Content production is one of the most labor intensive exercises in the media and entertainment (M&E) industry. As a result, it takes up a lion’s share of the budget too. And that is not just because of the number of people involved but inefficiencies run across production planning, time and resource management, use of technology and content logistics (storage, transfer, review). Since the outcome is what we call the IP that is monetizable, security also becomes paramount as the threat of piracy never subsides.
View More
In the days, not so long ago, when terrestrial television was pretty much the only game in town, technology limited us to just a handful of channels. That was eased by the first cable systems which could deliver a few more, but in many territories, cable was available to only a small part of the population so there was no commercial market for more channels.
View More
There have been a lot of changes to production workflows since 2020. Creative teams had to adjust to working from home, and in many cases this was done by spinning up (sometimes hastily) remote desktop utilities or a VPN server with little time for due diligence on how it would affect the team’s workflow.
View More
De Tune, a global industry-leading media and entertainment company, chose Tata Communications’ media network and cloud services to drive its global production operations.
View More
The world’s greatest dog show, Crufts, and the organisation behind it, The Kennel Club, has expanded social and digital output over recent years. Keen to shine a light on lesser known parts of its organisation and show, 2020’s focus was on the Young Kennel Club. Sunset+Vine was chosen to live stream the entire programme of the Young Kennel Club Ring across all four days of Crufts 2020, collaborating with us to do so.
View More
HD+ operates a satellite DTH platform in Germany to deliver HD/UHD content to 2M+ paying subscribers. Intertrust offers a cloud-based broadcast security solution, ExpressPlay XCA (based on Marlin DRM), which protects content that is broadcast directly to smart TVs (D2TV) without requiring set-top boxes/CAMs.
View More
As video continues to dominate our use of the internet, the technologies supporting it must continue to innovate and expand to help media companies get an Edge in the global content delivery space.
View More
２０２０年、オペラ公演のライブ映像配信を主導する為に私は台湾に入った。しかし新型コロナウイルス感染症の予期せぬ急速な世界的拡大のため、突如台湾国内の特定の建物への入館も外国人には禁じられ、不幸な事に私が目的とするオペラハウスもそれに含まれていた。もはや顔を合わせてライブ配信の指導ができなくなった私は、ホテルの一室で配信に用いる機器の設定や試験を綿密に済ませ、その機器をオペラ公演現場のカメラチームに手渡す他に取る手段はなかった。カメラチームは、その機器を簡単に数本のケーブル接続を行い、配信開始のボタンを押すというシンプルな手順で見事に彼らにとって初めてのライブ映像配信を成し遂げてくれた。これは弊社 “
SIMPLE LaaS” (Livestream-as-a-Service)が生れた瞬間でもあった。
以下に示す簡単な４ステップで特別な技術者の助けを借りることなく、劇場の現場の方々のみで高品質のライブ配信が可能に成る、というサービスである。
View More
In this sit down with the EditShare’s EMEA team, viewers will learn how the team looks at the market and solutions their customers and partners are implementing, to ensure they are staying up to date with demands.
View More
Over the past decade the media industry has hailed the adoption of the cloud as a way of introducing new efficiencies, as well as improving content protection and business continuity. For many media companies so far, the cloud has been all about storage. But of course, storing content is far from the only thing the media industry does. In some ways, the current iteration of the cloud, let’s call it Cloud 1.0, is not built for the needs of complex media workflows and what comes next must address these concerns. So where is cloud today and where is it heading, and could Cloud 2.0 be on the horizon?
View More
