The National Film and Television School is using the company’s VisLM, ISL and LM-Correct.
Overall, commissioning AES67 in most broadcast plants should be a nonevent as broadcasters begin adopting the SMPTE 2110 suite of standards.
Audio for video is about to get more complicated
The 600 MHz wireless spectrum auction has come and gone, taking some television stations off the air, forcing more than a thousand others to relocate, and causing repercussions that are starting to trickle all the way down to wireless device users.
The beginning of a new year is an excellent time to reflect on life and ponder mysteries—such as why we make a big deal out of one year starting as another ends, and whether time is just an imaginary construct in the first place.
Recently I ran across an interesting piece from the Joint Taskforce for New Media (JT-NM) on the “dematerialized facility,” which envisions broadcast facilities built entirely from commodity IT equipment or with everything outsourced and no onsite equipment at all.
When we look at where television audio standards stand today, it’s hard to reconcile the initial mono sound broadcasts from television’s infancy to where it has evolved with the capabilities of the next generation of broadcast standards, part of ATSC 3.0.
IP transmission will begin making inroads into North American broadcast facilities starting this spring, even if they have no plans to implement an IP-based infrastructure, thanks to the finalization of ATSC 3.0 specifications and the introduction of compatible consumer products at this year’s CES.
The entire process of sound for film has always fascinated me partly because the working environment seems so extravagant compared to someone who has spent the majority of their professional life working in the trenches of broadcast audio for television.