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Sometimes, there’ll be a need to represent real-world objects in the virtual world. Simple objects could be built like any VFX asset; more complex ones might be better scanned as a 3D object, something some studios have begun to consider as a service to offer.
Designing IP Broadcast Systems is a major 18 article exploration of the technology needed to create practical IP based production systems. It builds on the foundations of the huge body of work already published by The Broadcast Bridge on IP. This extensive article collection delves deeper into various aspects of how IP based systems work, with detailed technical explorations of key themes including; design philosophies, discoverability, hybrid systems, remote production, cloud infrastructure and software control layers.
The 2 new hardware control panels are designed to access the full power of ATEM Constellation HD and 4K switchers. The new ATEM 1 M/E Advanced Panel 20 and 30 models feature the same elegant design as the 2 M/E and 4 M/E Advanced Panels, but in a compact size to fit into any broadcast studio space. The new 1 M/E panels include up to 3 system control LCDs, buttons for control of 4 upstream keyers, 4 downstream keyers and 4 M/E rows as well as a joystick, T-bar fader and more.
EQ is one of the central tools of the audio production process and with a modest amount of knowledge and practice, a little can go a very long way to improving the subjective quality of a broadcast.
Working for the Royal Ocean Racing Club, UK, organisers of the Fastnet Race, streaming and broadcast production company Optical Media was tasked with providing eye-catching coverage of the start of the race in late July. The largest offshore contest in the world, the bi-annual event begins at Cowes on the Isle of Wight, and finishes in Cherbourg, France, having first ventured out into the Atlantic Ocean.
Sending out a crew to capture a real-world environment can be a more straightforward option than creating a virtual world, but there are some quite specific considerations affecting how the material is shot and prepared for use.
Keeping audio levels under control is the foundation of audio mixing, and Dynamics Processors give us tools to automate level control in various ways.
John Watkinson continues his exploration of the potential for a true motion tv system that requires the complete removal of frame sampling to make each pixel a continuous representation of the image thus removing motion artefacts.
