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Connecting with the audience and hearing what people have to say about current issues - as well as getting expert opinion - is a major part of news, current affairs and even entertainment programming today. But like many techniques and technologies it is not an entirely new concept.
This year’s Super Bowl 50 live telecast, on CBS, will feature the typical grandiosity that is “The Big Game,” with roughly three dozen “traditional” broadcast high-definition cameras, 36 more POV HD cameras and a few 4K versions as well capturing the action. As in past years, there will also be some “pioneering” technology that usually exemplifies the world’s most watched single day sporting event. Last year’s Super Bowl was the most watched television program in US history, reporting more than 114 million viewers, and Super Bowl 50 looks to top that.
Dolby Laboratories has announced major partnerships that will bring Dolby Vision to your living room HDR TV faster than 4K video is becoming available. Look for it in home movie releases and theaters, too.
Not even a success yet, 4K video is now getting some enhancements and is being rebranded as Ultra HD Premium. Engineering experts have long said that 4K alone does not have the “wow” factor to jump out at consumers. Premium adds the visible attributes that manufacturers hope will make 4K a must-have for viewers.
Using fiber optic links to interconnect RF for wireless microphones offers many benefits. Clean signals, much longer interconnect distances and easy build-out are among the advantages an RF-over-Fiber solution can bring.
_460_266_70.jpg "JVC GYHM 850 camcorder provides ample adjustments to create custom \"looks\".")
Some who shoot RAW using a digital cinema camera claim those who shoot with a video camcorder must live with the camera’s built-in look—a look designed by engineers in Japan. They also claim when you shoot with a digital cinema camera, during color grading you are able to “design your own camera.” However, today’s camcorders provide a wealth of adjustments, which can create almost any desired “look”.
Europe’s TV standards body DVB has taken a further step towards Ultra HD TV (UHD) commercial deployment by approving UHD-1 Phase 2 at a recent meeting of its Steering Board. This second phase of the UHD commercial requirements adds support for HDR (High Dynamic Range) and Higher Frame Rate (HFR).
ATSC 3.0 and UHD are on a collision course with the set makers and retailers pushing UHD. But broadcasting UHD in ATSC 3.0 could require the bandwidth many stations now use to generate additional revenue over their sub channels. Add to that, OTA broadcasters face the upcoming questions surrounding the spectrum auction—to play or not? These issues present serious business and technical questions, at least, to US TV broadcasters.
