What if a video production could be tailored to each viewer, based on transmitted audio and video essence and data stored in the viewer’s browser? Suppose the browser could receive the content and based on the viewer’s personal data, create an individualized version of the program based on that data?
For those who began work in the audio industry before the 1980s, the experience of “going digital” is clearly remembered. Many of us questioned everything we knew and wondered whether all the experience we had gained in the analog era would carry forward. Fortunately, in hindsight, that experience paid off and we did just fine.
John Watkinson looks at how crossover networks don’t work.
In the previous articles, we investigated IP from a broadcast engineers point of view as it helps us understand IP. In this article, we start to look at audio integration, and how we make IP work with audio signals, and the challenges we need to overcome.
As recording has gradually moved away from large studios to small spaces, the difficulty to getting a big “live” sound has become more difficult to achieve. There are, however, some tricks that allow the expansion of small rooms to sound much bigger than ever expected.
The importance of data for the media and entertainment industry was front and center at this year’s NAB conference in Las Vegas. The theme even sparked a news article headline, “Content is King but Data is Heir to the Throne.”
The stars are aligning for a new era of immersive audio in storytelling. Audiobook sales are steadily growing, the popularity of non-musical audio in personal podcasts is exploding and immersive audio technology is making compelling audio cheaper and easier to produce.
The HPA Retreat took place in February in Palm Springs, CA. Part 1 of this two-part series can be found in the link at the end of this article.
