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The AES67 standard is sometimes misunderstood as the specifications on how all professional digital audio gear is supposed to work and interconnect. Not exactly. In fact, AES67 simply defines the requirements for high-performance AoIP (Audio-over-IP) interoperability. A manufacturer can implement AES67 anyway it wants, and there’s the rub.
Cloud technology is arguably one of the most significant topics of discussion in our industry right now. Broadcasters are starting to move big parts of their workflows to the cloud. Indeed, in a recent cloud video transformation survey, 14.5% of respondents say their content distribution workflow is now 100% cloud-based. A further 30.1% claim over 50% of their distribution workflow is cloud-based.
The EBU (European Broadcasting Union) has struck a partnership with the Digital Production Partnership Ltd (DPP), a UK based business change network, to promote open standards for interoperability between all components of the video cycle as the industry continues its march towards all-IP based workflows. The two bodies are parading their partnership at IBC, with the initial focus on content security and deployment of the Interoperable Master Format (IMF).
Time is money and with M2Film, a full-service film production company based in Copenhagen and Aarhus, Denmark, the time required to transfer files between facilities was getting expensive. A faster way to move large files between locations was needed.
In the last article on Cloud Broadcasting we looked at integration and how we communicate with SaaS and cloud services in the absence of GPI’s and serial connections. In this article, we introduce secure server access and issues around security.
Over the past few years we have undoubtedly been witnessing some massive changes in the media entertainment landscape. We have gone from linear viewing on a TV screen to widespread consumer adoption of multiple over-the-top services, delivering content anywhere, anytime. With this evolution has come a great deal of technological innovation based around IP delivery, which is changing contribution. Some might (and do) say that satellite has had its day.
With each new technology transition—from SD to HD to 4K— remote production truck companies in the U.S. have been at the forefront, providing clients with the latest production tools to expand their production capabilities and make live sports and entertainment telecasts the best they can be.
Not so many years ago, distribution was the most difficult part of the video-making process. Sure one could create a video, but who would see it? In those days, only a handful of television networks could show a video. Distribution was everything. YouTube changed all that.
