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IP is delivering new opportunities in terms of distributed processing and de-centralization. In the second part in this series, we look at the practicalities of using COTS hardware and the advantages it has for multiviewer monitoring over traditional SDI hardware solutions.
For most of its history, film and TV work has, by any sane measure, been incredibly complicated. Photochemical film was a nightmare of precision engineering and process control. Digital alternatives, intended to make things cheaper and simpler, involve some of our highest-performance electronics.
Most microphones need a diaphragm in order to follow some aspect of the air motion that carries the sound.
The pressure to extract more revenue from ever shrinking budgets, due to expensive content rights contracts, is causing Broadcasters to re-evaluate—and in many cases reduce—how they spend their money on production tools and infrastructure. Recognizing this, live production technology providers like Grass Valley are getting “creative” in how they sell their products and cloud-native systems.
Javier Fracchia’s studio in Buenos Aires has become the first mastering facility in Argentina to feature Genelec 8361A studio monitors, the flagship of ‘The Ones’ range of coaxial three-way point source models.
The conversion of monochrome TV to color was quite a trick, but it came at a cost.
The studio at Visual Three boasts a robust 4K/UltraHD HDR infrastructure equipped with a range of AJA’s powerful broadcast solutions, including the FS-HDR real-time HDR/WCG frame sync and converter, to produce pristine content for live workflows.
The latest update, V3.1, includes support for forthcoming new Tempest Engines with flexible and agile processing capacity licences, along with a host of new production features.
