Netflix has boosted the quality of its Dolby Atmos audio in a bid to “bring viewers closer to the story.”
4K, IP and immersive audio are among the technologies impacting dramatically on the design and build of new OB units, writes David Davies.
Applications for the Society of Motion Picture and Television Engineers (SMPTE) annual student paper award and scholarship have opened.
The Berlin Philharmonic’s decision to stream its concerts in high-quality audio and video has seen it push both technical as well as creative boundaries, writes David Davies.
Bohemian Rhapsody, Black Panther and Roma were among the big winners at Sunday night’s Oscars ceremony.
The National Theatre is home to world-class productions and performances, but how are the plays broadcast to cinemas around the world?
For vendors, arguably the greatest challenge at this point resides in satisfying the continually evolving ways in which broadcasters and content creators wish to apply immersive audio techniques, writes David Davies.
From shooting in black and white to creating in-camera effects, we take a look at the technology and technique behind Oscar nominated films.
Ethan Van der Ryn and Erik Aadahl, the supervising sound editors of Oscar-nominated A Quiet Place, on establishing the rules of silence and the shock of what happens if you break it.
From the restoration of Peter Jackson’s WWI epic They Shall Not Grow Old to behind the scenes of Love Island and the impact of AI, holograms and Brexit on the media industry, we look at the most popular Production articles of 2018.
The Royal Television Society (RTS) 2018 Craft and Design Awards have awarded the best in UK broadcast television from directing and effects to costume and make up.
Audio is key to bringing natural history stories to life, say filmmakers who have used Dolby Atmos to enhance their films.
Sky is one of a handful of global broadcasters taking a prominent role in evolving the use of Dolby Atmos in live events, Andy Stout reports.
In consciously opting against a hybrid solution for its new broadcast centre, German sports producer Plazamedia has created a modern, future-proof system as SMPTE 2110 approaches.
There’s a huge amount of change taking place in the audio business, driven by the move towards immersive sound. Nowhere was this clearer than at this year’s IBC.
This IBC365 webinar outlines and explains the collaborative Media-Telecom Catalyst innovation programme and how you can get involved in designing solutions to current media & entertainment challenges.
In-car listening presents a huge opportunity for the DAB radio industry, believes Arqiva’s Simon Mason.
If 2017 was the year that smart speaker hype reached its peak, 2018 may well prove to be the year they will have moved into the mainstream, writes EBU Project Manager Ben Poor.
Over the past several months, it has become clear that, in many ways, far from being a distinct sector, the satellite industry is a microcosm of the larger broadcast industry in which it operates.
New immersive audio standards have been published by SMPTE for distribution and consistent playout of various immersive sound systems.
AI is here to stay, and in the area of production it is set to revolutionise working practice. Explore how in technical papers from BBC R&D, Media Distillery & NHK and watch their IBC2018 Tech Talks.
The benefits to using audio as a primary method of delivering new experiences, particularly during a sports event, it is the audio that best engages consumers with the atmosphere of the stadium.
The National Hot Rod Association (NHRA) approached Dolby Laboratories in early 2017 to explore what value immersive audio might bring to the NHRA’s television broadcasts.
Providing narrative perspective in a US news environment that’s in total overdrive is a daily challenge along with the changing audio consumption habits Lisa Tobin confronts, executive producer of audio and editor of The Daily podcast at the New York Times.
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.
IBC2018: The strongest case for the use of AI production tools is in lower cost genres of television, says BBC AI Research Engineer Craig White.
Digigram’s IQOYA Call IP audio codec and IQOYA Cloud management system are helping Danish radio station DR make a controlled shift toward audio over IP, enabling the public broadcaster to address the gradual extinction of ISDN connections and making it easy for staff to realise the cost and quality benefits ...
Transmitting via IP offers broadcasters the possibility of interconnecting radio, video and internet perfectly, writes 2wcom Chief Executive Werner Drews.
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.
The broadcast industry is adopting cloud solutions at an astounding rate. Thanks to data portability and standardisation of systems, we will soon have access to radio-as-a-service, explains Digigram Head of Marketing Pascal Malgouyard.
Most stories about new broadcast facilities are all about beautiful buildings designed by ‘starchitects’ featuring soaring atriums and state-of-the-art studios and production systems. This is not one of them. This is the story of tin-roofed, mudbrick buildings with no air-conditioning, and brand new, old-fashioned analogue production kit.
Oscar-nominated sound designer Julian Slater speaks about new ways of editing sound and why the term ‘immersive’ can be a red herring.
Mobile video journalists (MoJo) from CBC, RTE and BBC offer insight into how technology has revolutionised reporting, the impact of mobile apps and the threat to traditional reporting.
NAB 2018: In the past few years there has been more parity between audio and video, and no longer is the cliche “audio is the poor relation to video” trotted out at exhibitions.
Watch now to hear key players discuss real world experience of the role AI is taking in live sports.
With the quality of audio capture integral to the success of a production, IBC365 speaks with industry experts to examine the changing requirements production sound mixers and the response of manufacturers.
Not everything that happens in Vegas stays in Vegas: IBC365 is joined by a panel of industry experts to review what went on, what was hot, and what happened at the NAB 2018 conference and show floor.
Object-based audio promises immersion, accessibility, personalisation and interactivity, but fears of a format war persist.
In the first of a two part series on newsroom technology, George Jarrett talks to the BBC and vendors about enabling journalists and delivering content to digital and broadcast platforms.
“Good enough,” is not a phrase usually heard in the corridors of broadcasters unless it’s following the words “that’s not”, writes John Maxwell Hobbs.
Technicolor CTO Jon Walkenhorst and colleagues discuss how emerging technology is changing the way stories are told.
Andrew Mason, Senior Technologist at BBC R&D, speaks about the Orpheus research project and explains how the BBC is experimenting with object-based audio.
New techniques for capturing and delivering audio will be part of even more immersive experiences, writes Amelia Kallman.
Technical papers on audio presented at IBC2017 included UK startup Salsa Sound, which went on to win the IABM Annual Conference Dragons’ Den competiton earlier this month for its live sports broadcast system.
NHK has developed a means of automatically generating auxiliary audio descriptions from metadata for use in live TV sports programs.
Case study: The BBC has over forty VR, 360 video and immersive audio experiments, that teams across the corporation have developed, covering a broad range of topics.
The ORPHEUS research project aims to invent new workflows for producing, broadcasting and playing back object-oriented audio content.
Sports broadcasters benefit from a more adaptive scenebased audio capture and rendering, commonly referred to as Next Generation Audio (NGA).
Object-based media is a revolutionary approach for creating and deploying interactive, personalised, scalable and immersive content.
IBC2017: The final instalment of the popular What Caught My Eye series of sessions concluded with producer and social media expert Muki Kulhan scouring the exhibition halls to come up with her best buys for web-broadcasters.
Object-based audio allows for greater personalisation of content but the underlying technology needs to be open to allow for interoperability, writes Roger Miles.
IBC2017: Dolby Laboratories recognised for its 50 years of audio innovation receiving the International Honour for Excellence at the IBC Awards Ceremony.
Since the beginning of TV production, channel based audio mixing has been the norm.
In today’s TV production environment, audio can take two forms: embedded audio and independent audio.
In 2016, the European Broadcasting Union (EBU) updated all of its loudness specifications, except for the core, EBU R128 itself.
Within the ICoSOLE project, different (cost-effective) ways of capturing spatially outspread events are being considered.
This paper gives an overview of the recent experimental services proposed by a group of European Broadcasters exploring the potentialities of a hybrid approach for audio in radio.
For the past three decades, FM broadcasters have been engaged in what have become known as the “loudness wars”,
At the present time, audio technology is leveraging audio over IP technology at the basic network transport level, but is not taking advantage of all the benefits that are possible.
A lot has been written about the techniques and methods employed in creating a stereo mix or mix for music.
The plethora of digital platforms makes information available in a great number of languages, and the expectation of audiences to be able to consume media in their own languages is growing.