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.