Requirements for the Hybrid Media Production Facility of the Future
Mike Strein – Karl Paulsen
Society of Motion Picture and Television Engineers
Abstract: People who began their careers in television broadcasting before the 1990s should have seen television and media technical infrastructures endure three significant transitions: standard definition (SD) analog to SD digital; SD digital to high definition (HD) digital; and HD digital to media carried over an Internet Protocol (IP) network in multiple formats. Each transition involved either an infrastructure replacement or a complete rebuild of their technical facilities. Most of the gear and much of the cabling likely had to be replaced, updated, or refined. As changes to the system were made, compressed video, storage, and data management adjusted accordingly. New terminologies evolved, sometimes heightened by “marketing hype,” that drove users to amend workflows, processes, and capital budgets like revolving doors in a hotel.
We live in an age of continual transformation where formats, transport methods, and delivery have moved in full strength to yet another dimension—the era of IP. Yet again the industry is being thrust into yet another significant change in infrastructure, which now includes cloud, realtime over-the-top (OTT) streaming, and virtualization. How does one design a facility for these kinds of transitions without needing a forklift upgrade every decade? These are serious topics that impact return on investment (ROI), timing, and capital versus operational alterations. This article examines new hybrid models for media production, explores their components, and gives examples of how to compose the media future for live production environments at the studio and enterprise levels.
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Have you seen the renovations to the @COMatBU studios yet? Students and faculty are super excited by a half-a-million dollar investment in Studio West, podcast studios, and more.
Take a look ➡️https://t.co/N3VPyTD8BY pic.twitter.com/kWFWxH8eLD
— Boston University (@BU_Tweets) September 25, 2023
Stage Technical Standards for Outdoor Live Performance Theater
From from time to time — particularly in the months of fairer weather, when many events are hosted outdoors — we break form from the grind of responding to c0nsultations to simply enjoy these spaces See our CALENDAR for our periodic Lively c0lloquia when we drill down into technical specifics.
California State University San Marcos
More coming
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National Fire Protection Association | 2022 Revenue $82M
2026 NEC Code Panel 15 Public Input Report with Committee Response
Note in the transcript above that the four proposals submitted by Standards Michigan relate to healthcare facilities. Code Panel 15 receives proposals for healthcare and assembly occupancy wiring safety concepts.
The standard of care for electrical system safety in dramatic art facilities in the education, and other industries, is largely established in Articles 518 through Article 540 of the National Electrical Code (NEC). In some instances, dramatic art activity takes place in athletic arenas so we are mindful of parent standards for assembly occupancies generally; found in Chapter 3 of the International Building Code.
Free public access to the current 2023edition of the NEC is linked below:
Of particular interest is the “technical power system” found in Article 640: Audio Signal Processing, Amplification, and Reproduction Equipment.
Access to the International Building Code on “related” occupancies is linked below (Chapter 3 Occupancy Classification and Use):
2021 International Building Code
Note the imperfect correlation between the NFPA and ICC occupancy definitions. This never happens by design but is sometimes necessary. Some risk aggregations have to be understood as terms of art; to be understood by seasoned experts in context. Also, keep in mind that the NEC is a wiring installation safety code.
Proposals for revisions to assembly-related installations in the for 2023 is linked below:
NFPA 70 Public Input Report for 2023 Assembly Occupancies
Second Draft Report for all articles assigned to CMP-15
The so called “song and dance” sections of the NEC have been fairly “stable” in recent cycles. Changes to these articles in the NEC 2020 revision are incremental — i.e clarifications on grounding, wiring methods, cord wiring, illumination — and helpful for designers and inspectors. Nothing budget busting. Convergence of fire safety, mass notification, environmental air and visual experiences continues as once-independent technologies continue integration.
2026 National Electrical Code Workspace
We collaborate with the IEEE Education & Healthcare Facilities Committee which meets 4 times monthly in Europe and the Americas. See our CALENDAR for the next online teleconferences; open to everyone.
Issue: [Various]
Category: Sport, Electrical, Telecommunications, Fire Protection, Arts & Entertainment Facilities, Lively Art
Colleagues: Mike Anthony, Matt Dozier, Jim Harvey
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“Chanson de Matin” is characterized by its light, lyrical, and charming melody, which evokes a sense of freshness and optimism associated with the early hours of the day. Elgar is known for his ability to capture various moods and emotions in his compositions.
Anderson University School of Music, Theater, and Dance
Physical Plant | Anderson University
Victorian England 1890-1900s. Rare photo’s (enhanced).
🎶 UNMUTE: Chanson de Matin (Morning Song), Op. 15 No. 2, by Edward Elgar (1899). pic.twitter.com/Gw2CP8MR5O— Patrick JW Breukers (@PatrickBreukers) August 15, 2023
Azusa Pacific University Symphony Orchestra | Susanna Cervantes, Graduate Conductor
Recorded Nov. 10, 2018 at the Haugh Performing Arts Center, Glendora CA
Copland wrote the score to the film version of Thornton Wilder’s play in 1940. Comparable to Copland’s other orchestral suite, Appalachian Spring, Our Town is smaller in scale, but holds the same traditional Copland characteristics: the sunrise wake up call in the beginning, the call and response, exploiting the reflective quality of the woodwinds, brass chorales, and the desperately aching sounds of the strings.
He explained, “For the film version, they were counting on the music to translate the transcendental aspects of the story. I tried for clean and clear sounds and in general used straight-forward harmonies and rhythms that would project the serenity and sense of security of the story.” It is dedicated to Leonard Bernstein.
Su Jin Susanna Cervantes is professional freelancer actively working in the greater Los Angeles area. As a cellist, Susanna has played in multiple ensembles such as Hollywood Youth Orchestra, USC Thornton Symphony, and APU Symphony Orchestra.
She has also performed in multiple chamber groups performing works by Barber, Brahms, Borodin, Franck, Mendelssohn, Rachmaninoff, and many more. She has performed in masterclasses with Daniel Hoffman, Lynn Harrell, and Alisa Weilerstein. In addition, she frequents in collaboration with singer-songwriters such as Sleeping At Last, whose hits are featured on ABC’s Grey’s Anatomy; grammy-nominated artist, Michelle Bloom; British Christian singer-songwriter, Matt Redman; and singer/actress, Jackie Tohn.
Susanna is an academic instructor at Orange County School of Arts, teaching String Literature and Music History. She is also a strings coach for the Symphony Orchestra at San Marino High School. Since 2011, Susanna has been a pianist and a music associate at First Baptist Church of Glendale, facilitating services and contracting musicians for the church. Susanna has been teaching cello privately throughout Southern California since 2010.
Susanna has received her BM in Cello Performance from Azusa Pacific University, and is currently studying with Professor Christopher Russell at Azusa Pacific University and will receive her MM in Instrumental Conducting in May of 2019.
Evensong services are typically held in cathedrals, collegiate chapels, and large parish churches, where choral music plays a prominent role. These services often feature the singing of psalms, choral anthems, hymns, and other sacred music. The Evensong tradition holds a significant place in Western civilization due to its historical and cultural importance. It has provided a space for prayer, reflection, and worship for centuries, connecting individuals with their faith and providing a sense of spiritual solace.
The beauty and solemnity of the music performed during Evensong services have also contributed to the development of Western sacred music, with composers creating choral works specifically for these occasions.
History of Western Civilization Told Through the Acoustics of its Worship Spaces
Jamie Dupuis,originally from New Liskeard Ontario, studied under Philip Candelaria at the Cambrian College Sudbury Campus during which time he won a scholarship to the Musicians Institute in Hollywood, California. Since graduating he has worked as a professional musician, doing sessions, solo performances, weddings, bar gigs, festivals, composition, albums and YouTube videos featuring his virtuosity on the harp guitar. |
Creative Arts, Music, & Design
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New update alert! The 2022 update to the Trademark Assignment Dataset is now available online. Find 1.29 million trademark assignments, involving 2.28 million unique trademark properties issued by the USPTO between March 1952 and January 2023: https://t.co/njrDAbSpwB pic.twitter.com/GkAXrHoQ9T
— USPTO (@uspto) July 13, 2023
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