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Compliance solutions have rapidly transformed a once operator-intensive legal necessity into suites of automatic processes for new revenues.
Computer security is always a hot topic, but what do we mean by security and why do systems seem to be ever vulnerable. Comparing hardware to software helps understand vulnerabilities in software security.
Media companies were already gradually moving towards as-a-service business models before Coronavirus hit. However, X-as-a-Service is not a simple transition and it is not for all product or all companies.
Strategies for capturing immersive audio for scene and object-based audio.
Like most industry gatherings this year, the 2020 SMPTE show is virtual and runs from November 10-12, complete with an interactive environment that incorporates a main conference hub, meeting rooms, theater space for sessions and the annual awards gala, and an exhibition hall with private meeting spaces. Many of the events, in addition to the Awards Gala, have been pre-recorded so attendees can view them at their leisure.
To maintain high quality of experience for their customers, content providers need a way to monitor hundreds—sometimes thousands—of channels without compromising real-time error detection. In most cases, the immense scale of their service offerings makes continual visual monitoring of all streams physically impossible and error prone. To meet this need, the flexibility, scalability and agility of software-defined monitoring systems is applied to achieve unlimited multiviewer scaling and fully automated monitoring and alarming to meet this rapidly increasing need.
As in all systems where there are opposed ideologies, there is a kind of cold war in which advances on one side need to be balanced by advances on the other. In encryption, the availability of increased computing power at low cost made it easier to break codes, but it also made it easier to create strong codes.
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Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja Zamojda and Anette Haellmigk. Ranging from the Royal Palace of Caserta in Italy to castles and estates all over England, the production also built extensive sets at Three Mills Studios in east London.
