I recall when technology used to last a bit longer than it does today.  Even if a new and improved product or technology was introduced, replacements were typically available for years and sometimes a third party provided equivalent replacement parts. However, computer-centric hardware and software technology has changed all that.

For many years users have been reluctant to pay for software maintenance, especially when they include bug fixes. But is this a bit unfair to the vendors? A plethora of media file specifications and formats are available to broadcasters, from XDCAM to IMF. There are hundreds, if not thousands of them, and all must be supported and maintained. Is SaaS the solution?

Once intended to aid the hearing-impaired, TV captioning (CC) has taken on a life of its own. Some viewers use CC to keep up with dialog and plot development without turning up the volume, while others use CC to translate or learn another language.

As broadcasting hurtles at unprecedented speed to IP, exposing antiquated working practices, laying bare integration issues and questioning our very understanding of how television should work, are we a bit guilty of looking at SDI through rose-tinted spectacles?

This third and final article of the series about color grading examines more the process with an eye to creating an efficient workflow. The goal is to properly prepare the content before it is moved onto an editing platform. Preparation becomes even more important when the editor uses one brand of NLE and a different solution for grading. 

Part one of this three-part series explained why Media Composer | First, and some other NLEs cannot support round-tripping, the usual way of color grading with DaVinci Resolve in combination with an NLE (such as Media Composer or FCP X). Part 1 of this three-part also addressed the process of setting up Resolve for a grading project.

Boston first hosted Macworld in August of 1993 and it was there I bought a $2,500 Radius VideoVision I/O board that worked with Adobe Premiere v2.0. The year was a pivot point for the low-end NLE market as it transitioned from “barely workable” as I describe in this VideoVision review, to “quite practical.”

As new formats like ATSC 3.0 and HDR along with digital operations and higher speed networks become commonplace, broadcast and video engineers need new ways to support and maintain these signals. Here is a preview of new test and measurement technology to be highlighted at IBC 2017.

Consultant Gary Olson offers his thoughts on what NAB 2018 could, or should, offer attendees. It’s time for a look into his technology crystal ball.

The Broadcast Bridge has published multiple articles and tutorials about the industry’s increased use of the cloud as an important tool. It would be good to examine how the cloud is now centric to many traditional in-house workflows. However usage is addictive and must be actively managed to control costs.