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LiveU’s 2018 ‘State of Live’ report says HEVC now represents 25% of worldwide traffic. In addition to growing HEVC adoption, data also indicates a 55% increase in live transmission hours and emergence of 4K resolution in live broadcasting.
Traditionally, most video content teams operated within a well-defined and narrow scope. Also, the tools, data and processes used were siloed within their organizations. But such a solution is no longer sufficient to manage today’s multichannel distribution workflows.
Major advances in seemingly unrelated industries such as Deep Learning and High Performance Computing are empowering broadcasters to deliver greater efficiencies and improved performance. IT has perfected the art of optimizing costs against resource through scalability and flexibility. And broadcasters can capitalize on these wins.
Artificial intelligence (AI) for media analysis is beginning to change how media organizations meet their most daunting media asset management (MAM) challenges. When paired with leading-edge MAM tools, a new and emerging breed of AI platforms offers tremendous potential for transforming media workflows and making it easier than ever for operations to access, manage, and archive large volumes of content.
_460_307_70.jpg "Much of today’s data is stored on spinning disks. Increasingly, new solid-state storage platforms are being used.")
The whole edifice of digital recording is based on the concept of a small and integer number of states. John Watkinson looks at digital media.
An optical fiber connector terminates the end of an optical fiber cable. Its purpose is to allow quicker connection and disconnection of fiber cables than manual splicing. Simple enough concept. The problem is there are about 100 different types of fiber connectors available on the market today. Do you know the best one for your application?
To many, broadcast and media storage is a Cinderella technology. It might not be as appealing as some other areas, but efficient multi-user storage systems are a critical element of any on-premise media workflow.
The trend began in 2008 — 10 years ago — when Nikon introduced the first DSLR camera that combined video capability with still photography. Since then the powerful combo has accelerated, now with news organizations reorganizing their staffs to employ “visual journalists” that do both.
