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Reinheitsgebot: A clear and positive influence on the definition of European media file exchange and delivery formats
Posted: Thursday, June 18, 2015
By taking a look at Reinheitsgebot – the “German Beer Purity Law” – we examine how restricting a “recipe” to specific “ingredients” can result in consistent “flavours” of beer – or in this case, media. Find out why the very definition of file formats for exchange and delivery in the media industry has everything to do with the purity, or quality, of media files.
Posted by Ben Davenport
Best of the Blogs
Posted: Wednesday, March 18, 2015
Your chance to vote on the best of the blogs from the past year and win an awesome prize! While the Dalet Academy only launched in January, Dalet has actually been posting educational blogs since NAB 2014 when we joined forces with AmberFin (and thus acquired some of their blog posts as well), and you, our readers, have been “voting with your clicks.” There are clearly some very popular topics on this blog, and the number of views speaks for itself...
Posted by Ben Davenport
Could your MXF files be infected with a virus?
Posted: Wednesday, March 04, 2015
The behavior of ignoring unsupported or unrecognized media file labels facilitates the existence of “dark metadata,” which is a potential area of weakness in the broadcast chain. However, when you know what dark metadata you have, where it is and what it means, it can add value to the workflow chain.
Posted by Ben Davenport
DPP deadline day – what’s all the fuss about?
Posted: Tuesday, July 01, 2014
At the start of June, we heard that the IBC has short-listed BT Sport, Timeline Television and ourselves for the IBC Innovation Award under the Content Management category. This is a good reason to celebrate – in short-listing our submission IBC is recognising all the effort made making sure tha...
Posted by Bruce Devlin
Why is Hollywood interested in DPP?
Posted: Tuesday, June 10, 2014
The Digital Production Partnership (DPP) is a thoroughly British concept. Its major sponsors include the BBC, ITV, Channel 4 and Sky. From its earliest inception, DPP was an initiative forged by the British broadcast industry, for the British broadcast industry. So why is it that in my day-to-da...
Posted by Simon Adler
We're still not out - Broadcast-IT Workflow Blog scores a century
Posted: Tuesday, February 25, 2014
As I reported in a previous article, we have managed to generate more than 100 entries in our first year of this esteemed blog. We have hundreds of dedicated subscribers, reading the comments on every continent, in every time zone: In true cricketing style, I think this qualifies for one of the ...
Posted by admin
100 not out - Broadcast-IT Workflow Blog scores a century
Posted: Tuesday, February 18, 2014
Less than 12 months ago we launched this blog as part of ourAmberFin Academy initiative. Our objective has always been to provide a platform for sharing knowledge and experiences about the steady evolution of file-based workflows within the broadcast and electronic media markets: We were optimis...
Posted by admin
5 Reasons why we need more than ultra HD to save TV
Posted: Thursday, January 23, 2014
If you were lucky (or unlucky) enough to get to CES in Las Vegas this year, then you will know that UHD (Ultra High Definition TV) was the talking point of the show. By and large the staff on the booths were there to sell UHD TVs as pieces of furniture and few of them know the techno-commercial ...
Posted by Bruce Devlin
Why Captioning Need Not Be Scary
Posted: Wednesday, January 22, 2014
So here’s the problem. Closed captions – or subtitles outside North America – are now pretty much mandatory on television broadcasts: and even if the law does not require them, your audience still expects them. Today consumers expect to get their “television content” online and on handheld devices as well as from broadcast sources. Not unreasonably, many of them will expect to find captions on these services just as they would on broadcast television. So we really ought to be sure that captions are created as part of the production, and delivered whatever the platform. But… I count today 15 different subtitle input types, and 23 different delivery types for different platforms. So that is 345 different combinations, which means a lot of transcoding. Add to that the need to reconsider captions for different screen resolutions and you could end up with thousands of different paths. Which is why people tend to run away screaming from the problem.
Posted by Bruce Devlin
Does it take you 1/2 million years to test your workflow?
Posted: Tuesday, January 21, 2014
It is now obligatory to start every broadcast technology blog post, article or presentation with a statement reminding us that we are now living in a multi-format, multi-platform world, where consumers want to view the content they choose, when they want it, where they want it, on the device the...
Posted by Bruce Devlin


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