When televised sports events began to return after the initial coronavirus lockdown in 2020, U.S. broadcasters faced a dilemma. With no spectators in attendance, what do you do about the lack of crowd noise? This is the fascinating story of how a team of award-winning creative audio engineers set about manually re-creating the right atmosphere.
The need for synchronization rears its head in so many different endeavors that it has to be accepted as one of the great enabling technologies.
Having a collection of PCs and MACs stacked under a desk to facilitate the multitude of operational requirements not only proves difficult to operate but challenges our modern ideas around security and makes maintenance almost impossible.
Digital filters are ubiquitous. That has happened because they have significant advantages over the technology they widely replaced.
Sitting at home watching the Olympics 400m Women’s hurdles final live on NBC’s 4K HDR channel, home audiences were captivated by the sweat and effort displayed on screen with immersive sound of the runners’ feet hitting the track. Viewers thousands of miles away could be excused for thinking they had the best seat in the Japan National Stadium. The live 4K HDR broadcast of NBC’s primetime show throughout the Games were an extrasensory experience unlike any previous Olympics telecasts.
Protecting high value media content is a major priority for any broadcaster working with OTT and VOD. In the previous article in this series we looked at the three challenges facing broadcasters and in this article we dig deeper into the remedies and methods for keeping content safe.
Though mostly a publicity stunt, Major League Baseball’s Field of Dreams Game live telecast on August 12th proved to be a hit for everyone involved—including the Fox Sports team and production company Game Creek Video—tasked with putting it on.
Although it may seem that remote production was born out of necessity to address a growing demand for distributed workflows amidst global lockdowns, it was already gaining momentum prior to the pandemic, which accelerated the trend. But why is remote production so attractive, and what is the broadcast industry doing to advance this initiative? What will it look like in the next ten years?