A long chain of events is needed to see a color picture on a TV set. Only by considering every link in the chain can we strengthen any weak links.
Following a rash of 4K UHD products that hit the market two years ago, cameras with high dynamic range (HDR) capability also began to emerge as a less costly alternative to improving signal quality. Indeed, HDR had a strong showing at the 2017 CES, with different TV manufacturers pledging support for Dolby Vision (PQ) and Hybrid Log-Gamma (HLG) systems in addition to the baseline HDR10 standard.
Optical disks rely totally on the ability of the pickup to follow and focus on the data track. It is taken for granted that these mechanisms are phenomenally accurate, work at high speed despite being made at low cost and need no maintenance.
UK media regulator Ofcom is calling for a review of public service broadcasting in the light of its report finding rapid growth in streaming viewing, especially among Millennials.
Transitioning to IP improves flexibility and scalability, both of which are achievable using COTS IT equipment. But can COTS solve every challenge? Or does broadcasting still have some unique and more demanding requirements that need further attention? In this article, we look deeper into the specifics of IP networks for broadcasting.
HDR is a technology that is evolving quickly on the Professional and Consumer side. Like all new technologies, the devil is in the details. There is confusion about the technical aspects of which HDR technique and implementation are best for a given situation.
Images from the past can trigger nostalgic memories. Recently, I saw an old film that featured a Heathkit, an assemble-it-yourself table radio with majestic glowing tubes. It brought back memories of my childhood days as an amateur “kitchen table” engineer who loved to build those kits.
The optical disk has some useful characteristics that have allowed it to survive alongside magnetic media. John Watkinson takes a look.
