Broadcasters and post-production houses have spent the last decade watching their media libraries swell into multi-petabyte estates that no human team can…
Few production teams feel the pain of unwatched footage more acutely than documentary editors sifting through seventy hours of bushland drone shots to find the…
Australia's broadcasters and streaming platforms live with a stubborn problem: viewers in remote and regional areas still get variable bandwidth. From a farm…
Footage uploaded by viewers rarely arrives in a clean, uniform state. A clip filmed at a Sydney news scene might roll at 29.97 progressive frames per second,…
The Real-time Content Analysis and Processing project, known as ReCAP, is an EU-funded research initiative developing automated tools for broadcast-grade video…
Live and recorded production depends on a shared sense of time. When cameras, audio recorders, vision mixers and replay systems drift apart, a programme can…
A video production location influences how footage should be described, reviewed, stored and delivered. Studio material usually comes from controlled sets with…
Voiceover production depends on a controlled relationship between speech, music, ambience and original programme sound. When background audio is lowered…
A presenter delivers a polished headline in a Sydney news studio. The lights are set, the autocue is rolling, the director calls the shot live. Then, after…
When a studio releases a director's cut on Blu-ray or through a streaming reissue, viewers in Melbourne and Sydney often expect every recovered take to surface…
