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.
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.
