Ask the experts - Monitoring
Ask the experts - Monitoring

What are the latest innovations in monitoring?
For both film and broadcast work, in addition to the fact that the picture must be true, without motion artifacts or aliasing, for a lot of applications you can also add that the picture must be processed in real time - less than one frame or one picture in progressive mode – so the main innovations are in the tools associated with the monitor.

Today we have access to a veritable toolbox to display the metadata coming from the camera, such as lens information with focus, focal point and depth of field, as well as embedded audio monitoring, a time code reader, waveform monitors with measurement tools, and vectorscopes or histograms to qualify the video signal. There are also frameline generators of virtual horizons for body-rig operators.

On the side of pure monitoring we now have wireless HD monitors, providing up to 300ft of clear, interference-free, pristine HD pictures in real time without compression or artifacts. The wireless capability allows directors, ADs, DPs, script supervisors and many others to remain near the camera, rather than being tied to a power source away from the action. It is also ideal for live broadcasting and DSNG operations.
 
What are the latest innovations in display technologies?
In the 25 years that Transvideo has been in existence, a lot of new technologies have appeared in the flat panel display domain. The Organic Light Emitting Diode (OLED) is certainly one of the most promising developments for the next five years; the current low brightness displays, which sustain non-reversible damage and suffer overheating issues and a short life span, remain a major handicap for most matrix manufacturers.

The Thin Film Transistor (TFT) technology has continued to improve since its inception, with higher resolution, faster response time, wider viewing angles and now 10 bit matrixes, plus 1024 levels for each colour, which gives excellent smoothness in shadows and gradations.

Today’s most impressive innovations are certainly in the backlight management for TFTs, which are transparent displays. LED backlight generally reduces the power consumption for higher brightness, and allow startup even at very low temperatures down to -40°C. The use of coloured LEDs in the backlight increases the possibility of reproducing more colours. Some displays also use active lighting - thousands of LEDs behind the display with a light modulation that reproduce a low-resolution picture behind the high resolution one; it provides high-dynamic and high-contrast pictures.

Do you need different monitors for studio work compared with location work?  Or for different types of work, eg film vs live sport?
A good field monitor will offer high brightness to work in full sun and a colour calibrated mode to work in a studio environment. It should also be an ‘all-weather’ product with water resistant housing, no noisy fan, and no holes where dust or water can get in. The power must accept a wide range of voltage levels and be protected against wiring mistakes. The picture must have no motion artifacts and be displayed with the shortest processing time to allow focus pulling and fast camera action.

The needs of live sport and film are actually more or less the same – the key features of monitors are real time processing and no motion artifacts together with a high brightness picture to preserve the blacks.
 
What are the key issues to monitor HD on the field?
The key issue here is to have a picture you can trust, with no motion artifacts. To reduce the motion artifacts it is best to use a display showing pictures with the same frame rate as the camera. This is not always the case, as a lot of low end monitors use home theatre processors that display with a variable frame rate from 60 to 70 hz, which means that it is very difficult to determine if the artifacts come from the camera or the monitor. It is important to have native resolution to avoid scaling artifacts, or if we are talking about small screens, then a display that shows details and transitions. A Focus Helper might be useful, especially when using long focal lenses; it must discriminate clearly what is in focus and out of focus. A good test to perform is to shoot some content that includes vertical and horizontal lines and to see if the system processes both identically.

Enough brightness is essential for a lot of outside takes. However, it must also be possible to reduce the backlight brightness enough so that if you are shooting in a dark environment, you do not blast everybody with the light of your monitor! A good hood is often useful for night conditions.
 
What about monitoring for stereoscopic 3D?
The challenge of shooting pictures in 3D is to have a clear view of what we expect on the target screen, and a clear understanding of how to proceed to get it in the best condition for the majority of the audience in the theatre. From our point of view it seems impossible to work without the advice of an experienced stereographer.

The needs of a stereographer to make 3D pictures are very specific and it is why we created the “3DView” monitors. A good approach of the requirements comes from with the work of Alain Derobe, a French researcher, filmmaker and teacher of stereography, with whom we enjoy a good relationship.
 
3DView is a global concept of tools for stereographers. In 2007 we met some stereographers trying to shoot in digital, which was not so easy for them. We designed the 3DView monitors to give them an all-in-one tool allowing them to shoot everywhere without heavy equipment. The conjunction of the 3DView with the development of some methods like “Natural Depth™” from Alain Derobe, allow the audience to be comfortably immersed in 3D without the legendary headaches from the 60’s. The best result we have seen on screen so far is certainly the magisterial work of Wim Wenders on his new 3D film, Pina.

The 3DView family also covers HD transmission. In December 2010 we did three days of live, worldwide Steadicam transmission, with all pictures shot in 3D through the TitanHD 3DView, transmitted by Eutelsat with the technical resources of the RTBF (National Belgium TV). It was a great team success, producing perfect pictures composed live with the 3DView RF monitors.
 
Do I need polarized glasses to use the 3DView monitors?
No. It is simple to explain. We are not in the home theatre or postproduction business, but in making products for those making the pictures.

When you shoot a 3D movie, the WYSIWYG concept (what you see is what you get) doesn’t exist. If you are the stereographer, what you see on a small screen is not at all what you are hired to obtain for the target screen at the theatre or on TV. The stereographer should see an abstract picture to evaluate the global rig settings, the fringes, the far plane separation and the screen plane location. You cannot do that on a conventional polarized display. This is why 3DView uses false colours and other representations.

There is sometime a confusion with the anaglyph term: yes, we can preview the depth with anaglyphic or shutter glasses but the product is not designed for that.
 
Transvideo is very specialized in monitors for the Film Industry, isn’t it?
As mentioned before, the needs of film and broadcast work are not dissimilar.
Our background in the traditional Hollywood film industry has given us some good comportment in design. Basically, products must work when you need them and be rugged enough to last for a long period of time! If you buy an Arri camera, you can expect to use it for the next 20 to 30 years. Our main customers are rental houses, they expect to invest their money in trustworthy companies and products, it is what we give them and what makes our reputation. We service some Transvideo monitors which have been used every day during the past 20 years, though fortunately for us some new video formats are coming on the market to push our first users to replace their products!

We are very close to outside broadcast teams with our field monitors and HD/SD transmission systems. To give you an example, many Japanese broadcasters have had access to our products to compare the performance with what they generally use and to experiment with how we improve their working conditions with the CineMonitorHD. We are also extremely present in the High-Speed digital for scientific, security and advertisement market segments.

The growing stereoscopic market is a good opportunity as TV channels and advertising agencies are really looking at this new media. We are also known worldwide and respected in the Steadicam™ market.

Something you might not know is that a significant part of our turnover comes from avionics, for example the cockpit of the Airbus A380 includes several Transvideo displays - not at all the same style as for filmmaking of course, but with a lot of similarities with the technologies developed for field use in harsh environments.
 

Tags: iss050 | monitoring | transvideo | display technology | tft | led | stereoscopic 3d monitoring | 3dview monitor | N/A
Submitted by N/A Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • LCA - Inteca products at BVE 2015

    LCA - Inteca products at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • PhotonBeard - LED Redhead - at BVE 2015

    PhotonBeard - LED Redhead - at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • NUGEN Audio at BVE 2015

    NUGEN Audio at BVE 2015

  • Phabrix RX series at IBC 2014

    Phabrix RX series at IBC 2014

  • Wohler MPEG Monitoring Series at IBC 2014

    Wohler MPEG Monitoring Series at IBC 2014

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Volicon Products at IBC 2014

    Volicon Products at IBC 2014

  • Volicon at IBC 2014

    Volicon at IBC 2014

  • Wohler DPP at BVE 2014

    Wohler DPP at BVE 2014

  • Wohler MPEG Monitoring at BVE 2014

    Wohler MPEG Monitoring at BVE 2014

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • Wohler Technologies on BroadcastShow LIVE at IBC 2013

    Wohler Technologies on BroadcastShow LIVE at IBC 2013

  • Volicon on BroadcastShow LIVE at IBC 2013

    Volicon on BroadcastShow LIVE at IBC 2013

  • Calrec Callisto at IBC 2013

    Calrec Callisto at IBC 2013

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Bridge Technologies QoE Monitoring with Mobile Videowall Display at IBC 2013

    Bridge Technologies QoE Monitoring with Mobile Videowall Display at IBC 2013

  • Zylight F8 LED Fresnel at NAB 2013

    Zylight F8 LED Fresnel at NAB 2013

  • Bridge Technologies PocketProbe App at NAB 2013

    Bridge Technologies PocketProbe App at NAB 2013

  • Sound Devices at NAB 2013

    Sound Devices at NAB 2013

  • TSL Products at NAB 2013

    TSL Products at NAB 2013

  • TSL Systems at BVE 2013

    TSL Systems at BVE 2013

  • TSL Products at BVE 2013

    TSL Products at BVE 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Oxygen DCT at BVE North 2012

    Oxygen DCT at BVE North 2012

  • RTW at NAB 2012

    RTW at NAB 2012

  • TSL at NAB 2012

    TSL at NAB 2012

  • Qualis at NAB 2012

    Qualis at NAB 2012

  • Digital Nirvana at NAB 2012

    Digital Nirvana at NAB 2012

  • Sonifex at BVE 2012

    Sonifex at BVE 2012

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Pixelution at BVE North 2011

    Pixelution at BVE North 2011

  • Cooke at IBC2011

    Cooke at IBC2011

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Leader at IBC2011

    Leader at IBC2011

  • Murraypro at IBC2011

    Murraypro at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • DK Technology at IBC2011

    DK Technology at IBC2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
Three days to launch a TV station
Neil Hutchins# We go on-air in less than 100 hours is an alarming statement when the studio and control room in question contain no technical equipment whatsoever. But this was the situation that we faced upon arrival at the new Local TV channel in Manchester for the first time as we began to unload the van late on a Thursday afternoon at the end of May, we knew that the station had to go live on Sunday evening, just three days later. And not only did the new channel plan to launch with a live studio show, but it would also have to remain on-air with its own transmission output continuously after that. We have worked on projects with quick turnarounds before, but the speed and scale of this one were quite breath-taking.
Tags: iss104 | aq broadcast | that\'s manchester | tv studio | local tv channel | transmission | Neil Hutchins#
Submitted by Neil Hutchins# Read this article in the tv-bay digital magazine
Lighting fundamentals
Larry Jordan# Lighting is like chess. Simple on the surface yet wondrously complex the more you learn about it. Recently, I was asked to do a presentation on the basics of lighting. So, I decided to share that presentation with you here.
Tags: iss104 | lighting | studio | talent | key light | fill light | back light | set light | Larry Jordan#
Submitted by Larry Jordan# Read this article in the tv-bay digital magazine
Dynamic display revolution!
tv-bay Projection mapping and dynamic video displays have transformed live events and performance art. Blended projection and massive video walls have given event directors the ability to deliver a whole new level of creativity to theatre, music and outdoor events.
Tags: iss104 | projection mapping | dynamic video display | live events | performance art | media server | tv-bay
Submitted by tv-bay Read this article in the tv-bay digital magazine
The production desk finally gets innovative
Kieron Seth# The video switcher (aka vision mixer) is at the heart of all live television, all AV and many a live webcast. But despite its core role, its remained essentially the same concept for decades, consisting of a digital video effects processing unit, matrix switcher and control panel.
Tags: iss104 | video switcher | vision mixer | live television | live webcast | digital vidoe effects | processing | matrix | control panel | Kieron Seth#
Submitted by Kieron Seth# Read this article in the tv-bay digital magazine
CLASS - Where do captions & subtitles live?
Bruce Devlin Its not uncommon to see ability to insert/extract captions/subtitles as part of a tender requirement or product specification. But in a file-based world, what does this mean and where are we inserting/extracting to/from?
Tags: iss104 | subtitles | captions | display | media asset management | broadcast | Bruce Devlin
Submitted by Bruce Devlin Read this article in the tv-bay digital magazine
Are you a trainer? Keeping up to date is vital
Graham Reed When you are a tutor in a training organization, or if you are a lecturer teaching TV production in a university, it can be very hard to keep up-to-date with all that is going on and changing in the world of broadcast.
Tags: iss104 | ittp | industry standards | tv production | university | assessment | Graham Reed
Submitted by Graham Reed Read this article in the tv-bay digital magazine
Dealing with clients
Den Lennie For many clients, the prospect of commissioning a video production leaves one key consideration in their minds and that is: how much is it all going to cost? Particularly for marketing departments or smaller businesses which may only spend a nominal amount of money on advertising. Video production by its very nature involves more personnel and more costs and will likely be inherently more expensive than some graphic design work or print advertising.
Tags: iss104 | video production | advice | tips | post production | business | Den Lennie
Submitted by Den Lennie Read this article in the tv-bay digital magazine
Shoot safe, shoot dynamic
Nick Allen Miles Todays craze for shooting from a UAV or drone is not for the faint hearted. Unless used legally and in very limited situations, its a dangerous way of capturing dynamic shots. Wherever people are involved or height restrictions apply, there are more useful ways of filming safely that deliver a more interesting shot than anything taken from a tripod mounted camera.
Tags: iss104 | shoot | uav | drone | shots | jib | dolly | track | studio | mobile kit | Nick Allen Miles
Submitted by Nick Allen Miles Read this article in the tv-bay digital magazine
Picking the right prompter
Jon Hilton# There is so much choice available today for prompting devices. From phones and tablets to full Broadcast Studios systems and with non-word prompting techniques like Interrotrons becoming popular choosing the best prompting system for your productions needs some serious consideration.
Tags: iss104 | prompter | production | tablet | pc | reading matrix | talent monitors | jibs | cranes | Jon Hilton#
Submitted by Jon Hilton# Read this article in the tv-bay digital magazine
Chasing ratings
Dick Hobbs. As everyone is no doubt aware, the BBCs core structures are being investigated at the moment as part of the renewal of its charter. The political bodies set up to do this are made up largely of anti-BBC people, so we are in for interesting times.
Tags: iss104 | bbc | programme | producer | audience | ratings | market research | Dick Hobbs.
Submitted by Dick Hobbs. Read this article in the tv-bay digital magazine
The evolution of vision mixers
Liam Laminman At the heart of any multi-camera production is a vision mixer or production switcher as some people call them. Its core role is the switching of different sources, primarily cameras, often VTs and sometimes incoming external sources such as remote feeds from broadcasters. Even for non-TV types, thats relatively simple enough to get your head round several different incoming video signals can be switched from one to the next. Vision mixers come into their own when you look at their secondary features of keying graphics, transitions and digital effects.
Tags: iss104 | vision mixer | multi camera production | switcher | camera | vt | video signal | Liam Laminman
Submitted by Liam Laminman Read this article in the tv-bay digital magazine
Streaming graduation
Charlie Watts Graduation is a big deal for students, families and for the degree awarding institutions, and so it has been this way in Portsmouth since 1995. Now twenty years later it should come as no surprise that the University of Portsmouth has elevated the Graduation Ceremony Broadcasting Operation into something so organised that it runs like a refined and well oiled Swiss watch.
Tags: iss104 | live | streaming | graduation | university | portsmouth | broadcating | screen | web | Charlie Watts
Submitted by Charlie Watts Read this article in the tv-bay digital magazine
Looking at the teleprompter
Beth Zarkhosh Talking directly to the camera - a basic fundamental in the world of TV presenting. If youve dabbled, you'll probably know just how hard it is to remember an entire script word for word without taking your eyes away in order to keep things nice and smooth. So, (please excuse the pun) cue the teleprompter.
Tags: iss104 | teleprompter | tv presenter | script | production | studio | Beth Zarkhosh
Submitted by Beth Zarkhosh Read this article in the tv-bay digital magazine
The Lobster - achieving a textural grain
tv-bay Greek director Yorgos Lanthimos is about to debut his first English language feature with The Lobster, which will be in UK cinemas on the 15th of October. We speak to DaVinci Resolve colorist and long time collaborator Tony Ford about the meticulous approach to color grading this dystopian love story.
Tags: iss104 | yorgos lanthimos | the lobster | film festival | post production | film grain | texture | screen | tv-bay
Submitted by tv-bay Read this article in the tv-bay digital magazine
The business case for media asset management
Kevin Usher You could argue that, so far, there have been two stages of commercial justification for asset management systems in broadcasting. First, it was a necessary evil: if broadcasters, production companies and other media organizations wanted to store content as filesat least some of the timethey needed a means of finding it again. Once broadcasters had a comprehensive index to all of their content, and could find clips and programs again quickly, there existed the potential to earn new revenues from them, ushering in the second stage. Video and audio recordings are among the principal business assets of broadcasters and production companies, and making the best use of those assets, by re-using them whenever possible, is simply good commercial sense.
Tags: iss103 | media asset management | systems | broadcast | video | audio | recording | Kevin Usher
Submitted by Kevin Usher Read this article in the tv-bay digital magazine
Tapeless Workflows, MAM and Archive: Back to Basics
Michael Shore The broadcast industrys appetite for file-based workflows existed long before the technology required to implement them was available. With the emergence of cheap capture hardware, the continually decreasing cost of storage and the ever-increasing capabilities of inexpensive computing power, the transition from tape-based to tapeless workflows has finally become a reality. The primary impetus for this shift comes from a long proven economic motivator: its cheaper.
Tags: iss103 | tapeless | workflow | mam | archive | broadcast | technology | Michael Shore
Submitted by Michael Shore Read this article in the tv-bay digital magazine
How to go Over the Top with your video experience
Lorna Garrett Going over the top opens up boundless opportunities. As a viewer, you can watch content on any device you have connected to the Internet without going through an ISP (internet service provider). As a broadcaster you can use OTT to enhance what you already offer, like Channel 4s Box TV service.
Tags: iss103 | garland | over the top | video experience | workflow | ingest | ad recognition | stream | manage | Lorna Garrett
Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
Selling yourself online
Beth Zarkhosh YouTube ; the video sharing website that was founded in San Bruno California in 2005 has quickly become one of if not the biggest, and most prominent websites of the decade.
Tags: iss103 | youtube | online | social media | selling yourself | tips | upload | content | video | Beth Zarkhosh
Submitted by Beth Zarkhosh Read this article in the tv-bay digital magazine
Cue Dick Barton Music
Charlie Watts SOUND... CAMERA...Live Stream Activated...ACTION! RUN VT: This time last year the University of Portsmouth course team and students of BSc Television and Broadcasting were recovering from a mammoth charity fundraising 24 hour broadcast. In hindsight this event helped to convey what the course was capable of, and it created an unforgettable milestone moment.
Tags: iss103 | students | university of portsmouth | studio | kit | learning | skills | Charlie Watts
Submitted by Charlie Watts Read this article in the tv-bay digital magazine
Introduction to FM Single Frequency Networks
Werner Drews Single Frequency Networks (SFNs) are a form of broadcast network design where several transmitters use the same frequency channel to send the same signal. SFNs are usually used for radio and digital TV broadcasting FM, AM and digital radio can be transmitted over SFNs while analog television is more problematic because the multiple signal sources tend to produce ghosting.
Tags: iss103 | 2wcom | frequency | fm | am | digital radio | sfn | transmitters | Werner Drews
Submitted by Werner Drews Read this article in the tv-bay digital magazine
The IP revolution in television is only the beginning
Simen Frostad The fundamental change brought about by the delivery of video content via IP is perhaps the most significant development in the history of televised entertainment because it allows the viewer for the first time to shape the viewing experience. Time, in the sense of the linear delivery of channels, is dissolved, and possibly the concept of channels themselves will also dissolve. Viewers can store, cache and play back video when they want, and experience it at various grades of quality. In a sense the viewer can also be the curator of the service at the point of delivery.
Tags: iss103 | bridge technlogies | ip televsion | broadcast | 4k | production | Simen Frostad
Submitted by Simen Frostad Read this article in the tv-bay digital magazine
Distribution in the UHD Era
Paul Briscoe Once upon a time, there were few broadcast TV standards. Each used its own regional image formats, color encoding scheme and sound and vision modulation standards. High-power over-the-air (OTA) transmitters broadcast the signal on internationally coordinated and regionally allocated radio frequency (RF) channels, making it easy for viewers to tune in programs. It was a robust model that forever shifted the entertainment paradigm. The upstream technologies quietly evolved from analog to digital, and home TV sets reached the performance limits the standards allowed. This was a simple, stable ecosystem, based on a daily programming schedule of shows and monetized by interstitial soap commercials. Life was simple, and people were happy.
Tags: iss103 | distribution | delivery | uhd era | tv standards | image formats | hdtv | technology | Paul Briscoe
Submitted by Paul Briscoe Read this article in the tv-bay digital magazine
SDV - Shaping the Next Generation of Linear TV Service Offerings
Lionel Bringuier Software-defined video (SDV) solutions are shaping the next generation of linear TV service offerings for both content distributors and content programmers.
Tags: iss103 | elemental | sdv | linear tv | msnbc | software-defined | live to VOD | Lionel Bringuier
Submitted by Lionel Bringuier Read this article in the tv-bay digital magazine
UHD: a long road travelled
Julian Fernandez Theres no denying it, Ultra HD (UHD) is impressive and the clarity of image is captivating, but its going to take a while for UHD to become mainstream in the home. A fairly expensive large screen TV is a must to get the best picture quality and since the majority of the world isnt yet watching television in HD, UHD still has a long way to go. However, its an exciting technological innovation and solutions providers and broadcasters have to adapt to ensure that they are UHD-ready. It was no surprise when on-demand platform providers set the pace for UHD delivery last year. Netflix was the first to launch its UHD service with season two of its popular House of Cards series; Amazon followed suit at the end of 2014 and Sky and DirectTV are also now commissioning UHD content.
Tags: iss103 | uhd | mam | ultra high definition | tedial | media organisation | Julian Fernandez
Submitted by Julian Fernandez Read this article in the tv-bay digital magazine
CLASS - LEAN Mean Versioning Machine
Bruce Devlin Today, there are numerous ways to access and consume media, be it through UHDTVs, smartphones, tablets or other screens, devices or services. Because there are so many outlets and even more bytes of information as a result, content owners and broadcasters are working incessantly to deliver top-quality content at record speeds. By reversioning, repackaging and repurposing media, they are able to meet and stay ahead of consumer demands.
Tags: iss103 | bruce devlin | bruce\'s shorts | dalet academy | education | acquisition | uhdtv | Bruce Devlin
Submitted by Bruce Devlin Read this article in the tv-bay digital magazine
4k storm chasing
Alister Champman 15 years ago I got my first big Broadcast Commission. It was to produce a 1 hour special on Tornado Chasing vacations. Yes, people pay to go on storm chasing holidays. In 1999 this was a new thing, today its a booming business.
Tags: iss103 | storm chasing | 4k | filming | extreme weather | hurricane | documentary | footage | Alister Champman
Submitted by Alister Champman Read this article in the tv-bay digital magazine
Back to the future
Dick Hobbs. I was recently talking to the estimable James Gilbert, who runs the equally estimable graphics and automation specialist Pixel Power. He said something that made me think. We were talking about scalability, and he said that it works in two directions. There is the sort of scalability that we all readily understand, and which is so beloved of marketing copywriters.
Tags: iss103 | iwatch | apple | technology | ultra hd | las vegas | Dick Hobbs.
Submitted by Dick Hobbs. Read this article in the tv-bay digital magazine
The Tour June 2015 review
tv-bay The KitPlus Tour once again attracted record registrations and visitors at MediaCityUk and Shoreditch in June. The tour gives people the chance to see newly released kit from NAB (Las Vegas) for the first time but more importantly to spend quality time with manufacturers learning about new technologies.
Tags: iss103 | the tour | kitplus | kit | manchester | london | exhibition | seminar | workshop | industry | video | tv-bay
Submitted by tv-bay Read this article in the tv-bay digital magazine
How we got live streaming to work for us
Larry Jordan# We originate three hours of live programming from our studios every week. In fact, everything we do is designed for live web streaming. For the last several months, we have been exploring a number of options that would enable live video streaming with live audio mixing and support an unlimited number of audio and video sources with a scalable architecture so that as our audience grows our stream will grow to support them.
Tags: iss103 | online | streaming | live web | production | webcasts | output | Larry Jordan#
Submitted by Larry Jordan# Read this article in the tv-bay digital magazine
Keep memories safe at RWF
Martin Bennett RWF World founders Gwynne Roberts and Sadie Wykeham have embarked on a 30-plus year mission with a single purpose: to tell the world about human rights violations through the eyes of its survivors. Through the course of their journey, these truth-seekers have informed the world of late 20th-century injustices and genocides through a number of groundbreaking stories.
Tags: iss103 | rwf | films | documentary | journalism | iraq | kurds | archives | Martin Bennett
Submitted by Martin Bennett Read this article in the tv-bay digital magazine
How HEVC technology is revolutionizing field-based broadcasting
Eli Garten High-Efficiency Video Encoding (HEVC), also known as H.265, is the subsequent generation of H.264 and tapped to be the next widely adopted standard for video compression. As with any MPEG evolution, the new standards goal is to make compression more efficient and allow for reducing OPEX and CAPEX in various video delivery applications. With the introduction of the last major compression innovation, H.264, video applications experienced roughly half the data rates of the predecessor MPEG-2. With HEVC, the industry is predicting a similar ambitious result: achieving half the data rates of H.264. In only its first generation of development, HEVC is already providing data efficiencies of up to 40-percent while retaining the same image quality. As the codec continues to evolve and the broadcast market approaches more widespread adoption of 4K resolutions, there will be a strong push to achieve the 50-percent efficiency mark.
Tags: iss103 | hevc | h.265 | broadcasting | offsite | broadcasting | technology | field based | Eli Garten
Submitted by Eli Garten Read this article in the tv-bay digital magazine
Advertising - How to get more customers
Den Lennie Its a popular myth that if you design your website with the correct keywords and optimise your page for search engine optimisation, you will get onto the first page of Google.
Tags: iss103 | den lennie | advertising | seo | customers | tips | business | pay per click | Den Lennie
Submitted by Den Lennie Read this article in the tv-bay digital magazine
An end-to-end solution
Kevin Shaw BBC Studios and Post Production (BBC S&PP), a commercial subsidiary of the BBC, provides an end-to-end solution for what we refer to as post-post-production. Our services include preservation of media in our Front Porch DIVArchive and an end to end service that includes digitization of film and tape, quality control, technical review, compliance editing, restoration and remastering, transcoding (including viewing copies and proxies), file delivery, and hosting.
Tags: iss102 | bbc | s&pp | post production | Front porch DIVarchive | Kevin Shaw
Submitted by Kevin Shaw Read this article in the tv-bay digital magazine
Why fast production storage is just not enough
Martin Bennett UHD, 4k, 6k, 8k...the proliferation of high-resolution formats and files along with the growing number of skillsets that can collaborate on projects push storage bandwidth and capacities beyond their limits. If we just take a look at the potential storage requirements for a single 8K raw digital cinema format then we can kiss goodbye to 86,000 GB per hour! Then add to this the predicted increase in general video content IP video traffic is expected to be 79% of all consumer internet traffic in 2018 - this continual increase in media will test the storage strategies of all facilities, big and small.
Tags: iss102 | production | storage | ip video | traggic | media | Martin Bennett
Submitted by Martin Bennett Read this article in the tv-bay digital magazine
High-speed archiving in a high-res world
Lee Sheppard SGL has partnered with Avid for the past 11 years and the companies continue to deliver solutions that are required by today's modern broadcast facilities. SGL FlashNet, the engine that drives Avid Interplay Archive, provides customers around the world with an integrated MAM/PAM archive solution. Built around a clustered architecture, which allows virtually infinite scalability, FlashNet provides Avid users with an archive regardless of size, from the smallest TV station to the largest network operation.
Tags: iss102 | sgl | flashnet | archive | high speed | high res | Lee Sheppard
Submitted by Lee Sheppard Read this article in the tv-bay digital magazine
Advantages of SSD Hybrid Solutions in Post Production Environments
James McKenna There's a plan for everything in life. Think on it, scope it out, ask around and come up with a consensus, you'll be prepared when it happens. Like post production for example - you're bidding on a job that's acquiring in 6K for a UHD DPX deliverable, and you want the whole deal, edit through delivery, so you make a plan. Transcode to Pro Res HD for edit, up-convert to 6K for finishing and grading, render out to UHD DPX for delivery. Well done, it's a good plan. But wait - the colorist wants to work in DPX, and offline/online sounds like old-tech to the young producer, and he wants to run 6K raw throughout. The best laid plans are thwarted thusly. The new plan may be to rebuild the facility from scratch with fatter interconnects, new workstations and bigger, faster storage.
Tags: iss102 | ssd | post production | solutions | hybrid | delivery | storage | James McKenna
Submitted by James McKenna Read this article in the tv-bay digital magazine
The importance of storage
Larry Jordan# "What's the best computer to edit video?" It's a great question - it's just the wrong question. Yes, CPU speed is important and the Internet is buzzing with the latest specs on GPUs. But, today, virtually any currently shipping computer is more than adequate to edit video; even 4K.
Tags: iss102 | storage | cpu | 4k | gpu | codec | exabytes | Larry Jordan#
Submitted by Larry Jordan# Read this article in the tv-bay digital magazine
#TVFUTURES
Callum O Leary I made it! So here we are, the last feature to write for Kit Plus and the end of my time as a BSc (Hons) Television and Broadcasting student at the University of Portsmouth. I remember my first year at the University fondly. Lecturers and students told me that it would fly by and however cliched it sounds...it has.
Tags: iss102 | university of portsmouth | creative and cultural industries | ccitv | Callum O Leary
Submitted by Callum O Leary Read this article in the tv-bay digital magazine
The future of storage is now affordable and flexible.
Ed Harper As the 10th anniversary of the Avid ISIS shared storage product line approaches this autumn, Ed Harper, senior product manager in the Avid ISIS collaborative storage solutions group, looks at how the company continues to innovate its flagship, flexible and scalable storage solution.
Tags: iss102 | avid isis | storage | solution | future | media | Ed Harper
Submitted by Ed Harper Read this article in the tv-bay digital magazine
Every election counts
Charlie Watts Let me set the scene. In September 2014 we were contacted by ITV Meridian News and asked if we would be interested in helping film declarations from the Hampshire and Sussex constituencies. It was just before the start of the new academic year, and we figured, sure, that's months away, why not! And so begun the slow build up to what we believe was a U.K first, with Meridian arranging to work with HE institutions in the South of the country to gather a wider and more comprehensive recording of election counts.
Tags: iss102 | election | university of portsmouth | coverage | news | polictial | local news | Charlie Watts
Submitted by Charlie Watts Read this article in the tv-bay digital magazine
The holistic approach to fighting piracy
Rory O Connor Now more than ever, consumers are driving the way that their content is delivered and consumed across platforms. Content owners increasingly need to be able to respond and adapt in an agile manner to deliver quality content across every consumer device from the day they hit the market.
Tags: iss102 | piracy | security | content | VOD | Rory O Connor
Submitted by Rory O Connor Read this article in the tv-bay digital magazine
Combining on-site and cloud storage
Alan Hoggarth Technology and profitability have an intimate and often complicated relationship. A new invention may open up the possibility of new forms of business, or greater efficiency in existing businesses. Sometimes the invention may be a response to a clear need necessity being the mother of invention. But on other occasions a technological advance may have good theoretical applications but be economically impractical to implement.
Tags: iss102 | on site | cloud | storage | archive | alto | Alan Hoggarth
Submitted by Alan Hoggarth Read this article in the tv-bay digital magazine
Automate your marketing system
Den Lennie As I discussed in the previous issue building a relationship with your potential customer is vitally important, as this gains trust and allows you to then present a buying option. Ive also spoken about our free report that we offer to visitors, and this next chapter is all about how to create that report and how to set up your emails so that they are automated. When you know how, its super easy!
Tags: iss102 | marketing | leads | cameraman | content | advice | industry | expert | Den Lennie
Submitted by Den Lennie Read this article in the tv-bay digital magazine
Peli 1095 Reviewed
tv-bay Any owner of a laptop, or in my case a Mac Book Pro, leading a busy life needs to look at how their machine will be safety transported from one location to another.
Tags: iss102 | peli case | 1095 | hardback | storage | review | tv-bay
Submitted by tv-bay Read this article in the tv-bay digital magazine
Crossing the TV Divide
Kieron Seth# For years, Reels in Motion has been associated with producing high quality live events and corporate video.
Tags: iss102 | corporate | tv production | hd camera | footage | sync | record | Kieron Seth#
Submitted by Kieron Seth# Read this article in the tv-bay digital magazine
Is working for free, training or a pathway to paid work?
Graham Reed I suspect like a lot of KitPlus readers I often have a look at a websites that advertise jobs, but mainly un-paid. I have frequently thought that these job offers are really just trying to get free or cheap labour for the benefit of the director/producer.
Tags: iss102 | ittp | training | industry | students | tv film industry | Graham Reed
Submitted by Graham Reed Read this article in the tv-bay digital magazine
Those pesky scientists
Dick Hobbs. This month's picture is of something I was given on a visit to the Grass Valley camera factory in Breda, maybe 10 years ago. I think it is a thing of beauty, which is why it sits in pride of place on top of the wine cabinet.
Tags: iss102 | 4k | future | hd system camera | grass valley | Dick Hobbs.
Submitted by Dick Hobbs. Read this article in the tv-bay digital magazine
DIY Camera dollies, flatbed vs T frame and is it worth it?
Alasdair Brenninkmeijer As filmmakers we are creatives and sometimes we see a simple product as a waste of money, saying "I could make that." Sure enough with enough time, maybe we could, but is it really worth it? Lets take a camera dolly for example. The challenge is to create something to smoothly move the camera from one point to another, sounds simple right?
Tags: iss102 | dolly | flatbed | t frame | diy | filmmaker | equipment | camera | Alasdair Brenninkmeijer
Submitted by Alasdair Brenninkmeijer Read this article in the tv-bay digital magazine
A soft shift in Monitoring Solutions
Craig Newbury The technology supporting the media industry is evolving at a furious pace, making system flexibility a critical characteristic of any new equipment or infrastructure investment. Broadcasters and other media companies must adapt quickly if they are to benefit from changing content creation, management, and delivery models, but they can't afford to purchase solutions that meet only immediate requirements, and not necessarily those of the future.
Tags: iss102 | monitoring | software | solution | dolby | infrastructure | Craig Newbury
Submitted by Craig Newbury Read this article in the tv-bay digital magazine
On-camera monitors for today and tomorrow
Paul Issacs Image quality is a central concern for users of any video product, so monitoring should be one of the foremost considerations for cinematographers and videographers. Along similar lines, the ability of consumer televisions and a range of personal devices to display increasingly better imagery has led to higher expectations of quality.
Tags: iss102 | monitoring | image quality | cinematographers | recording | Paul Issacs
Submitted by Paul Issacs Read this article in the tv-bay digital magazine