Broadcasters are far more upbeat about the impact 5G mobile networks will have on their services than they were in the case of 4G when that was introduced around a decade ago.
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For anyone who’s seen the first series to bear the title, the name Penny Dreadful will conjure up images of occult happenings in a shadowy, late-Victorian world. After twenty-seven episodes across three highly successful seasons, Showtime aired the last episode of Penny Dreadful in June 2016. By November 2018, the network had ordered a successor: Penny Dreadful: City of Angels, which premiered in April 2020 and looks very different to its gothic predecessor.
There is level and then there is loudness. Neither can be measured absolutely, but by adopting standardized approaches it is possible to have measurements that are useful.
Late last year, the Federal Communications Commission announced plans to establish a 5G Fund, making $9 billion available to help mobile network operators (MNOs) deploy 4G and 5G mobile wireless services in hard-to-reach rural America. Some call these areas with sparse populations and/or rugged terrain the last 5 percent of the digital divide.
Technical advances in regionalization and personalization for Ad insertion are helping broadcasters leverage revenues from OTT and VOD. Improved granularity in distribution facilitates refined targeting of advertising giving broadcasters and advertisers unprecedented access to discerning viewers.
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.
Most film and TV jobs start with some simple questions, as Gregory Irwin puts it. “What is it, where is it, when is it.” In April 2018 Irwin found himself asking those questions of cinematographer Lawrence Sher, with whom he’d collaborated on five previous films beginning with John Hamburg’s I Love You, Man in 2009, as well as the 2019 production Godzilla: King of the Monsters, directed by Michael Dougherty, and the three Hangover films by director Todd Phillips. Sher’s call concerned another Phillips collaboration which would go on to gross over a billion dollars; it was to star Joaquin Phoenix and titled simply Joker.
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.
