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Remote Teams and Talent
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If your studio works with non-local creative talent, you already know that there are opportunities and challenges associated with distributed production and post production. Bridging the distance not only allows you to find the best talent for the job anywhere in the world, it creates the potential for a diverse and globally-minded workforce that boosts the creativity and vision of your entire company. |
| Tags: iss136
| signiant
| file acceleration
| ftp
| dropbox
| sharepoint
| slack
| saas
| media shuttle
| Megan Cater
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Your two week editing future
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So here we are - January again! Usually a good time to reflect on the year just gone by, and a good time to look forward to the coming months as the new year begins.
When I was reflecting on my 2018, and when thinking about what to write for my first article for Kit Plus - I kept coming back to one theme - organisation.
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| Tags: iss135
| editing
| mediacity training
| premiere pro
| dit
| Alex Macleod
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GoPro HERO 7 Review
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When I heard I was filming a nature restoration project in the pouring rain this week I was excited. WHY? No Cameraman enjoys the rain, surely but this time I was enthusiastic because I knew this would be the perfect opportunity to try out the brand new GoPro Hero 7 Black Edition. |
| Tags: iss134
| gopro
| hero 7
| review
| liberal media
| Tim Bearder
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Delivering on the 4k Promise
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It’s happened. Consumers are demanding 4K UHD content. They have the TVs, smartphones, tablets and other devices they need, and with much of Netflix and Amazon original content in 4K, as well as sports coverage from BT and Sky, consumers have tasted the future of content quality and are hungry for more. But broadcasters need not worry if their customers have enough bandwidth to receive 4K content - the solutions are ready to make 4K distribution a reality. New viewers are waiting if you’re ready to get to them first. |
| Tags: iss131
| garland
| 4k
| uhd
| hevc
| hc11000
| media excel
| Lorna Garrett
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IP for everyone and 4k everywhere - that will be 2018
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My first prediction for the coming year is that the use of IP to move broadcast content will increase dramatically. Ultimately, it will become the commonplace, just as the use of IP has become part of our everyday, consumer lives. Live sports are closely linked to this growth, as conversion of broadcast signals for transportation across established telecos networks enables content to be viewed in real-time, regardless if it’s in the next room or across the globe. |
| Tags: iss129
| medialinks
| 4k
| ip
| vr
| ai
| John Smith -new
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Epictech makes headway: A case study
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Founded in January 2014, EpicTech Media have been providing high end video production to companies and musicians across the U.K. for over three and a half years. When approached earlier this year by the band Bodkin Lane, we relished the challenge of producing a video of their charity concert, in aid of Headway (www.headway.org.uk), despite the challenging size of the venue. |
| Tags: iss129
| polecam
| epictech media
| ptz
| povcam
| Daniel Harker Barnes
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50 years in and the show must go on
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At IBC we always look forward to meeting old faces and new. For those more recently acquainted with the broadcast industry, you may not realise IBC was born half a century ago in London. In 1967 the show, held at the Royal Lancaster Hotel, attracted just 32 exhibitors and 500 delegates. However, its popularity grew and the exhibition quickly upgraded with a move to the Grosvenor House Hotel in London, followed by the Wembley Conference Centre, before moving to Brighton. |
| Tags: iss127
| medialinks
| ibc
| amsterdam
| John Smith -new
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Implementing an IP workflow
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The eventual move to incorporate IP into your infrastructures is an inevitability. However, with justified concerns about interoperability and uncertainty about which vendors are best placed to help organisations achieve their IP media networking and content delivery goals, is it any wonder there is hesitation about moving forward? Broadcasters very wisely, don't want the pain without the gain! |
| Tags: iss126
| medialinks
| ip
| mdp3020
| gateway
| John Smith -new
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Live Remote Production Over IP
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As broadcasters migrate to a more ubiquitous IP transport and switching network infrastructure, a key benefit is that the variable expenditures of remote on-site live productions can be dramatically reduced, as it is no longer necessary to carry the high field costs associated with these activities. |
| Tags: iss123
| medialinks
| ip
| remote production
| John Smith -new
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Challenges for MAM with varying production types
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Many media asset management platforms are designed to handle the immense number of assets needed for today's fast-moving, content-heavy productions. Since every production is unique, each has its own set of asset management requirements and workflow needs. While the unique workflows vary, a common necessity for an easy-to-use interface with the ability to efficiently organize and manage large amounts of content is required, regardless of the type of production you are working on. |
| Tags: iss121
| pronology
| mam
| media asset management
| Jonathan Aroesty
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Social streaming and broadcast
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We are witnessing a growing trend from broadcasters looking to complement TV content with social streaming. When done well, it can really help increase consumer engagement on a huge scale and we have seen some great examples of it over recent months. At the recent Kit Plus Show, I talked about the marriage between broadcast and social streaming, what works, and what some of our customers have been doing in this arena. |
| Tags: iss120
| streaming
| social media
| Craig Moehl
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Tips on how to reduce your exposure to business crime
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Business Crime is growing in popularity and is cunning, smart, and very convincing. It is being spurred on by the very technology that is supposed to help media and other businesses improve performance. One of the trending frauds is 'Social Engineering' where criminals can make use technology, and trickery to exploite our human nature. Here we outline 2 true stories from clients of Sutton Winson and provide some useful tips on managing your risks:
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| Tags: iss116
| business crime
| social media
| online crime
| Phil Bower
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Do you have a MAM solution
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One of the top questions I get asked at trade shows is, "Do you have a MAM solution?"
Well, yes. Of course. It's what we do; but thank you for asking. What you should be asking is, "What differentiates your MAM solution from the rest of the MAM pack?" |
| Tags: iss115
| mam
| tmd
| mediaflex
| Paul Wilkins
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Class: Multi - Channel Audio
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If you're given a media file and it has 16 channels of audio then life can quickly become the opposite of boring, especially if it has to go to air quickly and the supplier is new. Put simply there are many ways in which the different channels can be laid out in the file, but there isn't a single overall standard for labelling them. Enter SMPTE ST 377-4 - the Multi-Channel Audio Labelling specification (MCA). It's really boring and this is a good thing. |
| Tags: iss113
| Audio
| Media
| Multi-Channel Audio
| MCA
| MXF
| GUI
| Bruce Devlin
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Leaving Las Vegas
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I've had the privilege of being a regular visitor and exhibitor at NAB since the early 1980's. One memorable occasion, our flight home had been overbooked and so an alternative arrangement was made. We wondered why it would take four hours to fly from Vegas to LA? As the pilot turned up in full leather flying gear, including goggles and 20 Sony dealer principals and staff were loaded on to a crop sprayer it became clearer! The request-stop service ended up picking-up and dropping-off additional passengers en-route, however, flying low across the desert offered some of the most stunning views of scenery I've ever seen! |
| Tags: iss112
| NAB 2016
| Media Links
| IP
| John Smith
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IP for live production
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The production and transmission of a live sporting event is one of the most technically challenging assignments for any crew. After all, you can't ask to take the shot again at a live event! Multiple signals in a variety of formats need to be transmitted around the sporting venue, as well as being seamlessly integrated with feeds from a studio or other locations to form a complete broadcast stream. |
| Tags: iss111
| ip
| live production
| wan
| media links
| md8000
| John Smith
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UHD: a long road travelled
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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
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The business case for media asset management
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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
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Why fast production storage is just not enough
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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
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Transmitting love...live
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A year after its launch, Transmitter is developing a real name for itself. A partnership between the BPI and music media company LoveLive, it's a dedicated online music channel designed to promote the best music talent Britain has to offer. The content produced is shaped and driven by its viewers, and optimised specifically for YouTube with fan participation and interactive social media at its heart. Transmitter allows fans to connect directly with their favourite artists and exposes them to both chart-topping and upcoming acts. |
| Tags: iss101
| transmitter
| lovelive
| music
| pop
| social media
| the saturdays
| the wanted
| union j
| jessie j
| Kieron Seth#
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Four must-haves for modern media workflows: Enhancing your MAM solutions
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It's always been about the struggle to manage lots of assets and adapt your MAM to suit in the world of digital media workflows. In the early years, enterprise storage infrastructure couldn't keep pace with the demands of SD, so the first non-linear editing systems were turnkey solutions with proprietary file and file system formats. In the last decade or so, IT-based solutions have finally caught up, and open solutions for shared storage are now readily available at price points affordable for even boutique post houses. |
| Tags: iss097
| MAM
| media
| workflow
| post production
| 4k
| Laurent Fanichet
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