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It is all very well being able to quantify the volume of a signal, however, what is important is how loud it is perceived to be.
Live TV field production of one-off sports events is an open invitation for surprises of all kinds. The show must go on and it’s the worst possible time for drama. It’s a good fit for passionate engineers who thrive on winning and enjoy alternating bursts of despair and adrenaline. The more adrenaline a field sports production generates, the greater the thrill. Like a magic act, the trick is keeping production secrets hidden from view.
Many productions rely on multiple cameras, sometimes from different manufacturers. This creates a color-space problem in production. Lattice can help resolve those issues by color matching the images.
Today’s smartphone owners carry more powerful video technology in their pockets than the best state-of-the-art TV broadcast or production facilities could provide two decades ago at any price. The second decade of this century is when off-the-shelf computing matures to the point that it can facilitate and manage nearly all technology-based tasks in broadcast TV stations and TV networks in real-time.
Video over HDMI has proven for more than a decade it has a place in professional and broadcast TV infrastructures and its use continues to grow. Will HDMI replace the SDI interface?
The choice between systems for ATSC 3.0 audio is now down to MPEG-H versus Dolby AC-4 and there is about equal support for each system. It’s now mired in politics within the committee, though a decision is due by the end of 2015.
Interest is growing in the broadcast industry about the AES67 standard, and its potential benefits as users transition from wired to networked audio systems.
The Media Networking Alliance has issued a maintenance revision to AES67-2013, the AES standard for high-performance streaming audio-over-IP interoperability.
