In Part 1 of this series we looked at how availability zones improve reliability and business continuity, in this part we look at improving systems further using chaos engineering and SLAs.
We discuss the changes that need to happen around the camera, what information we generate, and how that informs the pictures rendered on the screen.
In parallel to its role entertaining the audience via the programme output, audio is the central nervous system of all broadcast infrastructure, ensuring everybody can hear what is happening and communicate with each other - without it everything rapidly breaks down.
This year’s coverage of the 2023 Wimbledon tennis tournament is the biggest and most comprehensive production ever for the event, starting with the hundreds of technical crew working on it.
Japanese broadcaster Asahi Television Broadcasting Corporation (ABC) has upgraded its ‘202’ outside broadcast truck to create a 5.1.4 immersive environment. The upgrade relied on a combination of Genelec’s ‘The Ones’ three-way coaxial monitors and GLM calibration software, and has provided ABC with a futureproof OB solution for the next generation of broadcast standards.
Video and audio production using IP networking is on the threshold of widespread adoption and may soon become the default way of working for live production. But nobody expects a total switchover to IP production anytime soon, even though, on the face of it, that would seem to be the ideal outcome. Practical considerations such as backwards compatibility and failover to more traditional methods are likely to require hybrid solutions for some time to come.
Blackmagic Design has announced that production company south&browse transitioned all aspects of post, including editing, color correction and finishing, to DaVinci Resolve Studio.
A guided tour through the basics of broadcast audio production workflow using the role of the mixing console and the core areas of its functionality, as a way to explain how it all goes together.