Fashions may come and go but quality, crafted lenses always show their class, says Seth Emmons, marketing director CW Sonderoptic
Euro 2016 was arguably the most immersive football championship to date with augmented reality putting viewers firmly in the middle of the action – wherever they were in the world.
The audio renderer has long been a bone of contention in the standardisation work on Next Generation Audio (NGA), writes EBU Senior Project Manager Roger Miles.
Transmitting via IP offers broadcasters the possibility of interconnecting radio, video and internet perfectly, writes 2wcom Chief Executive Werner Drews.
Women are drastically underrepresented in the media, entertainment and technology sector, with women in leadership roles still the exception and not the norm. IBC wants to help change that, writes IBC Council Chair Naomi Climer.
To meet the viewer expectations of instant news and coverage of anything that moves, broadcasters and brand owners are pressured to accelerate their output. At the same time, budgets are shrinking, says Mobile Viewpoint Managing Director Michel Bais.
To guard against cyber attacks, the industry needs to work together and adopt some common best practice, says Mark Harrison.
Moving to the cloud makes sense for VFX firms, says Jellyfish Pictures’ Jeremy Smith.
Amsterdam has always been a thriving business and tech hub, home to innovative startups and scale-ups, creative agencies, multinationals and international tech tycoons that have chosen the city as their European headquarters.
The broadcast industry has been experiencing a tremendous transformation since the arrival of the Internet, and digital convergence has become a reality, writes Genelec R&D Director Aki Makivirta.
For traditional broadcasters, the world of sport provides inspiration for stirring up fan engagement. Google’s Strategic Partner Lead for Broadcast & Sport Ben Napier explains how.
Fitting out a new ‘pay as you go’ news studio required a focus on future proofing and building an infrastructure with the resilience and contingency to handle 4K from cameras to cables, writes Wesley Dodd.
Event visitors expect an exciting programme, enhanced with visual techniques and storytelling, that gives them more than just information and facts, says Nynke Lipsius.
The UK has a world-renowned visual effects (VFX) sector, but the impact of Brexit could undermine the industry through a chronic shortage of skilled workers, writes Neil Hatton.
How can event organisers make best use of new technologies and how can they distinguish valuable applications from temporary fads and how can technology experts help them with that, ask Pim Schoonderwoerd and Paul Hassink.
To remain successful companies will need to disrupt, change and reinvent says Rob van den Dam.
Drones have become as much of a mainstream accessory product as tripods or batteries, writes Douglas I. Sheer.
Eurovision Media Services is involved production and broadcast services through to content distribution. Chief Operating Officer Graham Warren explains more about the business.
Manipulating video to share with an audience is no longer the preserve of the established few, says Christian Dutilleux, CEO, Deltacast
Jörg Houpert, head of technology, Cube-Tec International explains what next level auto QC and media correction means.
Douglas Sheer, CEO, D.I.S. Consulting Corporation said while the virtual and augmented reality trend has been generating increasing interest among consumers it remains in the early stages as far as producers and broadcasters are concerned.
Engineers may prefer the safety of working with trusted vendors but now is the time to put your faith in the cloud, explains Mark Harrison, Managing Director, Digital Production Partnership.
The biggest impact of IP will be to live production workflows and the engineering skillsets required to manage them, says Paul Robinson, CTO, Video Product Line, Tektronix.