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Dalet and Adobe make sense of content creation and sharing in a super connected mobile world

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As we heard from Adobe’s Dennis Radeke at the June 25th Dalet/Adobe event that we recently staged in New York, change in the video industry is never evolutionary: it’s always revolutionary. Dennis pointed out that just as we’re getting comfortable with HD, all of a sudden we need to do it in ultraHD!

Bringing archives into your news workflows

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In modern newsrooms speed and accuracy are everything. The difference between breaking a news story or being an “also ran” can come down to the efficiency of your workflow in the newsroom. The ability to capture, store and find information is central – the quality of your journalists’ output relies heavily on their ability to locate and obtain relevant background information to the story that they are writing.

In this environment, the sophistication of your archive and its ability to offer up its treasures effectively can be the difference you are striving for. So, an airplane crashes and your ENG crew are first on the scene – the reporter needs relevant information fast – what is the safety record of this particular aircraft; when was the last time an aircraft crashed leaving this airport; what was the weather like at the time of the crash? This is the kind of information that turns a sketchy scene of the crash report into a well-researched and insightful news story.

But within the constantly changing landscape of the newsroom it is not so easy to maintain your archive. Do you find the task of indexing material difficult to do and time-consuming in your newsroom? And do you struggle to find content that you know exists but have not the time nor resources to locate it within the timescale of news? If you do fall into either or both of these traps you are in good company – in our experience at Dalet these are very common problems.   

DPP deadline day – what’s all the fuss about?

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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 that BT Sport’s new production facility in London complies with the Digital Production Partnership (DPP) file-based workflow specifications.

Things I've learned in Dalet - The Unified User Experience

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I've always told new staff that "You only get one chance to be a newbie!". This often confuses people. What I am trying to say to them is that when you join a new company, there are many things that you don't know about the way the company works, the people, the products, the design methodologies and who makes a decent cup of coffee. This uncertainty can make some people nervous, but I try to encourage people to enjoy the learning experience and, where possible, to document the good and bad things that they find. After 12 months, it's very hard to remember what it was like to "not know" the product or to "not understand" a particular user screen.

Broadcast Asia - a slice of normality in a crazy world

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I like Broadcast Asia - it's small enough to walk around in a couple of hours, yet all the main brands and an impressive number of international countries are represented. No-one is expecting "a big theme" or "a big announcement" in the way that is expected at NAB and IBC. In fact the general air of the show seems to be "practical solutions for real problems".

Why is Hollywood interested in DPP?


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.

How to bring your archive back to life and create additional revenue

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As part of our continuing conversations regarding file-based workflows and the various challenges they bring with them, today's blog by Dalet's VP of Marketing Raoul Cospen looks at one of the main challenges we all have today: archive.

5 reasons why media delivery standards might be good for your business

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Like me, I am sure that you have been to a restaurant in a group and everyone orders from the set menu EXCEPT for that one person who orders the exotic, freshly prepared fugu, which requires an extra 30 minutes of preparation from a licensed fugu chef so that the customers don't die eating it. Restaurant etiquette means that our main course is served at the same time, forcing everyone to spend a long time hungry, waiting for the special case. And if you split the bill equally, the special case becomes subsidised by the people wanting the set meal. Does this model relate to the media industry? Is there a cost for being special? How can we reduce that cost? What gets done with the cost savings? How can you help?

Basingstoke or Bust: Undertaking a 3000-Mile European Grand Tour in an Ancient Volvo

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Have you ever sat there watching the Top Gear presenters undertake some herculean motoring challenge and think, ‘I could do that’? Well, that’s just what I’ve done in aid of charity.

HEVC - an apology

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I have a confession to make. I was over enthusiastic in my Interlace + HEVC blog post a little while ago. I confidently stated: One of the great advances in the HEVC specification is that it does not support interlace. This is blatantly untrue. I used a slightly more accurate statement in an earlier post.

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