The media industry is in the midst of a wholesale move toward streaming, first in the entertainment sector and now in sports. Over the next 10 years, more than 50% of audiovisual revenue will come from over-the-top (OTT) services. According to Strategy Analytics, OTT revenues will surpass pay TV for the first time in 2024. Much of the momentum over the next decade will come from live, and in particular sports, with rights holders expanding on current DTC experimentation by placing more of their properties online and by traditional pay-TV like Sky and Comcast substituting satellite and cable with leaner fitter faster IP delivery.
The Advanced Media Workflow Association (AMWA) is reporting good progress on using the Networked Media Open Specification (NMOS) protocol developed by the group to precisely identify, control and manage devices on an IP network in a highly automated way.
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.
