positive numbers during the next sweeps to invest much time contemplating station technology needs five to ten years out. This story explores what new direction TV broadcasting could go, from the perspective of someone who controls budgets and strategic direction years in advance: A generic media group Corporate Board member.
When we think of glue in broadcast infrastructures, we tend to think of the interface equipment that connects different protocols and systems together. However, IP infrastructures add another level of complexity to our concept of glue.
This article gives an overview of the various codec specifications currently in use. ISO and non-ISO standards will be covered alongside SMPTE 2110 elements to contextualize all the different video coding standard alternatives and their comparative efficiency - all of which will be covered in more detail later in this series.
This years’ Super Bowl LVIII live telecast on CBS Sports will be mainly supported by broadcast and media services company NEP, which is sending more than a dozen mobile production units and support rigs on site at Allegiant Stadium in Las Vegas. NEP’s “SuperShooter CBS” consisting of four mobile units tied together via fiber—will handle the big game action while supporting up to 165 cameras and feeding various domestic and international broadcast outlets.
