Thanks to the pioneering and the sometimes overly promotional work of One Media, the wholly owned subsidiary of Sinclair Broadcast Group, the new broadcast standard emerging in the U.S., called ATSC 3.0, is promising broadcasters new capabilities well beyond delivering TV signals. Yet it’s also about to change the very definition of what it means to be a “broadcaster” in today’s highly competitive video marketplace.
Sennheiser examines the theory, implementation, and uses of the Ambisonic soundfield, and its important role in the immersive audio world.
As live sports broadcasts resume in the U.S., the industry is grappling with how to keep its crews safe by following strict COVID-19 guidelines—established by the U.S. government and the industry itself—while maintaining the high production quality viewers expect. Safety precautions now being employed include keeping onsite crews to a minimum and sanitizing trucks before and after events.
There are two components of gamma that have quite different purposes. One of them is always necessary because displays and their surroundings are never equally as bright as the original scene. The other one is a compression technique.
Digital audio has a remarkably short history, but apart from a few enthusiasts of legacy technology, the takeover has been total.
Several licensed experimental ATSC 3.0 stations have been on the air for some time. Now, the first commercial ATSC 3.0 stations have signed on in Las Vegas, Pittsburgh, Nashville, Salt Lake City and Phoenix.
The Farm is a leading full-service post production group that started in Soho, London, subsequently opening facilities in Manchester and Bristol in the UK, and West Hollywood in Los Angeles. The Farm is well known for its ground-breaking creative approaches and its willingness to embrace all that technology has to offer to further that cause. The Farm team has been responsible for some of the most popular television projects of the last 20 years and has an array of awards to prove it.
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Steeven Petitteville’s background in cinematography begins with the sort of story that many people would like to be able to tell. Petitteville didn’t finish studying at the ESRA film school in Paris, having become too busy working in the camera department to do so. After ten years as a camera assistant, he arrived in Los Angeles to shoot a commercial. Seven years later, he’s still there.
