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.
In Part 1, we looked at how the internet operates and the components that make it so effective. In this article, we consider the broadcast applications available and what it means to “connect to the internet”.
The random-access characteristic of the disk drive made it attractive for audio editing purposes and when drive prices fell as computers became popular the attraction was even stronger.
With mature, cloud-based services now prevalent across the industry, helping to process and distribute content faster and more accurately than ever before, the long sought-after promise of producing content in the cloud—reducing cost and physical barriers—prompted broadcasters and production companies to experiment with new ways to make it a common reality.
IP is empowering broadcasters the world over to improve flexibility, scalability and resilience. We often describe the internet in “fluffy cloud” terms, but to truly leverage its capabilities, broadcasters must now dig into the detail of its operation.
