As broadcasters migrate to IP, the spotlight is focusing more and more on IT infrastructure. Quietly in the background, IT has been making unprecedented progress in infrastructure design to deliver low latency high-speed networks, and new highly adaptable business models, to make real-time video and audio work in IT infrastructures.
Low latency networks and non-blocking switches are terms now appearing in mainstream broadcasting. But what do they mean? Why are they relevant? And how do we make Video over IP work?
This Essential Guide, “A Brief History of IP,” is far more than a look back at internet protocol (IP) technology. Rather, author and technology consultant, Tony Orme has created a reference guide filled with the precise kind of information about IP systems media engineers wished they had, but mostly do not…
Audio over IP (AoIP) has become one of the most important technologies to ever enter the media landscape. The protocol allows facilities to leverage today’s mature IP platforms for audio applications resulting in lower costs, faster installations, improved quality of service, all while creating a scalable and future-proof network.
The business case for migrating to IP is compelling and driven by the needs of business owners. Broadcast engineers must rise to the challenge and if they are to deliver reliable IP infrastructures they must understand not only the technology, but the differences in how IT-Network and Broadcast engineers think.
Copyright infringement is a big problem for broadcasters transmitting Hollywood block buster films. Compromising film revenues, unscrupulous staff can easily copy films to USB disc drives and distribute them illegally on BitTorents and other public distribution systems.
IP networks have been at the heart of many broadcast operations for two decades and more. Editing uses commodity workstations and IP networks, as do playout operations. But live production has, until recently, been the preserve of SDI.
The advances in IT, driven by the data centers that power the…
There was a time when the use of fiber optic cable struck fear in hearts of live production crews because it was difficult to work with and there was a certain black magic associated with distributing optical signals that had to be done right in order for multiple paths of…
What broadcast engineer, video or audio technician or camera person hasn’t wanted to work the Super Bowl? Being part of the broadcast team for the most high-profile event in U.S. television is considered by many to be a career-crowning achievement. For those who do work the Super Bowl, i…
