Audio and video trends 2022

There’s no doubt that the audio visual industry has proven its ability to survive and thrive in trying times. Global events have facilitated the rapid evolution of audio visual technologies, and these only continue to advance. Here are some audio visual trends for 2022 collected from many sources (click the link colored to text to get to the information source):

Growing consumer demand for audio content: People are listening to all forms of audio content: news, music, podcasts and books. Nielsen reports 75 per cent of people working from home are streaming music every week, with 40 per cent tuning in daily.

Rapid smart speaker adoption: Smart speakers and voice assistants are becoming common home appliances. One-third of U.S. households are equipped with smart speakers and 44 per cent of U.S. adults use voice assistants. Smart speakers let listeners to respond to ads using voice commands. Consumers are rapidly embracing voice to access information, entertain themselves and shop. The ability to instantly answer consumers’ questions and help them solve problems is becoming a key advantage for marketers who lean into audio.

Digital Audio is becoming multi-devices: Historically, digital audio has been widely consumed via mobile devices; it can now also be launched from a variety of new technologies including tablets, connected speakers, TVs and even smart watches.

Prosumer audio: Prosumer audio gear has remained on a steady upward curve over the last few years. With podcasting, live streaming, and at-home work solutions more popular than ever, it’s been a fantastic few years for prosumer audio sales. Their need for reliable, slightly elevated gear to take their content to the next level is proving highly profitable for certain companies.

Social sound: Audio fans are getting more social than ever, thanks to new apps that allow like-minded users to communicate without the screen fatigue or doom-scrolling associated with photo and video-based social networks.

3D audio: Spatial or 3D audio has firmly found its footing in the video game industry, with Sony and Microsoft’s next-gen consoles both natively supporting the feature.

Content Still Rules: Audiophiles are fiercely loyal to their favorite DJs, hosts, podcasters, artists and stations. As a result, they’re spending more time than ever listening to audio daily. Listeners consume programming on their own terms.

Streaming rules: Streaming music now account for more than 85% of all music enjoyed. Only 6% of music is now downloaded, even less than is physically purchased in the form of records, CDs, or the last tapes.

TikTok has caused a seismic shift in the world of content creation, skewing it ever further into a mobile-first industry. To capitalise on the market, more and more mobile-friendly gear is being created, forgoing the need for hundreds of adaptors and plugging straight into AUX, USB-C, or iPhone ports (or working wirelessly).

Many amplifier technologies in use: While classic class AB amplifiers are more and more often replaced with class D amplifier technology, there is still special audiophile markets for class A amplifiers and tube based amplifiers. New technology just coming to the class D amplifiers are GaN-based audio amplifier powered with switch mode power supply. They promise premium audio systems with good sound quality in a small and light format.

Vinyl records: Vinyl is here to stay, it seems, despite all technological advances that would have seemed to threaten it. Vinyl records (and coincidentally, cassette tapes) are selling like hot cakes again. Vinyl sales have been steadily rising for some time, but in 2020 for the first time in 34 years, vinyl has surpassed CD sales.

Streaming has killed CD: CDs sales are continuously and quickly declining thanks to streaming and music flash drives.

The race to wireless zero latency: Companies around the world are racing to find a solution that all but eliminates latency from wireless audio, removing the need for cables in an increasingly space, waste, and aesthetically-conscious world.

Green screens: As events become more hybrid, green screens will play a significant role, enabling speakers to be placed directly in the content becoming part of the message. Green screens are a great cost-effective way to insert branding and infographics, which works perfectly for online events and we will see them become adopted further for conferences. There are also cameras with depth sense features and software that can use pretty many background for green screen type effects without building a real green screen.

Hybrid events: Events have had to embrace the constant mix of who can attend, who can possibly attend and who is not afraid to attend and as such have flipped to hybrid. Although not necessarily an AV trend, hybrid events are unsurprisingly on the increase as people work from home and corporate travel is halted. In those events content needs to be clear and targeted to get the information across efficiently. There is demand for standalone apps that can enhance hybrid events such as Slack, Slido and Survey Monkey.

4k UHD: We will see more quality content produced in 4K UHD to ensure graphics can stand up to the state-of-the-art vision sources that are being employed in venues. If you are not creating content in 4K UHD then you are not taking advantage of all that is available to project your message.

Touchless Environments: COVID-19 has accelerated the desire for automation and touchless environments from a nice-to-have to a must-have. They minimize the amount that people come into contact with shared surfaces. Following the throes of COVID-19, it appears that touchless building controls are here to stay.

Remote Control And Remote Management: We’re seeing an increase in demand for remote management software that allows one person, or a small group of people, to log into a remote system and review the status of a set of classrooms or meeting spaces. Increasingly in 2022, companies can implement remote monitoring and maintenance for audio visual systems to support the advancement of technology. Whether your organization is expansive or small, remote audio visual support teams can significantly reduce operating costs for your business.

Live Streaming: As more people look to tune into events from home, we’re seeing an increased need for equipment that supports live streaming.

Video Walls: In many commercial spaces, there’s often a need for a large video display. In past years, many spaces have opted for projection screens as opposed to large LCD displays or video walls, solely because the cost was much lower. The price of video walls getting close to similar to a projection screen, and the benefits almost always outweigh the slightly higher cost.

Service And Maintenance: As more commercial spaces look for ways to save, there’s been an increasing demand for AV integrators to handle service and maintenance in order to maximize the lifespan of AV products. Businesses are focussing on reducing the overhead costs associated with maintaining and installing the equipment. Companies having expertise in sectors other than AV cannot have a dedicated team to manage and monitor their AV equipment.

Snake oil: Many audiophiles are infected by the snake oil curse, which causes them to chase endlessly after what is supposedly better sound reproduction. Audio interconnect and speaker cables have become a profitable business built on imaginative marketing and misinformation. This market now extends into power cords, HDMI, and optical cables. Untold sums of money have been wasted on the fanciful claims of cable vendors. There is lots of ridiculous pieces of pseudo-audiophile nonsense out there. Try to avoid this bullshit in 2022. Try to to restore peace of mind, and the enjoyment of music.

Hybrid environment: Although some employees are returning to the office, it is doubtful that society will return to an entirely on-site work environment. Remote workspaces from 2020-21 on will now be ‘Hybrid’ (home and office). AV technologies are playing a crucial role in creating a modern working environment. Hybrid technologies are changing their form, we had just a Skype call before the pandemic and now we have Zoom, Microsoft Team Rooms, Google Meet, etc with more advanced features allowing space for seamless collaboration and communication. Hybrid environments are expected to go beyond that with continuous innovation and development. Remote employees, distant customers, healthcare providers, and educational institutions can utilize unified communication solutions. It is now increasingly important to adopt technologies that make collaboration easier. At one time, frequent video communications, online learning, and compact hardware design were ambitious audio visual innovations that were hard for people to imagine. Today, they’re top priorities for business, educational, and religious spaces of all types, and are critical to how people interact in those spaces.

Silent Video Gains Momentum: It’s estimated that 85% of short videos viewed on Facebook are watched without sound. Yet as much as 41% of video would be incomprehensible to viewers without sound. Video marketers are using captions, context and other “no-audio” tactics to convey information.

Social Media Goes Video-First: video content is one of the internet’s main attractions. Users are being drawn to video-first platforms. One of the most common reasons people use social media is to view video. But with video streaming set to be as much as 82% of total web traffic by 2022, the importance of video content to marketing strategy is massive and still growing.

Digital audio: Digital audio consumption accelerated in 2021 and commercial engagement followed the audiences. In 2022 we foresee three key commercial trends in the digital audio space: Data-led targeting capabilities provide a powerful way to get advertising cut through, Creativity is a constant rather than a ‘trend’ in advertising and Audience Growth is attracting new advertisers. Programmatic audio is divided into three main supply sources – music streaming (through suppliers like Spotify), podcasts (the biggest opportunity for brands), and online broadcast radio (now more attractive with the addition of data overlay opportunities). Amongst these audio heavyweights we can see emerging innovation in the form of conversational and actionable audio ads.

Virtual and Augmented Reality: Although virtual and augmented reality first entered the public consciousness via video games or social media filters, they are now infiltrating every aspect of our lives. Given the rapid evolution of technology, it is inevitable that these advancements will impact the audio visual industry. Companies specializing in the development of VR and AR technologies are noticing an increase in interest from educational institutions wishing to create an enhanced learning experience. Within the healthcare sector, VR solutions are assisting healthcare professionals with socializing medically isolated patients. Virtual reality has been in development within the audio visual industry for many years. In 2022, virtual reality is becoming mainstream. Or at least tries.

Shift from linear TV to streaming: Video streaming goes beyond traditional TV viewing for people under 45. The lion’s share of viewing by those over 45 is still grabbed by linear television.


  1. Tomi Engdahl says:

    Brian Eno // “Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit – all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.”


  2. Tomi Engdahl says:

    The world of Media and Entertainment has changed faster than many industries. There are multiple factors facing content creators and video distributors as it relates to the technical architectures for production and distribution. Read more here: #KingstonIsWithYou

  3. Tomi Engdahl says:

    Apple won’t let bad guys use iPhones in movies, ‘Knives Out’ director Rian Johnson says

    Rian Johnson, the writer and director of “Knives Out,” revealed that Apple will permit film productions to use its products onscreen, but bad characters can’t have an iPhone on camera.
    When rewatching the film, you can see several characters who are suspects carry or use iPhones.
    Johnson’s whodunit has garnered more than $300 million at the global box office since its November release, a sizable return on a $40 million budget.

    “Apple, they let you use iPhones in movies, but, and this is very pivotal, if you’re ever watching a mystery movie, bad guys cannot have iPhones on camera,” he said. “Every single filmmaker who has a bad guy in their movie that’s supposed to be a secret wants to murder me right now.”

    It makes sense that companies like Apple don’t want to have their products promoted in the hands of movie antagonists, in the same way that soda companies don’t want audiences to see cans of their famous brands tossed into trash bins on the big screen.

  4. Tomi Engdahl says:

    Untangling The Maze Of Digital TV Upgrades

    When we all shifted our television broadcasts to digital, for a moment it looked as though we might have had to upgrade our sets only once and a set-top box would be a thing of the past. In Europe that meant the DVB-T standard, whose two-decade reign is slowly passing to DVB-T2 for higher definition and more channels. All of this might seem simple but for the DVB-T2 standard being a transport layer alone without a specified codec. Thus the first generation of DVB-T2 equipment uses MPEG4 or H.264, while for some countries the most recent broadcasts use HEVC, or H.265. [CyB3rn0id] is there to guide us through the resulting mess, and along the way produce a nifty upgrade that integrates a set-top box on the back of an older DVB-T set.

    Simply bolting a set-top box to a TV is not the greatest of hacks, however this one takes matters a little further

    TV modification for DVB-T2 reception

  5. Tomi Engdahl says:

    Rise of the ABBA-tars! Inside ABBA’s Groundbreaking Live Residency

    To cap off one of pop’s greatest comebacks, all the Swedish superstars needed to do was build a venue, hire the effects team behind Star Wars and digitally reproduce themselves with stunning accuracy

  6. Tomi Engdahl says:

    Using A Fusion Splicer To Repair A Samsung TV’s Cable

    Some Samsung TVs come with a system called One Connect, where all external cabling is connected to a separate box so that only one small signal cable goes to the TV. In some versions, the cable linking the TV with its Connect Box is a pure fiber optic cable that’s nearly transparent and therefore easy to hide.

    Thin fiber optic cables are fragile however; when [Elecami Wolf] got one of these TVs for a very low price it turned out that this was because its One Connect cable had snapped. Replacement cables are quite expensive, so [Elecami Wolf] went on to investigate the inner workings of the fiber optic cable and figured out how to repair a broken one.

    The cable consists of four pairs of plastic-coated glass fibers, which are attached to receivers and transmitters inside the thick connectors on either end. Repairing the cable required two things: figuring out which fibers should connect to each other, and a reliable way of connecting them together.

    EW0037 – How To Repair Damaged Samsung One Connect Invisible Connection Cable

  7. Tomi Engdahl says:
    Nykyajan puhelinten kamerat peittoavat jo monet järjestelmäkamerat laadukkaiden kuvien ja jopa 8K-videokuvan ansiosta. Mutta mitä tehdä, kun puhelimen kamera lopettaa toimintansa?

    Kokosimme blogiin niksejä yleisimpiin kameraongelmiin! Lue lisää:

  8. Tomi Engdahl says:

    Maailman ensimmäinen 500 hertsin pelinäyttö

    Asusin pelibrändi ROG eli Republic of Gamers on julkistanut maailman ensimmäisen pelinäytön, jonka virkistystaajuus on 500 hertsiä. ROG Swift 500Hz on kooltaan 24,1-tuumainen ja erottelee 1920 x 1080 pikseliä. Ne virkistyvät siis 500 kertaa sekunnissa.

    Näyttö hyödyntää Esports-TN-paneeliteknologiaa (E-TN) tuottaakseen 60 prosenttia lyhyemmät vasteajat kuin tavalliset TN-LCD-näytöt, mikä tekee siitä kaikkien aikojen nopeimman LCD-näytön. Pelipaneelin kehittämisessä ROG teki yhteistyötä AU Optronicsin (AUO) kanssa hyödyntäen sen AmLED-tekniikkaa, joka mahdollistaa kirkkauden, kontrastin, värien ja virkistystaajuuden tarkan hallinnan reaaliajassa ja näytettyjen kuvien perusteella.

    ROG Swift 500Hz:n liikkeen epäterävyyden, paremman visuaalisen ja pienemmän syöttöviiveen ansiosta se on suunniteltu tarjoamaan esports-ammattilaispelaajille etuja turnauksissa. Yksi näistä vaikuttavista ominaisuuksista – poikkeuksellisen alhainen latenssi – on mahdollista osittain tärkeän kumppanuuden ansiosta Nvidian kanssa.

  9. Tomi Engdahl says:

    Yhteistyö kameravalmistajien kanssa tavallista älypuhelimissa

    Yhteistyö perinteisten kameravalmistajien kanssa on ollut käytetty tapa parantaa älypuhelinten kameraominaisuuksia. Saksalainen Leica ryhtyi monivuotiseen yhteistyöhön Huawein kanssa jo vuonna 2015

    Huawei teki Leican kanssa useita huippuluokan arvosteluja saaneita lippulaivamalleja ja yhteistyö loppui vasta viime vuonna.

    Viime vuonna Sharp esitteli Acquos R6 -puhelimen, jonka kamera oli kehitetty yhdessä Leican kanssa. Xiaomi-sopimus on kuitenkin isompi juttu, sillä kyse on markkinoiden kolmanneksi suurimmasta älypuhelinvalmistajasta.

    Joku ehkä muistaa vielä Nokian N90-mallin vuodelta 2005.
    Nokian ja Carl Zeissin yhteistyö jatkui vuosikausia ja tuotti monia markkinoiden huippukameroita kännyköissä. Vielä Microsoft-aikana julkistettiin Lumia 1020 peräti 41 megapikselin kennolla. Myös HMD:n kanssa Zeiss-yhteistyö on jatkunut. Zeiss on tehnyt yhteistyötä myös Ericssonin kanssa.

    Yksi uusimmista kumppanuuksista on OnePlussan ja Hasselbladin pari vuotta sitten alkanut yhteistyö. Tämä on näkynyt erityisesti OnePlus-kameroiden värikalibroinnissa.

    Xiaomi kamerayhteistyöhön Leican kanssa

    Kiinalainen Xiaomi ja ikoninen kameravalmistaja Leica ovat julkistaneet mobiilikuvaamiseen keskittyvän strategisen kumppanuutensa. Leican brändi ja tuotteet tunnetaan erityisesti laadukkaasta teknologiasta ja korkeatasoisesta saksalaisesta osaamisesta. Ensimmäinen yhteistyössä kehitetty älypuhelin julkistetaan heinäkuussa.

    Leica vaihtaa Huawein Xiaomiin

    Saksalainen kamerakehittäjä Leica vaihtaa lisenssipartnerikseen kiinalaisen kännykkämerkki Xiaomin nykyisen Huawein tilalle. Yritykset lupaavat ensimmäiset tulokset heinäkuussa julkistettavassa kännykkämallissaan.

  10. Tomi Engdahl says:

    Untangling The Maze Of Digital TV Upgrades

    When we all shifted our television broadcasts to digital, for a moment it looked as though we might have had to upgrade our sets only once and a set-top box would be a thing of the past. In Europe that meant the DVB-T standard, whose two-decade reign is slowly passing to DVB-T2 for higher definition and more channels. All of this might seem simple but for the DVB-T2 standard being a transport layer alone without a specified codec. Thus the first generation of DVB-T2 equipment uses MPEG4 or H.264, while for some countries the most recent broadcasts use HEVC, or H.265.

  11. Tomi Engdahl says:

    Tested: Where Does The Tone Come From In A Speaker Cab?

    I do the work and get the answers.

    0:00 – Intro
    1:34 – The Scrap Cab
    2:49 – The Sweep
    3:35 – 1×12 Combo
    3:55 – 1×12 Test Cab
    5:20 – When does it become open back?
    6:56 – Baffles
    8:30 – 2×12 Test Cab
    9:09 – Grille Cloth and T-Shirts
    10:12 – The Mysterious Vox Planks
    10:37 – Marshall 4×12
    11:13 – JT’s Cabs
    12:09 – The 6-Hole Cab
    12:50 – Cab Size
    16:10 – The 12 Factors
    17:00 – But Why?
    18:18 – The dumbest guitar cab material?
    19:16 – Outro

  12. Tomi Engdahl says:

    Signaalinkäsittely korjaa kuulolaitteiden suurimman ongelman

    hmisen korvalehdillä on tärkeä rooli äänen tulosuunnan määrittämisessä. Kuulolaitteissa mikrofonin sieppaama signaali sen sijaan kulkee vahvistamisen jälkeen ohutputkea pitkin suoraan korvakäytävään. Siksi äänilähteet tuntuvat täyttävän pään, mikä on häiritsevää ja väsyttävää etenkin tilaisuuksissa, joissa on paljon ihmisiä. Kun äänten suunnat katoavat, myös eri puhujien erottaminen toisistaan on vaikeampaa.

    Nyt ryhmä Aalto-yliopiston tutkijoita on ratkonut, miten puuttuva suuntatieto voidaan tuottaa mahdollisimman tarkasti tekniikan avulla. Tutkimus nostettiin juuri arvostetun Journal of American Society of Acoustics (JASA) -lehden kansijutuksi. Artikkelissa ryhmä esittää signaalinkäsittelyn mallin, jolla useiden, eri suunnista ääntä keräävien mikrofonien data analysoidaan niin, että äänen tilainformaatio saadaan talteen.

    - Vasta sen jälkeen se johdetaan eteenpäin, esimerkiksi kuulolaitteen kompressoriin, joka vahvistaa signaalia kuulijan tarpeisiin sopivaksi. Tämän jälkeen ääni toistetaan kuulijalle käyttäen analysoitua tilainformaatiota, mikä tuottaa luonnollisen tilavaikutelman, kertoo akustiikan professori Ville Pulkki.

    Pulkin mukaan menetelmä ei vielä sovi useimpiin kuulolaitteisiin, koska se vaatii paljon laskentatehoa ja energiaa. Vasemman ja oikean korvan kuulolaitteen tulisi myös keskustella keskenään. Pienissä kuulolaitteissa tämä voi olla vaikeaa toteuttaa, ja käyttömukavuuden takia pariston tulisi kestää pitkään.

    Suurempiin laitteisiin laskentateho ja riittävän tehokas virtalähde on helpompi mahduttaa.

  13. Tomi Engdahl says:

    Tested: Where Does The Tone Come From In A Speaker Cab?

    I built a reverb tank out of an old lamp + FREE SAMPLE LIBRARY

  14. Tomi Engdahl says:

    Lisätyn todellisuuden voi nyt tuoda kaikkiin laseihin

    Maailman pienimmän projektionäytön kehittäjä TriLite kehittää yhdessä Dispelixin kanssa ratkaisua, jolla voidaan tuoda lisätyn todellisuuden näyttö kaikenlaisiin laseihin. Ratkaisu perustuu TriLiten Trixel 3 -lasersädeskanneriin.

    AR-laseissa kuvanluontijärjestelmä vaatii projektorin, kuten Trixel 3:n, sekä aaltoputken, joka on pääosin läpinäkyvä, ohut lasi- tai muovipala, joka taipuu ja yhdistää useista eri lähteistä tulevat valonsäteet silmään.

    Trixel 3 on maailman pienin LBS-projektori. Pienen moduulin tilavuus on alle yhden kuutiosentin verran.

  15. Tomi Engdahl says:

    The Joy Of Broadcast Media Vs. The Paradox Of Choice

    The rise of streaming services on the Internet was a revolutionary shift when it came to the world of media. No more would content be pumped in to homes in a one-way fashion, broadcast by major conglomerates and government-run organizations. Instead, individuals would be free to hunt for content suiting their own desires on an all-you-can-watch basis.

    It’s led to a paradigm shift in the way we consume media. However, it’s also led to immense frustration thanks to the overwhelming amount of content on offer. Let’s take a look at why that is, and some creative ways you can get around the problem.

    Traditionally, when it came to media, there were two major arms of delivery: broadcast, and home media.

    As the Internet grew, though, the game started to change. Torrent websites and streaming services came along, offering up the sum total of the world’s cultural output for free, or for a nominal cost for those averse to piracy. Suddenly when it came to choosing a movie to watch, one wasn’t limited to the five or so films on at the local cinema, nor what was left on the shelves at the local video rental. Instead, virtually any movie, from the invention of the format, could be yours to watch at a moment’s notice.

    With so many options on the table, many of us find it harder to choose. It’s an idea popularly known as the Paradox of Choice

    Add thousands of choices to the pile, and the job escalates in complexity to the point of becoming overwhelming. With so many different choices to contrast and compare, finding the mythical right choice becomes practically impossible.

    Anyone who’s ever jumped on a streaming service to hunt for something to watch will be familiar with the paralyzing feeling. Rows of colored icons streaming past, barely-recognizable titles fluttering by. Each scroll seeking for a simple standout option, but only revealing yet more to choose from. The pressure builds with the knowledge that making a bad choice is surely inexcusable when virtually everything ever filmed is an option

    There are some workarounds, of course. One such method is to remember that picking a movie is not a life-or-death choice (usually), and that merely finding something good enough will usually suffice. The streaming world also comes with a secondary benefit in that there’s no need for commitment. If the film is unwatchably bad, you can always pick another.

    The benefit of understanding the Paradox of Choice is that you can recognize the situation, and react accordingly. Whether employing psychological techniques to ease your selection, or enlisting tools to help take the choice out of your hands, it’s much easier to deal with when you’ve got a strategy for the job. Happy watching!

  16. Tomi Engdahl says:

    My Finished ATEM 2 M/E Constellation HD Live Streaming Flypack

    This last week I rebuilt my video production flypack using the new ATEM 2 M/E Constellation HD video switcher. Here’s a walk-through of the new setup.

  17. Tomi Engdahl says:

    Benjamin Mullin / New York Times:
    A profile of Paramount three years into its streaming shift, an underdog choosing to continue alone as Netflix and Disney dominate and other streamers cut deals

    Can Paramount Go It Alone?

    The dominance of Netflix and Disney in streaming has forced

  18. Tomi Engdahl says:

    MEMS korvaa kalvot

    Piipohjaiset MEMS-rakenteet ovat korvaamassa perinteisiä kalvorakenteita sekä mikrofoneissa että kaiuttimissa. Mikrofoneissa kehitys on pidemmällä. Infineonin XENSIV-sarjan uutuudet tuovat aiempaa korkeammat taajuudet ja laadun MEMS-mikrofoneihin.

    IM69D127, IM73A135 ja IM72D128 ovat viimeisimmät lisäykset Infineonin kasvavaan MEMS-mikrofonien valikoimaan. Yhdessä valittavissa olevien tehotilojen kanssa MEMS-mikrofonit sopivat täydellisesti kulutuselektroniikkaan, kuten aktiivisella melunvaimennuksella (ANC) varustettuihin kuulokkeisiin, TWS-nappikuulokkeisiin, ja konferenssilaitteiden suuntaaviin mikrofoneihin.

    Ne sopivat myös kannettaviin tietokoneisiin, tabletteihin tai älykkäisiin kaiuttimiin, joita ohjataan äänikomennoin. Käyttökohteita ovat myös valikoidut teolliset sovellukset, kuten ennakoiva huolto ja turvallisuus.

  19. Tomi Engdahl says:

    Surround Sound | Everything You Need To Know (In 5 Minutes!)

    5.1 vs 7.1 vs Dolby Atmos… This video will help you make sense of the most popular surround sound formats for home theater, film sound production, and immersive audio production.

  20. Tomi Engdahl says:

    Jokaisella formaatilla on vahvuutensa

    Vinyyli jyllää monen audioharrastajan suosikkina. Lasersäteellä luettava pikkulevy panee kampoihin, tarjoaahan se muun muassa tilamiksauksia, videoita ja muuta lisäsisältöä.

    Huh mikä dynamiikka! Kraftwerkin 3-D The Cataloguen neljään bluray-levyyn on koodattu pakkaamaton ääniraita, joka haastaa subbarin. Vuosien 2012–2016 maailmankiertueella taltioitu materiaali kattaa Düsseldorfin dynamon keskeisen tuotannon ja esittelee pitkän saundipäivitysprojektin tulokset: blurayt soivat aitoa liveäkin upeammin. Jälki onkin uhkeinta, mitä Kraftwerk on julkaissut. Paketista löytyvät lisäksi Dolby Atmos ja pcm-stereo. Audiohekumoillessa voi katsella liveotoksia ja muuta videomateriaalia, myös kolmiulotteisena. Luurikuunteluun on soitteista vielä omat surround 3d -miksaukset.

    Huikeasti soi myös Tim Bownessin Lost in the Ghost Light. Tuplan 24 bitin ja 96 kilohertsin dts 5.1 -saundi tuo teema-albumiin syvyyttä ja avaruutta, mikä sopii varhaista brittiprogea sivuavaan tyyliin.

  21. Tomi Engdahl says:

    Lämpökamera tuli älypuhelimeen

    Kiinalainen AGM on pieni, ennen kaikkea kovaan käyttöön tarkoitettuja työpuhelimia kehittävä yritys. Nyt se on esitellyt markkinoiden ensimmäisen kestävän älypuhelimen, jossa on integroitu korkean resoluutio lämpökuvaus- ja pimeänäköteknologiat. Glory GS1 -malli korvaa raskaat ja hankalat lämpökamerat edistyneellä 5G-älypuhelimella.

    Laitteen lämpökamera koostuu 40 000 anturista. Se tuottaa selkeitä 256 x 192 pikselin lämpökamerakuvia. Videota voidaan kuvata 25 ruudun sekuntinopeudella. Laite on hyvin vankka, sillä se on sertifioitu sotilasstandardi MIL-STD-810H:n mukaisesti. Se on 100-prosenttisesti vedenpitävä (IP68).

    Toisin kuin muut kestävät älypuhelimet, AGM G1S on yhdistelmä kestävästä älypuhelimesta ja lämpökamerasta. Lämpökamera mittaa lämpötiloja -20 … +550 asteen välillä.

  22. Tomi Engdahl says:

    Leica and Panasonic have announced that they will be working even more closely together following the signing of a deal to develop joint technology using the L2 brand.

    Leica And Panasonic Announce New Cooperation For Digital Cameras, Lenses And Software

  23. Tomi Engdahl says:

    Järjestelmäkameran aika on pian ohi
    Julkaistu: 02.06.2022

    Sonyn pääjohtaja Terushi Shimizu ennustaa japanilaisessa Nikkei-talouslehdessä, että älypuhelimen kameran still-kuvien laatu ylittää DSLR- eli digijärkkärien kuvien laadun vuonna 2024. Tämä tarkoittaa käytännössä, että järjestelmäkamera laitteena tulee tiensä päähän.

    Shimizun mukaan älypuhelimella voidaan parin vuoden päästä ottaa laadukkaampia still-kuvia kuin digijärkkäreillä. Ennustus koskee myös uuden polven peilittömiä järjestelmäkameroita.

    Kehitys edellyttää älypuhelimen kameroiden jatkuvaa parantamista. Shimizun mukaan tämä tapahtuu sekä kennojen kokoa kasvattamalla että tekoälyn tuomisella kuvan prosessointiin. Älypuhelimen kamerakennojen koko kasvaa nykyisestä kaksinkertaiseksi vuonna 2024, Shimizu arvioi.

    Suuremmissa kennoissa voidaan suurempia pikseleitä. Nämä mahdollistavat uudenlaiset ”Super-HDR”-kuvausmoodit ja entistä kehittyneemmät zoom-ominaisuudet.

    Älypuhelinten kameroiden ongelmat liittyvät tällä hetkellä ennen kaikkea hämäräkuvaukseen, joissa järkkärit ovat edelleen ylivertaisia. Shimizun mukaan uudenlaiset pikselien kaksikerrosrakenteet tulevat merkittävästi parantamaan kennojen dynamiikka-aluetta.

  24. Tomi Engdahl says:

    Sonyllä on noin 42 prosentin osuus älypuhelinten kamerakennoissa

  25. Tomi Engdahl says:

    Daisuke Inoue (Inoue Daisuke, born May 10, 1940) is a Japanese businessman best known as the inventor of a karaoke machine.

  26. Tomi Engdahl says:

    Multitone – Loopback Analyzer for Audio

  27. Tomi Engdahl says:

    SSDs and RAM power every step of the streaming media and entertainment pipeline

  28. Tomi Engdahl says:

    Trilobite-Inspired Camera Boasts Huge Depth of Field New camera relies on “metalenses” that could be fabricated using a standard CMOS foundry

  29. Tomi Engdahl says:

    Tech notes from the Embedded Vision Summit
    May 27, 2022
    Innovations on display at show hold enormous potential for video surveillance and the security industry as a whole
    Steve Surfaro

  30. Tomi Engdahl says:

    Make Your Own Virtual Set

    An old adage says out of cheap, fast, and good, choose two. So if you’re like [Philip Moss] and trying to make a comedy series on a limited budget rapidly, you will have to take some shortcuts to have it still be good. One shortcut [Philip] took was to do away with the set and make it all virtual.

    If you’ve heard about the production of a certain western-style space cowboy that uses a virtual set, you probably know what [Philip] did.

    How we made a Comedy Series for the BBC using Virtual Production

  31. Tomi Engdahl says:

    Kansa kuuntelee musiikin pääosin ilmaiseksi

    Musiikin suoratoistopalveluita käyttää jo yhdeksän kymmenestä suomalaisesta, mutta vain 35 prosenttia haluaa maksaa niistä. Suosituimpia musiikkipalveluita ovat uuden selvityksen mukaan videokanava Youtube ja vastaavat mainosrahoitteiset nettipalvelut. Suosituin maksullinen VOD-suoratoistopalvelu on Netflix ja toisena verovaroin hoidettu Yleisradion Areena.

    Musiikin striimaus pohjoismaissa ei ole enää Polaris Nordic: Digital Music in the Nordics 2022 -tutkimuksen mukaan kokonaisuutena kasvanut, mutta maksullisia palveluita käytetään jonkin verran enemmän. Suomen, Tanskan, Norjan ja Ruotsin digitaalisia musiikinkuuntelutottumuksia mittaava tutkimus tehtiin huhti-toukokuussa 2022 yhteistyössä Teoston, Tanskan tekijänoikeusjärjestö Kodan ja Norjan Tonon kanssa. Tutkimus tehdään joka toinen vuosi ja sen toteuttaa tutkimusyhtiö YouGov.

    Eniten maksulliset suoratoistokanavat kasvoivat Ruotsissa (52 –> 59 %) ja Tanskassa (56 –> 57 %), mutta Suomessa maksullisia musiikkipalveluita käyttäneiden määrä kasvoi kahdessa vuodessa vain 32 prosentista vuodessa vain 35 prosenttiin. ”Jostain syystä maksuttomat palvelut riittävät yhä monelle suomalaiselle musiikinkuluttajalle”, sanoo Teoston lisensointijohtaja Markus Kaarto.

  32. Tomi Engdahl says:

    Multispectral imaging smartphone camera
    A smartphone imaging system for art conservation analysis

    This project entails modifying a smartphone by removing the IR/UV filter and designing a filter wheel for various types of imaging: IR reflectography, UV reflectography & fluorescence, and polarized light. These methods are frequently used for analysis of artworks and artifacts, however, they currently require lengthy setup times, dedicated studio space, and maintaining a whole kit of DSLR filters. This smartphone system enables most types of technical photography to be done in seconds, and can be easily paired with app-level photography software to increase its capabilities.

  33. Tomi Engdahl says:

    See How To Effectively Use A Green Screen In A Limited Space

    Virtual green screens are pretty neat, but for results, nothing beats the real thing. But what if you have limited space? [Fred Emmott] had about 30 inches behind his desk to work with, and shares what it took to make a green screen work reliably in a limited space.

    When it comes right down to it, the fundamentals of camera work (lighting, angles, and so on) are unchanged, but hanging a green screen only 30 inches behind one’s desk does make it a bit more challenging to dial in the right environment. In addition, [Fred] wanted a solution that could be deployed and packed away without much of a hassle, and without taking up too much storage space. He ended up using a collapsible green screen that can be pulled straight up and out from its container, similar to portable stand-up banners used at trade shows.

    As for the camera end of things, [Fred] found that reliable, quality lighting was critically important, even more so than the camera used.

    The key to good green screen results is to light things evenly, and this is a bit more challenging when working in such a tight space.

    To deal with this, [Fred] suggests lights that can be easily repositioned, and put them as far back from things as you can. Get the lighting as even as possible, then adjust your software to match ([Fred] uses OBS Studio) for best results.

    Green Screens in Limited Space

    Behind me, I have an Elgato Green Screen; this sets up and tears down in a matter of seconds – just remember to spread the feet, or it’s effectively a giant sail and will blow over. It pulls straight up out of its’ storage container without effort, and is supported by hydraulics:

    It’s easy to store, but Elgato’s claim that you can store it under your bed or couch seems a bit optimistic; you’ll need around 5 inches of clearance for that to work.

    I’ve tried a few different ‘virtual green screen’ implementations; some do handle tracking body and face well, but they all have distracting problems with hair – flickering, or in some cases ghosting. I’ve heard that Intel RealSense cameras can do a somewhat better job of this, but I’ve not tested this.

    Finally, lights: whether you are using a green screen or not, the most important thing is to light your face well; the best way to do this seems to be to have lamps on top of or behind your monitor, pointing at you. I started off using some old photography lights I had, but the stands were inconvenient, and the non-LED bulbs generated a lot of heat, making streaming for more than 30 minutes somewhat uncomfortable. I strongly recommend getting

    LED bulbs, so they’re not heating you up
    bright ‘daylight’ bulbs – I’m using 5500k LEDs
    a light that can be repositioned easily – keeping in mind that your monitor or other things on your desk might get in the way

    If you don’t have much space, I think having scissor arms clamped to your desk works well; I’m using two desk clamp lamps from Amazon, though the Ikea desk lamps seem like they will work as well and are much cheaper. I then replaced the bulbs with Wsky 5500k LED bulbs.

    For the green screen, the key point is to light it evenily: you’re fighting room lighting, and the face lighting – you’ll be adding shadows now. I’m solving this with the Neewer LED panel kit and two D-Fuse softboxes. The kit includes two bi-color panels, each with a full-height stand (I’m using them at around half of their maximum height), barn doors, a built-in diffuser pane, and a carry bag.

    The softboxes just spread the light out more. I like these ones because they’re really easy and fast to set up and pack away: the depth is provided by bars that snap in two, and link magnetically: this effectively means you need to fold up a square rather than a cube when you’re done.

    To adjust the chroma key:

    set the white balance for your camera to match the lights you are using
    don’t use the built-in “green” option in OBS or XSplit; pick the color from your screen, when you’re sitting in the chair. The screen won’t be entirely perfectly lit, so try to pick a color that’s roughly half way between the brighest and darkest bit
    set smoothing and anti-aliasing options to 0
    set the threshold to zero (or sensitivity to max); slowly bring it up until the background is consistently gone
    move it further until it starts to pick up your face, then pick a final value a safe distance between those two points
    gradually increase smoothing settings until you get something that looks good for you

    The full set (tripods, lamps, defusers, green screen) takes less than 5 minutes to set up and put away, and takes up very little space; here’s the LED panels, defusers, and tripods next to my subwoofer:

  34. Tomi Engdahl says:

    A Lab-Grade Measurement Microphone For Not A Lot

    The quality of any measurement can only be as good as the instrument used to gather it, and for acoustic measurements, finding a good enough instrument can be surprisingly difficult. Commonly available microphones can be of good quality, but since they are invariably designed for speech or music, they need not have the flat or wide enough response and low noise figure demanded of an instrumentation microphone.

    Microphones for measurement purposes can be had for a very large outlay, but here’s [Peter Riccardi] with a unit designed around an array of MEMS capsules that delivers comparable performance for a fraction of the cost.

    MEMs Based IEPE Powered Instrumentation Microphone

    A 3D printable, MEMs based microphone is proposed in this project. The microphone is laboratory grade, IEPE powered, and less than $30.

  35. Tomi Engdahl says:

    Church Live Streaming Setup 2021 | Best Cameras, Switcher, Software, and Multi-Streaming Platforms

    One change worth considering. We take our audio feed from the sound desk directly into the Atem Mini Pro mini-jack input, so there’s then a single combined audio and video output coming from the Atem to the PC. That eliminates any possible audio and video sync issues occurring in the PC hardware or software as they’re already synced in the Atem. We’ve found this to be a better solution then sending a separate audio and video feed to the PC, and syncing there.


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