If there’s one thing the production community has learned during the pandemic, it’s that ensuring the safety of the crew on site or in the studio should always be first and foremost in people’s minds. The second takeaway is that sending less people on site and implementing more remote support is the new normal that the industry is, somewhat begrudgingly, coming to terms with.
Over the past year, as broadcasters and production companies have expended great effort to reconfigure their workflows and develop new ways of working amid strict safety protocols, so too have the manufacturers of the technology and systems they rely on.
SDI has been and continues to be a mature and stable standard for the distribution of video, audio and metadata in broadcast facilities. From its inception in 1989 to the modern quad-link 12G-SDI available today, it has stood the test of time and even with the advent of IP and Ethernet, it shows no sign of waning.
Several things are widely held to be true about HDR. Subjectively, it looks nice; most people instinctively like it. Also, it’s often described as being about higher brightness, and while that’s rather missing the point, it’s still very common to specify displays solely on the basis of their peak light output. More power is good, right?
A full-service, end-to-end post-production house based in London, ENVY Post Production supplies a variety of high-quality services to a growing stable of high-profile customers around the world.
KVM-over-IP or classical KVM: what’s the better solution for my application?
This is the second instalment of our extended article exploring the use of Microservices.
It should constantly be borne in mind that although digital audio is a form of data, those data represent an audio waveform and there are therefore some constraints on what can and cannot be done to the data without causing audible impairment.
