In modern consumer electronics history, every new year begins with an early January Consumer Electronics Show, followed by the April NAB Show, both in Las Vegas. Significant new home and broadcast video and audio technologies are often rolled out at both shows, targeted for near-opposite markets wanting to enjoy or produce lots of TV. With no physical exhibits since CES 2020, manufacturers are struggling to impress virtual visitors and reporters with better and larger images with what they can see on their local computer screens.
Coming spring 2021, the new series of KRK Studio Subwoofers will be available in 8-, 10-, and 12-inch variations: S8.4, S10.4, and S12.4.
Kazakhstan Media Center, Kazmedia, puts Grass Valley cameras front and center as part of a comprehensive studio upgrade at its Kazmedia Ortalygy facility in Nur Sultan (formerly Astana).
Timing accuracy has been a fundamental component of broadcast infrastructures for as long as we’ve transmitted television pictures and sound. The time invariant nature of frame sampling still requires us to provide timing references with sub microsecond accuracy.
Lockdowns have accelerated some societal or technological trends that were already happening, such as remote production and home working in general.
For content providers (studios, content owners, content aggregators, or other content licensors) and their licensees (affiliates) operating in a multiplatform world - and pirates looking to obtain illegal access to the most popular content - it’s an unrelenting game of cat and mouse. While the internet has provided a cost-effective and easy way to deliver content to consumers, it also opens up new vulnerabilities that content pirates are eager to expose.
Vizrt has announced a new business model for its content creation and distribution products that now makes them available virtually, in pre-selected workflow “solution suites”, at a monthly price. The company’s new Flexible Access initiative works like many SaaS offering in that a series of microservices behind the scenes can be spun up or down to provide access to Vizrt’s array of software products and its Viz Engine real-time 3D compositing, rendering and playout server.
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Allowing one actor to play two roles in the same scene has been possible, at some level, at least since 1961’s The Parent Trap, in which one of Hayley Mills’ arms disappears visibly behind a soft-edged split screen. To put it mildly, techniques have improved, but keeping the necessary technology out of the way of a director whose tastes run to very freeform moviemaking is a challenge in itself.
