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IP, AVB and the
end of SDI
Another subject likely to create
waves at IBC is AVB (Audio Video
Bridging). While using Ethernet to transport
media signals is not really a new
thing, it hasn’t previously been
possible for the network itself
to recognize that it is carrying
an audio or video signal. AVB,
an agreed transport standard,
alleviates that, allowing the
network to put aside the
necessary bandwidth and
resources to ensure that the low
latency signal gets to where it
needs to be, in the right way, and
is time-synchronized across all
outputs. Cloud Editing ...
Even if the sun shines the whole time you’re in Amsterdam, people will still
be banging on about clouds: or ‘The Cloud’ to be more precise. There
are numerous potential uses – from storage to playout – but cloud-based
collaborative video editing is the thing that everyone seems to want, but no
one has quite mastered yet. IBC 2013 may be a turning point.
Two potential ports of call are Adobe (7.G27), for its Adobe Anywhere for
video offering, and stand 7.J20 for Avid Everywhere.
Adobe Creative Cloud
Adobe Premier Pro and Prelude, both available
as part of Adobe’s Creative Cloud collaboration
software platform, allow editors to work
together using centralized media and assets,
regardless of where they are in the world. The
big benefit of Adobe Anywhere is that users can
pass projects back and forth instantly without
needing to render, transfer files or relink.
If you’re wondering why this
is important, it means live
productions can one day ditch
SDI and simply use a standard
Ethernet connection or LAN to
carry all sorts of signals.
Axon On the score, it’ll be worth checking
in on Axon (10.A21). The company is
launching a whole product line based
around AVB that will allow for the
creation of an Ethernet-based end-
to-end live production set-up that
includes monitoring, management and
protection. In the same hall RTS (10.D25) will
demo AVB-compatible OMNEO
interface cards that will allow its ADAM
intercom system to work over an IP
network. Avid Everywhere is a similar concept. Using
Media Composer 7 – complete with support for
Interplay Sphere for Mac - it “extends real-time
production everywhere” as Avid puts it.
And finally, an audio trend.
Some 35 years after 5.1 surround sound was introduced and 20 years
after Dolby Digital and DTS made it commonplace, the media industry
is now embracing the next wave: Immersive Audio. Currently a cinema-
only development, it could have far reaching effects, and broadcasters,
producers and post-production folk alike will need to understand it. I expect
this to start trending at IBC.
The current theatrical battle is between Dolby’s Atmos directional audio and
Auro 11.1’s three-layer sound immersion. To find out more at IBC visit Dolby
(2.A31) and DTS (2.B50) respectively.
For an alternative immersive audio experience, make another trip to see the
EBU where there will be demonstrations of ‘Binaural Audio’, a development
in which headphones are central to the 3D all-around-you listening
experience. The big question of course, as with nearly all technology trends, is when will
we see common delivery formats and system-agnostic tools made available
so that we can all make the most of it?
Also in Hall 10 the EBU will host a
BBC R&D demo of a Fully Networked
Studio production environment,
showing high bit rate signals being
exchanged in real time.
There will be plenty more I can assure
you. For answers, try the Auditorium conference session ‘Immersive Audio -
Advancing sound through healthy competition or an unwanted standards
war?’ on Monday 16 September.
So there you have it. Four themes. Several stands. Some conferences.
Who said you can’t write an IBC preview in July?
IBC 2013 takes place at the RAI in Amsterdam 12-17 September.
TV-BAY MAGAZINE: ISSUE 80 AUGUST 2013 | 41