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Possibly one of the last features to wrap before the global pandemic effectively shut down production was Fatman, a dark action comedy directed by Eshom and Ian Nelms and starring Mel Gibson as the kind of Santa Claus who would probably exist in 2020 if one existed at all.
On October 27, 2020 The Federal Communications Commission issued an order to expand its captioning mandate for broadcasters to include audio description requirements for 40 designated market areas (DMAs) over the next four years. The move came after the Twenty-First Century Communications and Video Accessibility Act of 2010 (CVAA) directed stations in the top 60 DMAs to provide what it calls “described programming.”
IP networks are delivering outstanding success for broadcasters, both in terms of scalable functionality and flexibility. And the recent NMOS suite of specifications is improving integration and control, with IS-06 and IS-07 accelerating the process.
The effect of OTT-based delivery is wide-reaching, stretching all the way back to the original content production domain and creating new technical requirements and opportunities.
Most people are aware that the amount of detail in a photograph is dependent on a few things. Assuming focus is right, it’s easy to assume it’s a combination of how well the lens was made and the number of pixels on the sensor, give or take the quality of all those things. Now we’re starting to hit issues with what we might almost think of as the size of light.
SDI and IP differ fundamentally in their approach to data transport as SDI is circuit switched and IP is packet switched. This provides interesting challenges for us as we start to consider what it means to route IP signals.
Our first Essential Insights is a set of three video episodes in which we discuss transitioning to IP with industry experts. We explore the fundamental challenges during the planning stage. The decisions that need to be made, and the long-term thinking needed to maintain flexibility, scalability and resilience.
The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of the HAS, that should be enough.
