62 OPINION
REIMAGINING BROADCAST AUDIO CAPTURE
Tuomo Tolonen, Senior Director, Strategic Market Development, Shure
In recent decades the drive towards more captivating and experiential TV productions has progressed dramatically, which has generated an immense evolution on broadcast visuals – especially in live sports. However, the way we capture audio has largely stayed the same. While traditional microphone technology has served the industry well, audio capture methods must advance in order to deliver the stimulating experience that today’s audiences demand. With a 100-year legacy of leading innovation in audio technology, Shure is revolutionising how sound is captured in broadcast by harnessing the power of microphone array technology. This modern approach delivers more precise audio than ever before. It isn’t just about new gear: it is about rethinking how audio can be captured to bring the viewing experience closer to the action. Microphone arrays offer a new level of
precision and fl exibility. With this setup engineers can isolate and enhance the sounds that matter most – whether it’s the crunch of a tackle, the roar of a crowd, or the subtle communication between players. This level of control empowers audio teams to craft richer, more dynamic and authentic audio experiences that make viewers feel they are at the event, regardless of where or how they are watching it.
“As the industry looks to the future, embracing innovative microphone and software technology isn’t just an upgrade – it’s a necessary evolution”
For broadcast engineers, this is a game-changer. No longer constrained by the physical limitations of conventional microphones, they can now design audio environments that match the ambition of
HYBRID AD INSERTION EXPANDS Bitmovin
BY ANNE MORRIS
Video streaming specialist Bitmovin is showcasing its expanded support for server- guided ad insertion (SGAI) through demos with a number of its partners, including Ad Insertion Platform, Ateme, Google and Yospace.
The Bitmovin Player iOS SDK now supports HTTP live streaming (HLS) interstitials, which enables ads to be inserted into the primary video stream on Apple devices using Apple’s HLS protocol. Bitmovin has
today’s visual quality, while streamlining their audio workfl ows. Microphone arrays are perfect for more effi cient, consistent, cost-saving, and remote productions too. By leveraging this technology, teams have a new approach to answer consumers’ desire for more captivating and engaging stories, where audio can and should play a crucial role.
For audiences, the result is a more immersive, emotionally impactful experience – one that feels less like watching and more like being present there, deepening their connection with sports and live events like never before. Shure’s leadership in this space is about a new vision, recognising that audio is essential in the broadcast narrative. As the industry looks to the future, embracing innovative microphone and software technology isn’t just an upgrade – it’s a necessary evolution. 8.C32
also confi rmed that support for Android and browser-based playback will be announced soon. SGAI is a hybrid ad insertion method that combines client- side and server-side ad insertion. With SGAI, the server guides the process through SCTE-35 markers, which help dictate where ad breaks can occur, while the client (the viewer’s device) handles the actual stitching and playback of the ad content. This ensures ads are displayed at precisely the right moments for an optimised user experience. Adam Massaro, Product Marketing Manager at Bitmovin, said: “Ensuring consistent,
SGAI support ensures ads are displayed at the right moments
high-quality ad delivery for an optimised viewing experience across all streaming environments is a major challenge for video providers. By expanding support
for SGAI, Bitmovin is helping content owners, video services and broadcasters to address this challenge.” 5.G58
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88
