Since SMPTE formally standardized SDI in 1989, it has become the dominant video, audio and metadata transport mechanism for virtually all broadcast facilities throughout the world. Technology advances have not only made SDI incredibly reliable, but the specification has continued to progress, embracing ever increasing data-rates and video formats.
The deciBel is a logarithmic ratio that happens to express quite well both the signal loss in transmission lines and the subjective sense of loudness in human hearing.
The media industry is evolving faster than at any point in its history. Broadcasters and content producers are striving to meet consumers’ insatiable appetite for more content, rich viewing experiences, stunning images and access across all screens. As a result, in some cases, we have a situation where broadcasters’ revenues are growing more slowly than their costs. In fact, the big question facing all broadcasters today is how to create more first-class content more efficiently.
Veteran cinematographers and DOPs have long understood that lenses have a personality with a specific look and feel. In the same way that an actor imparts his or her interpretation on a film’s story, the DOP selects a lens that best supports the program’s emotional stakes. The ideal camera lens is one that contributes its own unique character and flare (literally) in order to produce the most compelling viewer experience possible.
In part-1 of this three-part series we discussed the benefits of Remote Production and some of the advantages it provides over traditional outside broadcasts. In this part, we look at the core infrastructure and uncover the technology behind this revolution.
OTT delivery continues to expand to meet the relentless growing consumer demand. This trend shows no chance of abating and technologists are continually looking to innovation to scale infrastructures accordingly. But what does it mean to scale OTT? Where is the infrastructure? And who owns it?
Due to the medical emergency the country now finds itself in, this year’s NAB Show in Las Vegas was postponed to later this year. If it had happened, the main themes of artificial intelligence (AI), high dynamic range (HDR) acquisition and remote production would have all been front and center, but several other technologies that bring new efficiencies in studio production and content distribution would’ve also been spotlighted.
Since its adoption for NTSC, essentially every subsequent electronic distribution means for color images has relied on color differences, making it a topic of some importance.
