IP is delivering unprecedented flexibility and scalability for broadcasters. But there is a price to pay for these benefits, namely, the complexity of the system increases significantly as we add more video and audio over IP.
Aside from being the first Summer Olympics to be delayed a year due to a pandemic—shifting technical plans and causing strict work-arounds to comply with health restrictions—this year’s live coverage by NBCUniversal (NBCU) is noteworthy for its move to all-IP operations within the International Broadcast Center (IBC) onsite in Tokyo and for its use of the network’s extensive and disparately located resources to make the Games a success.
For many years broadcasters have been working with static systems that are difficult to change and upgrade. This two part series explores the unfolding of a more elastic future based on COTS hardware and flexible licensing.
NDI Version 5 is loaded with highly anticipated new features and unseen capabilities, because it was announced a month ago and hasn’t been released yet.
TV equipment manufacturers are doing what broadcasters do best: Creatively helping each other work through a difficult technical challenge.
On the internet, congestion and latency is added at the points at which carriers connect to each other. Understanding this will help you design a better quality video service, says Bernhard Pusch, Head of Global Internet Strategy at Telstra Corporation.
So you’re a producer, and your cinematographer is campaigning for the use of anamorphic lenses. Problem is, they’re expensive, and for people who aren’t cinematographic propeller heads, it can seem hard to justify. Let’s look at what’s going on and how we got here, without assuming the reader has a masters’ in cinematography.
One of the earliest and most widespread applications of synchronizing was in television.
