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In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we investigate microphones and how they are used in television.
The Cloud itself is pretty simple, but for broadcasters, leveraging it can be complex. It isn’t that difficult technically, but Broadcast still straddles requirements that demand real time, high resolution, quick turnaround solutions; and this is coupled with the need to connect geographically separate locations, reduce costs, and extend access to assets regardless of where the data is stored with multi-format distribution capabilities.
Cloud is undoubtedly one of the hottest topics in the broadcast and media industry at present, and if you were to judge the state of cloud adoption by the huge volume of noise around the subject, you could be forgiven for feeling like a dinosaur if you haven’t already fully embraced it.
Part one of this article, first published in the Journal of the IABM asks what’s the real state of play? We spoke to eight IABM members to find out what their end-user customers are actually doing now in the cloud, what they’re not, whether it’s public, private or hybrid, and where the future will take us. Are we truly heading towards a dematerialized industry, and if so, what’s holding us back today?
The Society of Motion Picture and Television Engineers (SMPTE), the organization whose standards work has supported more than a century of technological advances in entertainment technology, has published standards for binding Ad-IDs to commercials and Entertainment ID Registry (EIDR) codes to programming content. The standards specify use of Kantar Media’s audio watermarking technology, an open solution available for licensing and paves way for streamlined cross-platform measurement by enabling faster and more accurate tracking and audience measurement of content and ads across media
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For the first time in the history of live television we can now abstract away the video, audio, and metadata streams from the underlying hardware. This innovation presents unprecedented opportunities empowering broadcasters to deliver flexibility, scalability, and highly efficient workflows.
This Essential Guide, “A Brief History of IP,” is far more than a look back at internet protocol (IP) technology. Rather, author and technology consultant, Tony Orme has created a reference guide filled with the precise kind of information about IP systems media engineers wished they had, but mostly do not.
In this series of articles, we explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we investigate analogue audio and its importance in television.
More so than many other technology trends, artificial intelligence (AI) has quickly become one of the main buzzwords in broadcast and media production. As a result, marketeers in every area of the industry are now presenting products that integrate AI to deliver better production workflows. Increasingly though, the definition of AI has become somewhat cloudy – many automation-centric tools are being mis-labeled as intelligent. With automation being such a key technology within media and content production, many vendors are now mixing definitions of the two to better market applications while AI is such a talking point. So, before we start labeling everything AI-enabled, let’s first look into defining exactly what artificial intelligence is.
