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.
The entertainment industry is visual and sound driven. Without these two elements there would be no such a thing as entertainment. Its obvious that there are people who create sound/s and visuals. Copyright laws were created to protect the industry and these artists. Many organisations have been created to look after musician, writers, poets and filmmakers. For example there are a number of bodies especially the MCPS [Mechanical-Copyright Protection Society], which is responsible for collecting royalties and licensing of music on behalf of musicians and music producers.
Five years ago a group of practitioners who were concerned about the poor training provision and a lack of common skills standards in the broadcast industry formed the ITTP. Since then there have been many meetings with senior industry figures and representatives from training organisations and educational establishments.
My second year at the University of Portsmouth seemingly began in a familiar fashion to the previous year. We sat in a large lecture theatre and listened intently to our course leader, who gave an outline as to what students on the BSc Television and Broadcasting course should be expect experience-wise from the up-and-coming year....
Broadcasters come in many shapes and sizes, each with their own unique set of ambitions and their own preferred route to success. Some are happy to innovate, particularly if it increases staff efficiency or reduces operating costs. Others prefer to let their competitors do the innovating and then follow whatever path appears to work best. Thus the industry has advanced from dedicated hardware to more flexible and cost-efficient software running on 'enterprise-platform' comput-ers, and more recently to virtual devices.
ITV, as an integrated producer broadcaster, creates, owns and distributes high-quality content on multiple platforms. It operates the largest commercial family of channels in the UK and delivers its content through traditional television broadcasting as well as on demand via the ITV Hub. ITV has the largest share of the UK television advertising market and its family of channels attracted a total share of viewing of 21.4% in 2016, the largest audience of any UK commercial broadcaster. ITV's main channel is the largest commercial channel in the UK, delivering 99% of all commercial audiences over five million.
Imagine you are the director of the Champions League Final, knowing that 200 million people will be watching your every decision. Or you're directing the Eurovision Song Contest. Or even, to be honest, the Tunbridge Wells local news opt out. And at live minus 30 seconds, all the screens in the monitor wall suddenly go black then show a demand, in broken English, for 300 Bitcoin.
In this article I will focus on understanding the process of video production. The use of miniaturised video equipment and understanding the capability of the kit chosen for the job will be mentioned. The video production process is a road map, which not only helps the producer to minimise problems during production and achieve professional results, but also saves time.This process can be tricky to understand and many videographers are self taught, including myself.
Just at the moment, every customer we talk to wants to move to the cloud. It is not just a techno-buzzword: people are really attracted by it. The idea of getting rid of all hardware and letting someone else worry about keeping machine rooms alive seems like a good plan.
For the past two years I have had the opportunity to present live at the Bournemouth Air Festival (BAF), which, as a Television & Broadcasting student from the University of Portsmouth, was a fantastic way to see first-hand how an outside broadcast works...whilst getting paid!
People all over the world love watching other people watch TV. What many of us thought was a ridiculous notion when Gogglebox first aired in the UK in 2013, has since become a worldwide phenomenon. 'Gogglebox is held up by the global industry and broadcast community as an example of excellence in audience engagement and production innovation, and is being produced in local versions around the world.
Developed by Remedy Entertainment, published by Microsoft Studios and produced by Lifeboat Productions, the sci-fi game Quantum Break is an interactive and integrated live-action TV show that features actual characters chosen by the players game choices.
Many of you will be reading this as you prepare for IBC. Some may even be reading it on the train/plane/ship to Amsterdam. I want to take a couple of minutes of your time to look at a last minute addition to IBC. It concerns IP, but trust me: this is good news so please do not stop reading just yet.
This issue we chat with Ann Charles, a freelance Broadcast Technology and radio production consultant.
Give us your elevator pitch. Who are you and what do you do?
Hello, I'm Ann Charles and I'm a Radio Production and Technology Consultant. I help individuals and companies get the most out of their station's technology so they can make the best programmes in the world.
Synonymous with reality TV, Endemol 's 2015 production of Wild Island was set in a remote location off the coast of Central America. The German-produced series, supported by MoovIT production services, featured 14 ordinary citizens left to their own devices to survive on an uninhabited tropical island with no food or water for 28 days. With six cameras covering the action and antics, the production team, who were located on a neighboring island fours hours away by boat, brought an EditShare XStream EFS with integrated Flow to wrangle the 20 to 30 hours of footage they received per day.
University radio is a great starting platform- hearing something being broadcast that started out as a few ideas in a notebook is quite incredible. My name is Lloyd Ashton and I'm currently a third year Television and Broadcasting student at the University of Portsmouth. Over the past three years, I have been introduced to many modes of broadcasting, yet it's radio that has left an everlasting impression.
Hello, I am Ryan Jenkins, a third year student at the University of Portsmouth and as part of my final year on the BSc Television and Broadcasting course, I am the Post Production manager for all television teams making live programmes, something we specialise in. My role has thus far seen me design a workflow that involves archiving footage from our made VTs, and then storing them for future use for cutaways and other archival reasons. Here is a little of something that I have learnt in my attempt to create a fully operable archive system - I hope it will improve how we work.
If it were just about designing stunning looking titles, life would be simple and Adobe After Effects would probably have the market sewn up. But todays broadcasters and even AV producers have so many factors to juggle with, that anything other than a professional graphics solution is unthinkable.
2015 has confirmed once more that 4K remains the TV industrys Holy Grail. While 4K TV screens are becoming more affordable and Netflix, Amazon Prime and even YouTube are beginning to offer some 4K content, mass adoption is still sluggish as the increases in bandwidth required for distribution make 4K business models difficult to stack-up.
Many people who use lenses have very little understanding in the complexity or the science that goes on behind them. I do not pretend to be an expert on optics but I have spent some time in trying to understand just how complex they are.
Back in January 2015 the ITTP the Institute for Training in Television Production - held its second annual conference at Pinewood. Its a way of bringing together people from education and the industry to discuss the problems that affect both. The conferences have been highly successful, with platform sessions, manufacturers stands, and a lot of networking.
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.
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.
Saturday 28th and Sunday 29th March saw the REDucation training workshop arrive in London at the Met Film School in Ealing Studios West London. I've used a Red One but have yet to work on a shoot where I can get my hands dirty with the newer cameras they manufacture (Epic-X, Scarlet, Dragon and now Weapon). When I was asked to attend the course and write up the experience by Kit Plus magazine I naturally jumped at the opportunity.
There are many rules (more than 6) to working in the mountains & having just returned from the 75th running of the most famous Downhill Skiing event in the world - The Hahnenkamm in Kitzbuhel, Austria, here are a few essentials!
Simple enough to ask, but any possible answer to the question of who should train those working in the media industries, or more specifically the moving image industries, is complex and involves many interrelated factors. I would like to explore the issues, and maybe present some suggestions on how we might do a better job of preparing and engaging particularly the new entrants into our workforce in training and CPD (Continuous Professional Development).
Things of the Aimless Wanderer, the latest feature from Rwandese filmmaker Kivu Ruhorahoza (Grey Matter) is a beautifully crafted narrative about paranoia, mistrust and misunderstandings. Premiering at this year's Sundance Film Festival, audiences can expect an arresting film that reveals a series of cryptic and loosely connected narrative shards exploring the delicate relationship between 'Westerners' and 'local Africans'.
University. Finally a time of critical thinking, training for your future career and coming out with enough knowledge to confidently acquire a job... or rather that is the plan. But what if that doesn't happen? When the £9,000 a year tuition fee, plus the expense of living costs rear their ugly heads and the invoice is sent in the post asking for loan repayment, do you think: was it really worth the money?
Africans in London TV (AILTV) was first featured in TV-BAY magazine issue 029 in 2009. The article was about AILTV when it started, including the reason why it was created, the content and future plans. We catch up with them in 2014...
I have read quite a lot recently abouttraining in the Video industry. Whilstit is true that as a hire company we atBroadcast Services are often surprised at thelack of knowledge about equipment, we canunderstand it to a point, due to the ever changing digitalworld.
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Used video equipment whether it be broadcast & professional or consumer has never been so easy to find and if you require help then contact tv-bay - your internet broadcast dealer. We have hundreds of reseller, dealer and hire company users with the biggest range of new and refurbished broadcast, film and video equipment from either dealer, reseller or private selle r. You will also find broadcast and media finance specialists such as Adamtean, Medialease, Fineline and Azule Finance.
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