Time base correction is an enabling technology that crops up everywhere; not just in broadcasting.
Digital audio interfaces were developed as a way of avoiding generation loss between devices.
As streaming platforms and viewership continues to grow, so too does the drive towards harvesting maximum ad dollars. With so many OTT services available, a growing number of consumers are willing to accept ad-supported programming in return for lower subscription rates or free offerings.
The Need For Sync - In any audio environment where multiple pieces of equipment are being used together, it is imperative that they are synchronized. If they do not run in time with each other it will be difficult - if not impossible - to produce a coherent end result where everything fits where it is supposed to.
The last twenty years has seen a lot of film and TV hardware turn into software that runs on workstations and servers. With Apple’s move away from Intel, though, and several other recent attempts to popularize alternative designs, anyone looking at new equipment finds a field in flux.
As broadcast facilities and other organizations that use media to educate and inform continue to carefully make the move to video over IP, they currently face two main options, with a range of others in the wings. They may opt for a full SMPTE ST 2110 design that leverages uncompressed pristine quality video for higher profile productions or lightly compressed NDI networking, which brings with it less costs and easy access to an expanding ecosystem of compliant products and systems.
Due to the flexibility and virtually unlimited access of the Internet Protocol, manufacturers of broadcast and production equipment have for years provided customers with the remote ability, via an HTML 5 browser interface, to monitor and control hardware devices via a smart phone, tablet or laptop. Vendors have now begun to take that access one step further and have developed dedicated applications for mobile phones—which have been optimized for the reduced scale of a phone screen—that put this control in the palm of your hand.
“You need to be very predictable with the broadcast at all times. When I started doing this you had to be really careful with 5.1; there was no standardization,” he says. Indeed, for a long time, as broadcasters began to switch to HDTV across the U.S., it was not unusual for audio channels to be mixed up during transmission, or for audio processors to be incorrectly set or configured.
