Few could argue that MPEG-2 has not been a workhorse of professional media compression. Created in 1988, it helped to power the commercial success of DVD disc players and is still used daily by U.S. TV broadcasters as a vital –and mandated—part of their DTV transmission service.
‘Lossless’ compression promises to simplify production infrastructure.
Tech eases the way for content creators and FCC compliance
This question of real versus artificial can be applied to the captioning industry, too, as technology has enabled speech recognition software to compete with humans to create captions.
If smartphone newsgathering really is the wave of the future and not some pie-in-the-sky pipe dream, which television station or network will be first to catch that wave and dump most of its ENG systems and methods into that same bone yard we piled film cameras, processors, Moviolas, splicers and film chains back in the 70s?
Over the last 20 years or so, fixed telecoms service providers have undergone fundamental changes in the way they operate.
In under 10 years, the concepts of public cloud computing and virtualization of computing resources have disrupted all of the perceived wisdoms of IT system design.
Viewer demand for better quality is far from a new phenomenon.
Paul Fitts is one of the very few U.S. communications tower workers qualified to handle “tall” tower jobs, a skill that’s now very much in demand due to the on-going spectrum repack.
Many of today’s cameras can capture a wide dynamic range that, unfortunately, will be clipped or blown out when shown on a standard dynamic range display.
A colleague of mine recently passed along a Reader’s Digest article titled “What are we going to do with TV?” from November 1950.
I expect most people have a general understanding of the law of diminishing returns.
Video infrastructure is changing. Traditionally, broadcast infrastructure was entirely based on hardware. But as video content and service providers look to launch broadcast and OTT services faster, gain operational efficiencies and reduce OPEX and CAPEX, they are shifting to software-based and cloud workflows.
Although Television Hill is a very visible city landmark and is located adjacent to a major arterial into Baltimore traveled by thousands of vehicles each day, there is no signage to indicate exactly what it is and/or what takes place there.
For the past several years, the video industry has been promoting 4K and the inclusion of “HDR” (high dynamic range) to boost the dynamics of color.
Without IT skillsets, broadcast engineers could become irrelevant
Recalling part of what made broadcast engineering fun
Part 2 explores some of the technical operations cloud-based platforms need to function properly in a digital supply chain.
A decade ago the BBC natural history series, Planet Earth, mesmerized viewers worldwide with some of the world’s most amazing wildlife footage and HD imagery of any kind yet broadcast in HD.
New name reflects how definition of broadcasting has changed
The retooling of the entertainment industry’s production technology through digital image capture means that workflows from acquisition through distribution for television and film are now exclusively file-centric.
The amount of progress made over the last couple of months on the ATSC 3.0 suite of standards is quite impressive.
At this time last year, the spectrum auction was on the horizon—and so was a great deal of uncertainty for LPTV stations.
