We talked to Alexander Trubin, the director of the Alma TV unified network management center, about results of the switch to satellite and the company’s future plans.
As the AoIP debate continues to confuse and delight in equal measure, what is clear is different scenarios require specific solutions. So is there a solution that encompasses open standards and existing proven AoIP technologies to the benefit of all?
The popularity of OTT broadcasting is really helping to drive the growth of immersive content, and this presents both opportunities and challenges for the broadcast audio world. Mixing in immersive allows the audio engineer to create a sense of envelopment and realism like never before, but as channel count and mix complexity increases, the importance of neutral, uncoloured studio monitoring with precise imaging becomes even more important.
At Genelec we’ve long been involved with designing monitoring systems that are scalable from stereo to surround to immersive, so here we’ll examine some of the principles of immersive audio, and some of the considerations that audio professionals need to be aware of.
CEDAR Audio is a UK based company committed to noise suppression, speech enhancement and audio restoration. It has focussed exclusively in these areas for more than three decades and is the recipient of numerous accolades including an IABM Design & Innovation Award, two Cinema Audio Society Awards and an Academy Award for services to the movie industry.
Spectator sports are most engaging when audiences don’t know what’s going to happen next. For the sports broadcasting industry itself, the playing field in which they operate has undergone many exhilarating changes over the last few years. In many cases, these have been accelerated and exacerbated by the Covid-19 pandemic.
As stadiums and venues that were once packed with excitement and atmosphere have been forced to close, we’ve witnessed the increasing significance of over-the-top (OTT) platforms becoming the digital delivery system for the enjoyment and adrenaline sports fans around the world have been missing.
There have been many, many words written recently about remote production, indeed the wider world of remote working generally, spurred on by significantly increased use during the pandemic. But remote production didn’t suddenly spring up overnight, either as a concept or reality.
Let’s step back first. We’ve seen huge growth in the use of IP bonding across sports, especially in the last five years: from single-camera streaming to complex, multi-camera productions, often on the move. From the Rugby World Cup, where LiveU technology was used not only to gather content but also as a disaster recovery solution by ITV Sport, to the FIA World Rally Championship, Austrian football and facilitating coverage of the Spanish lower leagues, the list goes on.
Accompanying that growth has been the rise of remote production. Why is that? What are the benefits?
Iris Media Platform is the industry-leading native format media player and quality control solution. It enables true, frame-accurate playback of mastered and encoded content with the broadest range of support for audio / visual formats and codecs.
We spoke to Sergio Grce, CEO of iSize Technologies (www.isize.co), about the challenges the industry is facing with ever higher resolution content delivery, and his company’s innovative use of AI for pre-processing to deliver higher quality images at lower bitrates – whatever the codec.