The latest MPEG codec H.266 has been unveiled by Germany’s Fraunhofer Heinrich Hertz Institute with claims it will at least double the compression efficiency of its predecessor H.265, also known as HEVC.
IP and COTS infrastructure designs are giving us the opportunity to think about broadcast systems in an entirely different manner. Although broadcast engineers have been designing studio facilities to be flexible from the earliest days of television, the addition of IP and COTS takes this to a new level allowing us to continually reallocate infrastructure components to make the best use of expensive resource.
Whenever I’m asked about my opinion on the transition to IP, I always state that the impact can’t be appreciated until its history is understood. This brings into context the need for broadcasters to educate and surround themselves with those who have in depth knowledge and understanding of the subject.
What has changed the most over the course of broadcast TV technical history is the price of admission, the elimination of generation loss, HD and IP.
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Planning the cinematography of a production which is quite literally about darkness is a challenge. Shooting a documentary with a skeleton crew in a place where power cuts are every day is an even bigger challenge. Director of photography Miguel Angel Viñas faced all that and more on The Road Bad and the Place Dark, a documentary shot in Sierra Leone for medical charity Médecins du Monde.
Cloud computing is helping a myriad of professional organizations expand their reach and implement new types of IP workflows that were not possible previously. It has also allowed media companies to work virtually anywhere.
When broadcast TV was the only media consumption option available to consumers – video monitoring was regarded as a luxury. Today it is seen as an essential requirement in all forms of media content delivery.
Engineers and production crews help local TV stations maintain distancing and a sunny on-air personality.
