_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.
This Case Study describes how AMP VISUAL TV using Riedel’s MediorNet achieved their objectives. It looks at the design considerations and advantages of using a decentralized routing system as well as the savings that were made in infrastructure cabling cost and weight.
The video infrastructure business looks very different after a year of unprecedented upheaval that has seen three previous heavyweights effectively quit the business and a fourth acquired by a major telco equipment maker. Although the four deals have different dynamics, they are all underscored by the disruption of OTT and migration to cloud based IP services, coupled with the relentless rise of mobile video consumption.
Once, while visiting NBC Television studios in Manhattan’s 30 Rockefeller Center, I saw an abandoned elevator shaft with seemingly miles of different cables laced together. I took notice because it was such a rare sight — with the maze of work quite intricate and, in a way, beautiful.
Live broadcasts are seen as nirvana in terms of attracting an audience. Presenting a live event, especially sports, in real-time and high quality, draws audiences like no other content. Yet, successfully originating these broadcasts is often both expensive and complex. And unfortunately, most broadcasters no longer have the resources, either financial or technical, to stage an entire production crew and on-site production truck at remote venues.
