The HbbTV Association, arbiter of the eponymous standard for harmonizing broadcast, IPTV and broadband delivery of video services, has launched its HbbTV Developer Portal as a free service to help program and execute applications for the platform.
The area of channel monitoring for master control operations has expanded significantly over the past few years to include the ability to analyze more sources better and handle a wider mix of formats. Among the latest innovations is the ability to provide insights based on the open-source tools broadcasters need to extract real-time information and use it to enable improved operational performance.
Live streaming is bigger than ever at NAB 2022 after three years absence as a physical event, but with greater emphasis on the need for services to differentiate themselves on curation, content, search and general quality of experience than ever before.
A strong focus on end-to-end workflow is evident at NAB 2022 as service providers and broadcasters face migration towards software defined methods that will accelerate pace of innovation but demand new skills and testing capabilities.
People visit NAB Shows for many reasons. Some are there to investigate and examine new solutions. Some are shopping with a budget ready to spend. Others visit to gather ideas and figures for next year’s budget. Many visit to accomplish all this and make time to learn the latest relevant information from the industry experts at BEIT Conferences.
Like most equipment now being marketed to broadcasters these days, audio consoles continue to improve in the area of audio over IP (AoIP) networking and remote production workflows. Indeed, efficiency, flexibility, and remote as well as distributed production are at the top of the broadcast production agenda.
An IP-based broadcast media network not only comprises a number of devices in different locations but relies on several technical components to ensure everything being networked connects and interacts correctly.
The UK’s Glastonbury music festival is set to return this year as a physical event after two years online only, presenting an opportunity to assess how far streaming coverage of such large concerts has come since 2019.
