remote communication the norm, but also exposed the limitations of two-dimensional interaction. That’s where XR, camera-aware rendering and spatial workflows gained real traction, not just in high-end virtual production but in hybrid conferences, interactive events and permanent AV installs. Post-pandemic, clients want depth, movement and presence in their content, and that means bringing broadcast and cine-grade tools into AV environments. “This is where convergence is delivering real value. Tools like Unreal, real-time event-based media servers, sensor technology and SP Grid are enabling AV teams to produce technically complex, multi-layered content with the same agility and visual fidelity expected on-air. Whether it’s a sports arena triggering AR visuals from live data, or a corporate keynote rendered with virtual backgrounds and tracked cameras, the expectation now is seamless, reactive and platform- agnostic content.” Low latency is also a key requirement. “In live events, for example, image magnification must be nearly instant, and latency must be reduced to just a few frames,” says Brunhammer. “If you introduce even a one- or two-second delay
SELF SERVICE Many customers want in-house facilities, reports AVI-SPL
» Broadcast technology provides ultra-low latency and advanced video processing that didn’t exist in most AV applications outside live events «
“This is temporarily leading to a gap in what the broadcast/film industry can exploit from new AV/IT-orientated products, as well as how IP-based broadcast equipment can be integrated into new IP-based media infrastructures in corporate and educational AV,” says Koutsaris. “I say temporarily because two solutions are emerging. “One is open standards for media-over-IP for AV/IT at large – specifically, the IPMX suite of standards and open specifications that builds on through the switcher, it becomes obvious to the audience when a presenter’s mouth isn’t in sync with their voice. Broadcast technology provides ultra-low latency and advanced video processing that previously didn’t exist in most AV applications outside live events. Now, as corporate comms become more dynamic and content-driven, these capabilities are invaluable.” Mark Lownds, general manager of Qvest Australia, has found that the resilience of broadcast technology has really contributed to the success
of larger AV projects. “Uptime and redundancy are important for non-broadcast environments, as everyone now expects everything to work all the time,” he says. As Bryan Davies, corporate regional sales manager at Ross Video, points out, acute economic pressures and the need for greater efficiency are not exclusive to media and entertainment, with many AV projects facing similar challenges. “As a result, we’re seeing growing
demand for flexible solutions that allow organisations to do
Broadcasting and pro AV equipment have both been migrating towards IP-based infrastructures. But according to Matrox Video’s Catherine Koutsaris, different approaches are leading to incompatibilities, which offer an opportunity for vendors who can overcome them. While broadcast and film kit is moving from hardwired SDI to IP that is based on standards such as ST 2110 and NDI, the IP infrastructure adopted by mass- market AV/IT is non-standard and highly fragmented. The IP conundrum
ST 2110. The other is IP-to-IP converter gateways, which do the same job as traditional converters such as Decimator Design, and allow signals to remain in IP when hopping between product classes and brands, instead of ‘reducing’ the entire system back down to SDI and/or HDMI.”
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