The finite speed of light, and indeed of all communication has various impacts on broadcasting.
The recursive filter has the advantage of using less hardware, but is more complex to understand.
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.
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.
Optimization gained from transitioning to the cloud isn’t just about saving money, it also embraces improving reliability, enhancing agility and responsiveness, and providing better visibility into overall operations.
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.”
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.