The finite speed of light, and indeed of all communication has various impacts on broadcasting.
Legacy broadcast systems using SDI are well understood and reliable but inflexible, based as they are on dedicated routing switchers, video monitors and ingest hardware. That inflexibility extends to the difficulty in adding additional editing, media asset management or playout capability – more routing, more hardware.
Was it to embarrass me or simply the only way to get the shot?
While cameras continue to be its forte’, Sony’s most recent virtual press conference made it abundantly clear that the company has gone to considerable lengths over the past few years to emerge as a comprehensive solutions provider that is no longer just helping customers make pretty pictures. Sharing those files, collaborative workflows and remote production are all part of the portfolio now.
The recursive filter has the advantage of using less hardware, but is more complex to understand.
It’s still early days for live Dolby Atmos broadcasting in the United States, but Glenn Stilwell, senior audio engineering and operations manager for the Pac-12 Networks, is ready for it. Indeed, not only has Stilwell been experimenting with creating Dolby Atmos mixes in preparation for its more widespread use in live broadcasting, but he is also helping to train A1s in the technical aspects of the immersive format.
Live TV production may not be the best fit for perfectionists who can’t recognize ‘good enough’ and move on. Live TV has no patience, no second chances and can never be late. Every live shot is a first impression.
Despite Zoom fatigue, one thing that can be said for some of the more recent online industry gatherings is that they are bringing people together in a highly focused and some say more productive way. After nearly two years of such virtual conferences, organizers have learned what works for attendees and what does not. Attendees themselves have also learned what programs work best for them and what don’t.
