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Twenty years ago, there was a clear divide between how you shot and finished a project for Cinema compared to the typical workflows used in broadcast TV. With the advent of streaming services that provide 4K/UHD to a broad audience the lines are now blurred between these two worlds.
The first burst error correcting code was the Fire Code, which was once widely used on hard disk drives. Here we look at how it works and how it was used.
Compared to simple ATSC 1.0 PSIP, ATSC 3.0 Signaling & Announcement data tells Nextgen TV receivers about incoming data structures, their interrelations, and what to do.
Need a live shot from inside an unmarked moving rental sedan during a thunderstorm? No problem.
Gamma is a topic that pervades almost all forms of image portrayal, including film, television and computers. Gamma has become a tradition, which means that its origins are not understood, and it is not questioned. Perhaps it is time that it was.
Program delivery to mobile devices and smart televisions has fueled the growth for internet delivery. But one of the challenges broadcasters and media content providers face is that the internet was never originally designed to stream large amounts of video and audio with virtually no dropout or latency.
There are two basic reasons to know the level of an audio signal. One of these is more technical and one of them is more subjective.
Playout automation has been enabling fewer people to control more channels for decades but we’re not quite at the point where human interaction can be eliminated altogether. Since most linear broadcasters will either move to a software-based deployment for their channels themselves or give them to a service provider that carries out that transformation for them, The Broadcast Bridge assesses the benefits and the challenges in so doing. Part II examines the crucial role of IP and the workflows and skillsets needed to operate such infrastructure.
