KitPlus | Articles

Junger Audio Helps Broadcasters Get To Grips With 5.1 Upm...

Television viewers who have invested in home cinema systems will already know how dreadful mono and stereo audio can sound when played through 5.1 surround sound speakers. Instead of being enveloped by carefully mixed 5.1 surround sound, viewers are, instead, subjected to unbalanced audio coming at them from unpredictable directions. This problem i...

Submitted by Dennis Lennie

Published 01 January 2010

Top Tips Audio Monitoring Systems for On-Location Monitor...

1) Audio monitoring systems for on-location monitoring need to be able to handle all formats. This flexibility is crucial for all field applications, in which broadcasters frequently must accommodate a variety of formats, and not always those they anticipated. Formats supported by the audio monitoring system should include 3G/HD/SD-SDI, AES, and an...

Submitted by Dennis Lennie

Published 01 January 2010

SATIS in a day

Aware that several French distributors had pulled out of this year's SIEL & SATIS, I chunnelled to Paris on day two of the October 20-22 show with minimal expectations. The small size of the Guide de Visite (20 pages A5) added to my misgivings but the event itself proved respectably large, crowded and buzzing. Nearly 280 companies occupied stands i...

Submitted by Dennis Lennie

Published 01 December 2009

The importance of measurements for eye and jitter

‘If it hasn’t got eye and jitter measurements, it’s about as useful as a chocolate teapot’ recalled Paul Nicholls, PHABRIX sales and marketing manager. ‘This was one comment made by a prominent broadcast engineer that stuck with me when we began to research the critical toolset required on the new eye and jitter PHABRIX SxE’. Having taken this to h...

Submitted by Dennis Lennie

Published 01 November 2009

Mercedes-Benz Worlds winning formula, Online Creative and...

I set up Online Creative in 1999 after a number of years of linear editing and five years of post working for German non-linear editing manufacturer, FAST, during the pioneering days of digital video. The early 90s were a very exciting time editing with non-linear for the first time, although I haven’t done a linear edit since!Online Creative has g...

Submitted by Dennis Lennie

Published 01 October 2009

Eye to Eye New post-production kit at IBC 2009

This alphabetical overview of new video and film post-production kit at IBC 2009 was going to start with Apple but the company pulled out of both NAB and IBC in 2008. I begin instead with Avid which has certified its Media Composer, NewsCutter, Symphony and DS software to run on the new HP Z series Workstations – the HP Z800 and HP Z400. Avid custo...

Submitted by Dennis Lennie

Published 01 October 2009

Converting for displays

Behind every great display there’s a great converter. Ever since television started to go digital in studios and post production, the number of digital formats has grown. For a while the television standards bodies got a grip and succeeded in pulling nearly everyone along the ‘SDI’ track; now itself expanded to HD-SDI and 3G-SDI – carrying a multit...

Submitted by Dennis Lennie

Published 01 September 2009

Ask the experts. Eye & Jitter

Why should TV broadcast engineers be interested in adding Eye and Jitter measurement to their T & M facilities?The call for Eye and Jitter as part of overall video test and measurement lies in the widespread adoption of serial digital interface (SDI) standards for broadcast. Unlike analog transmission in which the image quality gradually degrades a...

Submitted by Dennis Lennie

Published 01 September 2009

Eye to eye Picture displays and multiviewers 2009

The transition from cathode-ray tubes to flat-panel display devices for broadcast picture monitoring was a long time coming but is now almost complete. Grade 1 CRTs from suppliers such as Ikegami and Sony are still purchased in small numbers for monitoring in quality-conscious playout centres and post-production houses. For every other broadcast ap...

Submitted by Dennis Lennie

Published 01 September 2009

How to choose a broadcast display

How to choose a broadcast display…10 years ago, buying a CRT monitor was simply a case of buying the latest version of your facilities favourite brand in either Grade I or II. The advent of the LCD, HD and the demise of the CRT means we have now to try and decipher all the marketing jargon to work out which display best fits our needs. To help de-m...

Submitted by Dennis Lennie

Published 01 September 2009

OLED vs LCD

There was a rapid change in image display technology within the last few years. Nowadays CRTs are history, flatpanels substitute them everywhere. Even in the broadcast industry. Different technologies dominate the market;Plasma - a self-lighting principle - mostly used for large screens;TFT-LCDs - a concept that always needs a backlight - most comm...

Submitted by Dennis Lennie

Published 01 September 2009

Why choose a broadcast or professional monitor

Just as it’s unlikely that anyone would purchase a family vehicle to set trailblazing records around a race track and a sports car is not going to be the best choice for off-road use, the same principle is true of monitors – the key is to match the product to the demands of the task. So what are the differences between the major monitor families?Co...

Submitted by Dennis Lennie

Published 01 September 2009

Ask the Experts on the Topic of Distribution and Delivery

NAB 2009 was fascinating with respect to how many customers were looking for solutions and insisting that manufacturers work together to provide solutions, as opposed to just supplying products. File-based workflows were the talk of the town (well, at least the talk of NAB) and there certainly continues to be significant discussion and implementati...

Submitted by Dennis Lennie

Published 01 August 2009

Eye to eye on Broadcast content management 2009

Content asset management is one of the fastest developing areas of the entire broadcast business. Its advantages over old-style film and videotape libraries are so widely recognised that they hardly need repeating. NAB provided an opportunity to look at new advances from some of the key players. AP introduced a new module for its ENPS 6.0 and 7.0....

Submitted by Dennis Lennie

Published 01 August 2009

Brand New School Makes the Move to Uncompressed HD

What did you do over Christmas 2008? I spent the whole two-week break rebuilding the post production workflow at Brand New School, the prestigious commercial production and design firm in Santa Monica, CA, and the experience let me stretch every technology muscle I had built up in 10 years as a video engineer. At the time, Brand New School was usin...

Submitted by Dennis Lennie

Published 01 August 2009