Under the mantra, “Rethink, Reinvent, Repeat”, Avid made good on past promises, improved new systems, and showcased the new Media Composer at the Saturday NAB 2019 press conference.
As the myriad of live competition television shows continue to attract new and ever larger audiences for TV networks, producing them live has become so complicated that a second technical director (TD), often called a “screens TD,” is now often being employed in concert with the lighting department’s graphics server operator and create the look of the LED video tile-intensive sets. Most stages feature literally millions of LED pixels and lighting rig configurations that adorn the brilliantly lit sets so it takes a “screens team” along with the LED tech responsible to manage the actual LED tiles.
Artificial Intelligence and machine learning can create slo-mo video from every camera to greatly increase the options for slow motion replays.
Anyone with a story worth telling should only be limited by their creativity, not their technical prowess.
Migrating to a new MAM system is a major headache for organizations with large volumes of assets who can’t afford downtime. The BEIT session ‘Managing Multiple Asset Management Systems’ (Saturday, April 6 10:40am - 12:00pm Location: N260) will discuss how the Strangler software development pattern can slowly take over a legacy MAM system’s functions until nothing is left but the new system. Roger Sacilotto, Consulting Software Engineer at Avid takes us under the hood.
With IP now widely used to move audio and video around the facility and many of the tools needed for broadcast production already virtualized, few barriers remain for the cloud-based operation. However, what will it take to migrate your particular broadcast operations to the cloud?
Philo T. Farnsworth was the original TV pioneer. When he transmitted the first picture from a camera to a receiver in another room in 1927, he exclaimed to technicians helping him, “There you are – electronic television!” What’s never been quoted but likely the first question raised was “What do we do with it?”
From lens to screen, from acquisition to playout, Grass Valley can be found in the entire broadcast production workflow.