Here we look at some practical results of transform theory that show up in a large number of audio and visual applications.
Machine learning is often compared to the human brain. But what do they really have in common?
We continue our series on Broadcast Audio Systems with a discussion about workflow with multi-award winner Robert Edwards. We look at general purpose workflows, and some considerations for different types of production across news, sports and chat shows. As the degree of complexity and stress ramps up as soon as a live audience is introduced, part two will look at more expansive light entertainment shows which have audiences, multiple presenters, bands and egos.
In the last article in this series, we looked at SDP files and the importance they play in identifying source and destination devices. In this article, we look at why we combine layer-2 switching and layer-3 routing, and why broadcasters are moving towards Software Defined Networking (SDN).
While cloud services and remote production have dominated many conversations at recent trade shows, cameras and image processing remain a key part of any workflow. At the upcoming IBC Show, many companies will show new technology for capturing an image at its highest resolution and then converting it into a useable format for the variety of distribution platforms that broadcasters and content distribution organizations must support.
As a video equipment manufacturer, how do you decide which combination of input and output formats to include in your products? As you finalize your design specification, do you have a hard time justifying all the different IO options that broadcasters might want?
As broadcasters and content distribution services continue to look for the most cost-effective ways to create and distribute content in the cloud, equipment vendors have shown the flexibility of their respective technologies to be operated remotely, with precision and efficiency.
It’s been over 40 years since Genelec started life as a manufacturer of professional monitor loudspeakers, and I felt the urge to reflect on how much has changed in the broadcast world in that time, and yet how much the role of a good studio monitor has remained largely unchanged. After all, you’ve always used monitors to make judgements about the audio you’re working on, and to guide your actions to reach a point where you’re happy with the resulting mix – haven’t you?
