Ask the Experts: What Workstation?

Mike Leach TV-Bay Magazine
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Investing in a new computer workstation or high end PC for use with digital video/or and media production can be a daunting task. With so many different manufacturers to choose from, and with a practically endless list of components to select from customers can be left with literally millions of possible choices. Scary if you aren’t a hardware guru. What make/model processor, how many cores, Intel or AMD, how much RAM, what graphics card to choose?
Without the correct advice people could invest in totally the wrong piece of hardware.
As a hardware specialist myself, I often get asked by perspective clients what type of computer system would suit them. There isn’t a straight forward answer as one cap doesn’t always fit all “Jack of All, Master of None” is a phrase I quite commonly use. It really does depend on your workflow, the types of software packages you use, and most importantly the types/size/complexity of projects that you undertake.
If you are the next James Cameron, then realistically you won’t get very far with a budget £1000 workstation; however if you specialise in smaller corporate presentations/videos then this level of budget would be pretty accurate.
I get asked many questions on a daily basis, some can be painfully obvious but others require quite a complex/detailed answer so I’ve summarised the most commonly asked ones below:
What is the best processor for my needs?
The processor (or CPU as it is more commonly known) is the brain of the computer system. It is responsible for everything the computer does, from basic tasks like playing solitaire, browsing the internet to more complex tasks like digital video and broadcast video editing. As the complexity of these tasks increase, it is important to take into consideration that they will have an increasing demand on the CPU (so the bigger/better the processor you have, the faster and easier you can work).
A CPU typically has four main technical characteristics that need to be considered when purchasing. These are:
  1. Frequency/clock speed (represented in GHz)
  2. CPU Cores (with dual, quad, six and even eight core models now regularly available)
  3. Memory/Cache
  4. System Bus (known as the interconnect or older front side bus)
Typically the higher the number the faster the CPU, and better suited this would be to digital video workflows.
Intel has the best line up of CPUs at the moment, with their Core i7 and Xeon models making the most appropriate choice for digital video professional. The Intel Core i7 3770 offers great price/performance/value in the entry level space. This quad-core processor is perfectly suited to the lesser demanding video workflow, whereas the more powerful six-core Intel Core i7 3930K offers increased flexibility thanks to 50% processing cores. The range topping Intel Xeon E5 series is available with up to eight-cores and would suit the most complex of user environments (and is available in either single or dual processor configurations)
NB: It is worth noting that Intel Core i7 CPUs are only supported in single CPU configurations, whereas the higher end Intel Xeon CPUs are available in Single/Dual or even Quad-CPU configurations with full support for advanced memory features like ECC (see later memory comments)
What motherboard do I choose?
If you are planning on building your own system then choosing the right motherboard is very important. Very much like the chassis on a racing car it is the single most important component that allows your main component set (processor, memory, graphics etc) to work well with each other. Choose the wrong motherboard and even the best CPU, Memory, and Graphics could struggle to perform well.
If you buy a custom, pre-built or pre-certified solution (from a dedicated system manufacturer like Workstation Specialists for example) then the best motherboard would already be chosen for you so this wouldn’t be an area of concern.
Always look for reputable manufactures like Asus or Intel as they typically offer a more complete motherboard solution for your needs. The gamer orientated solutions might look nice on paper, but are probably not the best solution for video professionals. Look at workstation/enterprise specific models that offer higher levels of reliability and a wider area of expansion options.
The best motherboard should have the correct number of expansion slots/ports and features to suit a user’s working environment. This would include high speed USB2.0, USB3.0 and FireWire for external hard disk drives, or PCI-Express expansion slots for add-in caption/media output cards. Some motherboards are now even shipping with Thunderbolt ports so these could be considered too.
Top Tip: Choose a motherboard that has plenty of growing room, as you never know where the future might take you.
How much memory will I need?
This can be a tricky question to answer as everyone’s requirements are different. Depending on the work you do, how many applications you have open at once and the overall complexity of the work you undertake memory requirements can vary from 4GB to 48GB+.
Realistically though, memory is relatively cheap in comparison to other components, so I would always recommend to go with as much memory as you can afford; and aim to get as many Gigabytes (GB) as you can without populating all of your available memory slots (this would then allow you to easily upgrade further in the future my simply populating these remaining/empty memory slots).
Entry level systems typically have just four memory slots, with a maximum supported memory configuration of between 16 & 32GB so not populating all available memory slots can be tricky; however higher-end systems have eight or even sixteen memory slots so large capacity 64GB+ configurations will not break the bank. It is important to note that as your memory count increases you’ll need to consider the benefits of Error Correction Code (or ECC as it is known) which is only supported on higher-end Intel Xeon CPUs. Memory crashes can be costly and ECC give you a much more reliable memory sub-system in your workstation.
You can never have enough memory, and with the modern digital video workflow now consisting of not just one, but an ever increasing number of individual applications (all open at the same time) it is becoming more and more important to have the right amount of memory in your system. Software applications like Adobe After Effects or Photoshop love RAM and the more you have the better.
I would recommend you choose a minimum of 16GB to give yourself headroom, but always look at 32GB+ if you regularly work high definition and/or stereoscopic projects.
Top Tip: Memory is cheap, so always check out the next memory option above your budget as the additional cost to go from 32GB to 64GB (as an example) is likely to cost less than you think.
What graphics card do I need?
The graphics card has changed roles over recent years. It is no longer classed as a display adaptor but now a co-processing device too.
Typically the role of the graphics card was to plug your monitors into it. This allowed you to connect a number of monitors (typically 2+) into a computer and make multi-application workflows more pleasurable to work with. If you’ve ever used a single monitor configuration, then upgraded to a dual (or even triple) monitor configuration you’ll know what I’m talking about and will appreciate the benefits of having the extra desktop real-estate. They don’t just look cool, but multi-monitor workflows are more productive, creativity flows that little bit easier and you can see real-time outputs of your projects on a number of different screens.
Now since the release of Adobe CS5.5, the graphics card has changed roles slightly. Modern graphics cards contain a GPU (Graphics Processor Unit) on board the device itself. This Graphics Processor Unit has a number of GPU cores, dedicated GPU memory and on board GPU cache (very much like a CPU system) so it can operate as it owns co-processor resource inside the computer itself. Using this GPU as a co-processing device is nothing new, as more specialist industry sectors like science, engineering and education have been using the GPU for compute tasks for years but since Adobe released the Mercury Engine powered Premiere Pro back in release 5.5 it change how modern video projects can be completed. Since its release a number of other ‘key’ industry applications have become GPU aware setting a trend with how the industry is moving forward.
Unlike a CPU that has 6 or maybe 8 processing cores a modern GPU has over 1,000, so performance gains for highly parallel software tasks (like digital video) can be considerable (some as much as 100x over a CPU).
With this in mind, the graphics card is no longer an afterthought component, just chosen to ‘display graphics’. It needs to be a highly prioritised component that is chosen to match the software/projects that you work with. Graphics cards from NVIDIA are the best choice, with high-end NVIDIA GeForce GTX cards a lower cost introduction to the ‘GPU World’; however Professional Workstation Class NVIDIA Quadro graphics cards are the recommended/professional choice as these are industry certified for use with a wide variety of software applications and extensively tested in harsh production environments.
For the most complex of digital workflows the use of multi-GPU workstations is best supported with NVIDIA’s Maximus Technology. This uses a dedicated lower end NVIDIA Quadro graphics card to display graphics, paired with a more powerful ultra-high end NVIDIA Tesla GPU (or a number of Tesla GPUs) for the GPU compute tasks. This allows for seamless interaction with the most complex of 2K + 4K projects without any load being lifted by the CPU or main graphics card (so you can easily work with other applications alongside).
Top Tip: Stick with NVIDA Maximus Certified solutions for the best ‘future proofed’ investment
What hard drives do I need?
Hard drives are obviously important, but are available in a wide variety of different configurations. Internal, External, SATA, SAS, SSD to name a few.
It is not just a case of what drive do I need, but how many drives, and in what configuration, and what technology (as it is recommended you have different types of drives for different purposes inside the system). Stick with drives from reputable manufacturers like Seagate or Western Digital (platter) and Intel/Crucial/PNY (for SSD) and you can’t go far wrong.
Rather than get bogged down with the technical aspect of hard disk technology, it is best to translate this into what you need to know for digital video professionals. Essentially you need 3-4x main hard disk types for the majority of work you undertake, and how you to plan out your projects. These are listed below: -
  1. Operating System/Boot Disk – This is where you install all of your operating (OS) files and installed application stack (Adobe, Microsoft, Avid, and Sony etc). This drive needs to be fast, (ideally quiet) and large enough to provide future growth (as who knows how big the next release of your chosen video software suit will be). Solid State Drive (SSD) is best and a minimum of 200GB is advised. Drive sizes of up to 600GB exist, but these larger capacity SSDs typically hold a premium price tag that could be better spent elsewhere in the system.
  2. Application Cache/Scratch Disk – This is where your video application cache/project data is temporarily stored and the use of a dedicated separate hard drive for this task allows for performance to be maximized. Solid State is the obvious choice here (as it is so much faster); however if budgets are tight a standard 7,200rpm platter based drive can be sufficient. Dependent on the number of applications you work with (as they can all share this same scratch disk drive) anything from 120GB upwards is best
Top Tip: Prices of high-end SSDs are falling all the time. They are no longer classed as a luxury item so upgrade your hard drives to SSD today and see the performance benefits for yourself.
  1. Project/Data Storage – This is where you will hold all ‘Live’ project data locally to the workstation/computer. These files are much larger in size (with size increasing with project resolution/complexity) and need to be both fast, but much larger in size to that of the other drives in your system (Terabytes and not just Gigabytes). The use of standard SATA based hard drives is most common here, and large capacity 7,200rpm (platter rotation speed) 2TB+ drives will not break the bank. Faster 10,000rpm SATA drives are also available up to 1TB in size.
  2. External/Archive/Backup – These drives do what they say on the tin. They are used to backup, store, archive projects ‘away’ from the workstation allowing the main project/data storage to be freed up for live project tasks. Speed of these drives is not massively important so standard 7,200rpm SATA based drives connected over FireWire of USB3.0 is sufficient. Data archive/backup is a separate discussion on its own so for anything larger than a single user studio environment please consider dedicated automated backup/archive solutions.
NB: To work with high resolution, uncompressed and stereoscopic projects you’ll need both capacity and speed. The use of a number of data storage drives, configured in a performance RAID array is the best way forward here. High speed RAID 0, with 4+ drive configurations (8TB) are recommended for modern video professionals (with faster, higher capacity solutions tailored for specific client needs).
What is RAID, and will I need it?
RAID stands for redundant array of independent disks, and is basically the use of a number of dedicated hard disk drives to increase hard disk performance, provide levels of redundancy (to cover data loss in the event of a hard disk drive failure) or both.
RAID can be configured in a number of different states that include RAID 0, 1, 0+1, 3, 5, 5+0, 6, 6+0, and JBOD. The use of RAID in a modern digital video workstation is very common, and configurations of RAID 0 (for performance), RAID 1 (for redundancy) or RAID 0+1 (Performance + Redundancy) are most popular.
If your projects are regularly edited in uncompressed format, or you need to play back completed projects in high resolution (1K+) then the need for RAID 0 (or a Striped RAID array as it is also known) with a minimum of 4x hard disk drives is highly recommended. This type of configuration will provide 4x the capacity, plus up to 4x the performance of a single standard alone drive; however as data is ‘striped’ across all hard drives if you were unlucky enough to experience a single physical hard drive failure you would lose the contents of all 4x hard disk drives (this is where your archive/backup drives play their role).
I would always recommend the use of a dedicated hardware RAID controller (to manage and control the RAID array) plus the use of enterprise class ‘RAID edition’ hard disk drives (that are designed to operate in high performance RAID configurations) for maximum system performance and reliability.
What operating system is best?
This might see a fairly trivial question, but you’d be surprised how many people fall at the last hurdle and make what should be a great computer workstation a bit of a dogs dinner, by choosing the incorrect operating system.
Always stick with the professional/business editions from Microsoft (PC platforms only of course) and it is 64Bit all the way (you’ll need 64Bit to address more than 4GB of available system RAM). Check out what is certified/recommended by your main software applications (Adobe, Avid, Grass Valley, and Sony etc) and always follow the herd, and never be the guinea pig. Time is expensive and you’ll find software ‘bugs’ very hard to diagnose, report and resolve quickly (especially if you have very few people on the same operating system platform as you). Microsoft Windows 8 is a great example here.
Make sure you always apply the very latest security/service packs and bring the operating system fully up to date before you start to install any video applications. This might sound like hard work, but is time well spent at the start, with save countless hours later on
Top Tip: Microsoft’s downgrade rights allow you to purchase Windows 8 with a new workstation today, downgrade and run (fully licenced) Windows 7 for as long as you need to, then move over/back to Windows 8 at a later date; all for no additional cost.
What warranty package is included?
After sales, service and support is generally only experienced once you have a problem so worth thinking ahead before the unexpected happens.
It is worth noting that not all hardware warranty packages are the same. Is it engineer on-site, parts on-site, return to base, collect and return, 1 year, 2 years, 3years or more? What is the response time, what parts are covered, is it labour only in the 2nd and 3rd years? Do they offer solution/software assistance? (Often only offered by the more specialist suppliers), or a mixture of all the above.
Time is money, so any down time (however caused) can be costly. It is worth spending a few minutes to read warranty small print to make sure that you are covered should the unexpected happen.
About the author
Mike Leach is a devilishly handsome (and not the slightest bit modest) experienced IT professional working as a Systems Specialist for UK based computer systems manufacturer ‘Workstation Specialists’.
Comments and opinions in this article are his own and may not represent Workstation Specialists’ positions, strategies or opinions.

Tags: iss073 | workstation specialists | high end pc | ask the experts | guide | buying | processor | Xeon | graphics card | NVIDIA Maximus | top tips | 64 bit | Mike Leach
Contributing Author Mike Leach

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The Ongoing Evolution of Subtitling Technology
Dean Wales As a subtitling technology developer and manufacturer we’re currently and frequently hearing remarks along the lines of us ‘having it easy’ at the moment. This has typically spun out from the fact that there hasn’t been any really significant and therefore demanding technology shifts in the industry that have affected us for a while.
Tags: iss131 | captions | subtitling | ott | speechmatics | live subtitling | live subtitles | Dean Wales
Contributing Author Dean Wales Click to read or download PDF
Artificial Intelligence and Economics
Dick Hobbs - new It’s May, so it seems inevitable that this month’s column should be a bit of a reflection on NAB. And it will, in due course. But first, some news which I think is interesting. Cisco, the IT giant, is selling off its video software solutions business. It is being bought by an as-yet unnamed new company, backed by venture capitalist Permira Funds.
Tags: iss131 | AI | dejero | evs | sky news | xeebra | state of the nation | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
The Pitfalls of Online File Sharing and Sending Services
Mike Nash Easy-to-use, readily-accessible, and consumer-oriented, online file sharing platforms such as Dropbox and Google Drive are, to end users, a pleasant replacement to older file transfer methods such as FTP. FTP is complex to use and requires IT intervention to make almost any change. The pain associated with FTP, which was developed in the 1970s, is one of the factors that opened the door for the rise of online file sharing services in the workplace.
Tags: iss131 | ftp | signiant | efss | dropbox | google drive | ftp | ofss | media shuttle | Mike Nash
Contributing Author Mike Nash Click to read or download PDF
Security, Identity and Privacy
Bruce Devlin - new Put your hand up if you have more than one online-identity. Keep your hand up if the adverts for your latest online purchase follow you between identities as you surf the web. You can now let your hand fall into your lap because adverts that follow you indicate algorithms that have merged your multiple identities into the one and only you.
Tags: iss131 | class | Security | Identity | Privacy | gdpr | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
Opting In or Opting Out
Peter Savage 2 Peter Savage, CEO of Azule, explains whether you should opt in or opt out of the current red tape nightmare facing businesses large and small.
Tags: iss131 | azule | gdpr | consent | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
How to shoot the perfect lighting mix
Alan Ipakchian Advances in high-quality LED lighting over the past couple of decades might be one of the best things that’s ever happened to broadcast and cinema production. Compared to traditional tungsten fixtures, LED lights offer powerful operational and financial benefits from longer life and lower energy bills to brighter, more consistent light and greater control over color temperature. LEDs generate much lower heat and are relatively cool to the touch, meaning they can be used in much smaller rooms and studios without sweating out the talent and crew or damaging property. Plus, compared to traditional tungsten bulbs, LED lights are virtually maintenance-free and can deliver tens of thousands of hours of lamp life.
Tags: iss131 | litepanels | led | lighting | 2 person interview lighting | Alan Ipakchian
Contributing Author Alan Ipakchian Click to read or download PDF
Tips and Tricks to Giving Sci-Fi a New Look
Mathieu Marano From Terminator to Blade Runner, Alien, and even E.T., science fiction is a genre that will never fail to capture an audience’s imagination. It’s also a genre that encompasses so much more than just space crafts or time travel: frequently providing filmmakers with a platform from which to not only highlight social and political issues, but also explore innovations in the world of filmmaking itself.
Tags: iss131 | sci-fi | blackmagic design | vfx | resolve | 4k | cinemadng | davinci | ursa mini | Mathieu Marano
Contributing Author Mathieu Marano Click to read or download PDF
Slow Motion Video Techniques
Phil Vinter Well, those kinds of higher frame rates still pretty much belong to the big guns. The Phantom Flex will give you 2,000 frames a second at ultra HD or 1,000 fps at 4K. It produces truly stunning images, but at a price that is beyond the reach of all but those with the biggest budgets. The camera retails at a cool £100,000 (I’ll have three please) with a daily hire out charge of around £3,000 (including lighting and a technician). IDT’s OS series cameras produce equally high quality images at a cheaper price, but you’re still talking tens of thousands.
Tags: iss131 | slo-mo | phantom | idt | fs7 | fs5 | rx10 mk111 | hfr | Phil Vinter
Contributing Author Phil Vinter Click to read or download PDF
Broadcasting Indoor Sky Diving
Daniel Harker Barnes When you say you’re broadcasting skydiving, there are two types of reactions. One is the creative, who’ll say something along the lines of “Wow. Those shots must look great” and other is the engineer who’ll say “That must be a real hassle to get all the infrastructure in and secure.”
Tags: iss131 | sky diving | ally adams | roaming camera | Daniel Harker Barnes
Contributing Author Daniel Harker Barnes Click to read or download PDF
NAB is all about people
John Smith -new The relative success of NAB is down to people. The individuals we meet, the relationships we make and renew with customers and the desire to work together to develop a technology solution to any given challenge.
Tags: iss130 | media links | nab | mdp 3020 | md8000 | John Smith -new
Contributing Author John Smith -new Click to read or download PDF
TV Futures, Tales on Location
Georgia Thirtle If I think back to last May, I was just finishing my second year at the University of Portsmouth, studying Television and Broadcasting, and winding down for the summer. Then out of the blue I got a message from my course leader, saying I might be getting a call from someone who was a location manager working for Raider productions, you know, the production company behind the upcoming Tomb Raider film, I mean, what!?
Tags: iss130 | portsmouth university | tomb raider | cci tv | ccitv | Georgia Thirtle
Contributing Author Georgia Thirtle Click to read or download PDF
Transforming asset management and monetization
Chad Hamilton FremantleMedia is one of the largest global television-production companies in the world — with one of the biggest and most valuable catalogs. We operate in 36 markets, creating, producing, and distributing content across traditional TV and digital platforms at a rate of more than 10,000 hours of programming per year.
Tags: iss130 | freemantlemedia | core | wazee | Chad Hamilton
Contributing Author Chad Hamilton Click to read or download PDF
Grand slam IPTV and digital signage platform
Joe Walsh Kauffman Stadium in Kansas City, Missouri, is home to major league baseball’s Kansas City Royals. Built in 1973, “The K” has a proud baseball legacy, and goes down in history for winning two World Series championship titles; one in 1985 and another in 2015 — exactly 20 years apart. The most recent win brought a resurgence of baseball fever to the stadium, hosting more than 2.7 million fans during its 2015 winning season.
Tags: iss130 | iptv | vitec | eztv | Joe Walsh
Contributing Author Joe Walsh Click to read or download PDF
The shining star of Dancing On Ice
Rod Aaron Gammons Lighting is an incredibly important part of any TV production, and it can make a huge difference to what is seen on-screen. If the right lights are used in the right way, it can create a mood, set a tone and convey a certain atmosphere.
Tags: iss130 | rotolight | led lighting | anova pro 2 | chris yacoubian | Rod Aaron Gammons
Contributing Author Rod Aaron Gammons Click to read or download PDF
Technological advances in the broadcast industry
Alan Wheable Since it is Omnitek’s 20th anniversary this year, I thought it would be interesting to look back over the technological advances in the broadcast industry over the last few decades and look at the similarities between then and now.
Tags: iss130 | omnitek | test and measurement | smpte 2110 | untra tq | 2022 | sdi 2022-6 | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
Interview with Peter Rowsell, Polar Graphics
Polar If you don’t recognise the name Peter Rowsell instantly you no doubt would recognise him in person, from the famous ‘Pink Coconut’ parties during IBC (Brighton) in the 80s or the name ‘Polar Video or Polar Graphics’ both companies which he’s built up over the years.
Tags: iss130 | polar graphics | apantac | bluefish | cinedeck | focalpoint | mediaproxy | stardom | storagedna | Polar
Contributing Author Polar Click to read or download PDF
How IP-based KVM can improve workflow in broadcast control rooms
John Halksworth One of the most significant shifts the broadcast industry has seen over recent years is the adoption of IP technology as a standard infrastructure across the entire broadcast workflow. IP provides a network suitable for routing audio, video and control around a broadcast facility and is providing the answers to many industry challenges.
Tags: iss130 | kvm | adder | adderlink | alif100t | John Halksworth
Contributing Author John Halksworth Click to read or download PDF
VR and the importance of tracking
KitPlus I would like to begin this article by clarifying what we at Shotoku mean when we talk about VR in live production. It’s not the production of immersive, 360 content where you need to wear a headset; we are talking about virtual studio (VS) and augmented reality (AR) work, such as placing graphics into a green screen environment or physical set. The technology used for this work is entirely different, though equally specialist – therefore it is important to understand the challenges of this kind of production in order to make informed kit choices.
Tags: iss130 | shotoku | vr | live production | KitPlus
Contributing Author KitPlus Click to read or download PDF
Reliable back-up at the Music City Bowl
Sam Gordon WLEX – LEX18 – is the NBC affiliate in Lexington, Kentucky, and part of the Cordillera Communications Group. As a very popular local station with a broadcast area that covers 40 counties across central Kentucky we have a big commitment to news, broadcasting more than seven hours of live programming on a typical day.
Tags: iss130 | wlex-tv | dejero | engo | gobox | cellsat | Sam Gordon
Contributing Author Sam Gordon Click to read or download PDF
Out of the box: Sennheiser Ambeo VR microphone
Jon Pratchett 2 The use of 360 video, especially on platforms like Facebook and YouTube is really starting to take off. Gone are the days when you needed to buy multiple GoPros and rigs in order to get something decent looking. Now players like Insta360 and even GoPro with their fusion 360 camera are providing single camera, high quality solutions, enabling the masses to put out reasonable quality, certainly watchable, 360 video.
Tags: iss130 | vr | virtual reality | audio | ambiosonic | Jon Pratchett 2
Contributing Author Jon Pratchett 2 Click to read or download PDF
Six steps for award winning sound design with Jungle Studios
Chris Turner Few can argue that great sound design is one of the most important elements to any moving picture. Mute most horrors, and the difference in fear factor will be enormous. Visualize Jaws or Star Wars, and John Williams’s iconic score will instantly come to mind.
Tags: iss130 | jungle studios | fairlight | blackmagic design | davinci | Chris Turner
Contributing Author Chris Turner Click to read or download PDF
State of the Nation
Dick Hobbs - new

On the most recent occasion I was trimmed, my hairdresser had just returned from a holiday in Hawaii.

Where she thought she was going to die. She thought this because the state’s emergency alert system was triggered, sending messages across all available platforms, for 38 minutes, that a ballistic missile was about to strike. That, I suspect, is the sort of thing that casts a pall across your holiday.

Why did it happen? Essentially it happened because an operator selected the wrong menu item. “I feel very badly from what’s happened,” he is quoted as saying, in a somewhat mangled version of English which may at least in part explain his difficulties with menu items.

Tags: iss130 | alertsense | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
Tried and tested: DPA d:vice
KitPlus KitPlus recently took delivery of an interesting piece of equipment for review. We like our iPhone gadgets here. For us, useful iPhone gadgets started when the Olloclip lens gave us a wide angle adaptor. This was a good start, finally evolving into a proper tool when Ziess produced the Exolens system for the 5,6 & 7 series iPhones. Around the same time as the Olloclip came out we were testing the Fostex AR4i which was a very exciting development at the time. You have a portable device, that you carry everywhere with you, connected to the world but with very limited audio capabilities. A stereo interface with decent microphones was a real boon!
Tags: iss130 | dpa | dvice | iphone | journalist mic | filmic | ios | microdot | KitPlus
Contributing Author KitPlus Click to read or download PDF
Why OTT needs multicast ABR
Damien Lucas Last year, Netflix’s global revenue reached $11 billion, with 24 million new names added to its subscribers’ list. Viewers are certainly making their preferences heard – and voting with their remote controls to show that over-the-top (OTT) content is here to stay.
Tags: iss130 | ott | abr | adaptive bit rate | cdn | dsl | lte | Damien Lucas
Contributing Author Damien Lucas Click to read or download PDF
Class: Do we still need standards
Bruce Devlin - new On the 1st January 2018, I officially took on the post of SMPTE Standards Vice President. The role has responsibility for all of SMPTE’s standardisation activities and it fills me with equal measures of excitement and terror.
Tags: iss129 | smpte | st2110 | dpp | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read