Monolithic code has been the traditional method of writing and distributing software for many years. As systems become more complex it proves difficult to scale, maintain, and support. The solution to overcoming these is provided by microservices, but to understand why they are so important, we must review monolithic software to show its limitations.
Part 1 of this series began the analysis of the report by the UK’s Ofcom that compares the UK’s energy consumption in 2021 for content delivered and viewed in DTT (Digital Terrestrial Television) versus OTT (Over The Top) ecosystems. In Part 2, we dig further into the detail and imagine an OTT-only future.
Compression relies heavily on information theory, but also on a good deal of common sense. Here we pick our way between the two.
This Themed Content Collection is the first of a new format for The Broadcast Bridge. It is a single download document that features a set of six articles, each of which tackles a different aspect of production for a large-scale, multi-site live broadcast, such as a major international sporting tournament or a national league on game day. It offers insight into planning infrastructure, networks, physical & virtual resources and people for remote IP based production techniques.
TheBroadcastBridge.com discuss the intricacies of migrating a Production Control Room—and the team that uses it from SDI to IP—with Tom Fuller, Solutions Architect at Bexel, part of the NEP Group.
Machine learning is touching just about every aspect of TV production, pre and post, in studios, large venues and remote sites. It is cutting costs of many routine operations while also opening new possibilities from archives to live.
As in so many industries debate within broadcast is turning to what may be required for broadcasters and producers to improve sustainability and raise their ESG scores?
Given their importance to broadcasting, as well as to everyday life, an understanding of waves is a good investment. Here we look at how to go about reaching that understanding.
