KitPlus | Articles

Distribution in the UHD Era

by Paul Briscoe Issue 103 - July 2015 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) channel...

Submitted by Paul Briscoe

Published 01 August 2015

The business case for media asset management

by Kevin Usher Issue 103 - July 2015 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 fi...

Submitted by Kevin Usher

Published 01 August 2015

Keep memories safe at RWF

by Martin Bennet Issue 103 - July 2015 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...

Submitted by Martin Bennett

Published 01 August 2015

How HEVC technology is revolutionizing field-based broadc...

by Eli Garten Issue 103 - July 2015 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...

Submitted by Eli Garten

Published 01 August 2015

An end-to-end solution

by Kevin Shaw Issue 102 - June 2015 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 cont...

Submitted by Kevin Shaw

Published 01 July 2015

#TVFUTURES

by Callum O\'LearyIssue 102 - June 2015I 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...

Submitted by Callum O Leary

Published 01 July 2015

From VoD to Linear TV

by Nikos Kyriopopoulos Issue 100 - April 2015 Content owners, broadcasters, and operators worldwide typically provide a sizable library of VoD content and a limited offering of live/linear programming. This unbalanced ratio between VoD and linear TV offerings is historically shaped by two factors:- The cost associated with linear TV production, a b...

Submitted by Nikos Kyriopoulos

Published 01 May 2015

Why video codecs matter

by Larry Jordan Issue 99 - March 2015 Video codecs confuse a lot of people. But understanding codecs is critical to just about every element of video production, editing and distribution. Codec is an acronym that stands for "COmpressor/DECompressor.\" It is easy to get intimidated by all the technical jargon surrounding codecs, but, at their core,...

Submitted by Larry Jordan#

Published 01 April 2015

Open Source for Film and TV Production

by Dan Mulligan Issue 98 - February 2015 There\'s nothing like a new project to make you feel excited about life, and excited is definitely how I\'ve been feeling since I adopted an Open Source policy to my companies\' camera and workflow divisions. My background is in cameras. I started out assisting and focus pulling before moving up the ranks to...

Submitted by Dan Mulligan

Published 01 March 2015

Venice live productions tools go to the consumer

by Tim Felstead Issue 98 - February 2015 The objective of most studio production is to cost effectively create live or as live television to which audiences will be drawn. During the process of creation, recording into media servers can either be a separate process used only for immediate replay, or can be part of a media workflow serving multiple...

Submitted by Tim Felstead

Published 01 March 2015

Archiving as a service at BBC Studios and Post Production

by Kevin Shaw Issue 97 - January 2015 BBC Studios and Post Production (BBC S&PP) is a commercial subsidiary of the BBC that competes for work from both the BBC and the market at large. In the Digital Media Services (DMS) department, we provide an end-to-end solution for what we refer to as "post-post production.\" Our services include digitization...

Submitted by Kevin Shaw

Published 01 February 2015

Four must-haves for modern media workflows: Enhancing you...

by Laurent Fanichet Issue 97 - January 2015 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 proprietar...

Submitted by Laurent Fanichet

Published 01 February 2015

Eye to Eye: Video Post-production

Video post-production has long been one of the fastest developing subsets of the broadcast business. It was among the first to lead the shift from hardware into software, bringing huge advantages in terms of affordability and ease of use. I can still remember the high cost, heavy weight and low quality of the early analogue tape to tape video editi...

Submitted by Bob Pank#

Published 01 January 2015

High Resolution graphics for 4k and beyond

by Jesper Gawell Issue 96 - December 2014 It seems like 4K is everywhere these days - it\'s the dominant topic at broadcasting trade shows. Is there substance behind the hype? Will it transform television the way HD broadcasting did? Clearly, one of the "next big things\" in the media and entertainment world is higher resolutions and 4K delivery o...

Submitted by Jesper Gawell

Published 01 January 2015

4k - fancy fad or future of broadcasting?

by John Halksworth Issue 96 - December 2014 Given the increasing popularity of 4K or Ultra High Definition (UHD) televisions, as well as 4K-capable video cameras, it is safe to say that 4K/UHD is here to stay. While filmmakers in all spheres have been shooting in 4K for some time, distribution of 4K is still in its infancy with very few cinemas sho...

Submitted by John Halksworth

Published 01 January 2015