The Olympic Games may look the same this summer. But the technology behind the scenes is the latest available.
The industry’s movement towards IP-based studio production is gaining traction as IT infrastructures have finally reached the speeds and reliability required for high quality video content. Even so, because IT technology changes rapidly, media and broadcast solutions need to be flexible in order to leverage those improvements.
The continued adoption of IP is largely due to the convergence of technologies and services. For broadcasters and production professionals, the shift to IP has been a gradual one, driven by the need to reduce costs and increase efficiencies. The pace of change is about to get much faster.
The broadcast and production industries are filled with acronyms and terms. The author provides guidance into understanding key standards and technology.
Media storage is not just about meeting today’s needs of size and speed. It’s also about being able to access that content tomorrow or 20-years from now.
The past few years have seen the rise of many new industries – many of them recognising that “one size fits all” is no longer a workable marketing approach. Increasingly, we want those who supply us to recognise us as individuals with needs that are unique to us.
The ITU (International Telecommunications Union) has released its promised standard for High Dynamic Range (HDR), with separate versions for legacy and emerging workflows. The new HDR standard called ITU-R BT.2100 complements the existing BT.2020 recommendation for color gamut and bit depth.
Ultra HD (UHD) has gone through various iterations since it emerged from the shadow of 3D TV to become the broadcasting industry’s standard bearer for immersive or next generation TV. At first it was all about the higher resolution of 2160 x 3840, four times the pixel density even of 1080p “full HD”, but high frame rate (HFR) and Wide Color Gamut (WCG) at 10 bit sampling, rather than 8 bit as before, were also in the picture.
