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Networked modular audio stageboxes have been around for a while and were hailed as a convenient alternative to clunky snakes and the huge patch bays that came with them. Unlike analog stage- and wallboxes, which usually only transmit signals to fixed locations or else require intricate and time-consuming cabling, they simplify connections and provide flexibility with respect to the I/O types.
Ribbons were the first great microphones, mainly due to their very musical, natural sound qualities. Invented in the 1920s, their run of popularity lasted until the 1960s when ribbons fell out of favor. That was not because of the microphone itself, but due to changes in the way voices and music were recorded. Now ribbons are back in favor. How did that happen?
Live broadcast television was once considered to be unique as every bit of data had to be delivered to the viewers television set in real-time. However, as IT continues to leverage its influence on television, we discover the uniqueness of broadcasting isn’t as exclusive as we may have once thought.
As the television business has become more global, and evolving consumer devices spawn the need for ever more formats, there has been an explosion of the number of versions that are needed for an item of content. The need to provide tens to hundreds of language versions provides added complications, with localized versions often being created at dispersed dubbing and captioning facilities. The Interoperable Media Format (IMF) has been developed as the solution to the sensible processing of motion pictures and episodic shows. In the linked e-book, Rohde & Schwarz explain IMF and introduce Clipster as a platform for IMF workflows.
As broadcasters accelerate IP migration we must move from a position of theory to that of practical application. Whether we’re building a greenfield site or transitioning through a hybrid solution, simply changing SDI components with analogous IP replacements will not achieve full COT’s goals and the benefits associated with it.
Today’s video production has gotten smaller, cheaper and faster paced. Crews with extensive resources are shrinking with more set-ups done each day. Yet, with the cumulative cost of location shoots, the pressure remains on crew members to get it right the first time.
Because we experience the world in three-dimensional sound, why shouldn’t we always choose a stereo over a mono microphone for a video camera? The question sounds like a no brainer, but stereo audio is not always the right choice in video production.
Moving from the luxury of dedicated point-to-point connectivity in favor of asynchronous, shared, and unpredictable IP networks may seem like we’re making life unnecessarily difficult for ourselves. However, there are compelling reasons to make the transition to IP. In this article, we look at the primary motivation for moving to IP and the benefits it provides for broadcasters.
