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The complexity of modern OTT and VOD distribution has increased massively in recent years. The adoption of internet streaming gives viewers unparalleled freedom to consume their favorite live and pre-recorded media when they want, where they want, and how they want. But these opportunities have also presented content owners with unfortunate challenges, typically piracy and overcoming illegal content copying.
With the proliferation of Ethernet networks and computers in the video world, many media companies are replacing traditional dedicated video links like satellite and microwave with Ethernet-based infrastructures. This is being done for internal contribution applications as well as for delivering content directly to the consumer.
Oversampling is a topic that is central to digital audio and has almost become universal, but what does it mean?
Strategies for capturing immersive audio for scene and object-based audio.
It was on December 13, 2011 that the Federal Communications Committee (FCC, the governmental body that oversees TV broadcasting in the U.S.), along with many irritated consumers, had had enough and decided to do something about the often times huge disparity in the audio level of commercials versus program content. This was after the U.S. congress passed the Calm Act bill on September 29, 2010.
Genelec Senior Technologist Thomas Lund starts down the road to ideal monitoring for immersive audio by looking at what is real, and how that could or should be translated for the listener.
Lawo’s Christian Scheck takes a tour of console functions and features that have a special place in immersive audio production, and how they are developing.
Here, we take a look at the landmark installation at the University of Notre Dame that highlights one of the biggest advantages of IP-based systems - flexibility. In the past networks have required a lot of cables and interconnections, today, a single cable can deliver every signal to any endpoint in real time, and with outstanding quality, and robustness.