There are select sports which attract an audience far beyond that of the immediate game or fan base. The Super Bowl is one such event. And all things being equal, it is on track to exceed last year’s record 111.5 million viewers to become the most viewed telecast not only of 2015 but of all time in the US.
Producing football is tough enough, but broadcasting Super Bowl XLIX moves the requirement for a good intercom to a whole new level. The solution needs to connect the broadcast technical and production teams not only with each other but also to the crews handling the live half-time show.
Don’t confuse YUV color space with RGB color space. The differences are critical for broadcast signals.
At the recent CES in Las Vegas, there was so much hype about 4K television that the casual observer might have believed the Ultra High Definition-era is already upon us. Nothing, of course, could be further from the truth.
Amidst steadily increasing image resolution and multichannel surround sound audio, consumers now have access to the best viewing experience ever, but a company in Ohio wants to take it one step further and allow viewers to “feel” the broadcast during live events coverage.
For contemporary cutting-edge audio infrastructure, many broadcasters continue to choose AES10 (ANSI S4.43-1991), a.k.a. MADI, to transport up to 64 channels of digital audio over a single coax or fiber optic cable.
In this look at the potential use of IT solutions in broadcast applications, John Watkinson turns to key issues of bandwidth, latency and compression.
Over the last 25 years developers have worked on producing specific networking systems for broadcast that can transport many channels of high quality audio in the most efficient and budget conscious way. Since the mid 1980s Ethernet has formed the basis of many networks, for both IT and audio. CobraNet is generally regarded within the industry as the first commercially successful digital audio over Ethernet system. It first appeared in 1996 and while largely seen as a live and installed sound tool it showed what networking technology could do. The growing interest in networking around the cusp of the 20th and 21st centuries was reflected by the Audio Engineering Society (AES) organising a “moving audio” conference 14 years ago. This was at a time when, according to AES standards manager Mark Yonge chairing the Audio Networking Forum in London on 12 December, networks were a “new and novel idea”.
