Connecting IT to Broadcast
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The forthcoming transition to ATSC 3.0 will usher in the need for higher data rates and more channel capacity in the over-the-air architecture. Broadcasters will apply their experience as “Bit Managers” in the studio infrastructure to the RF operation, with the knowledge that more power leads to higher quality of service (QoS).
Basic audio processing for narration is so mature that it now free or costs very little. Though it’s easily accessible to anyone, how many recording audio know how to use it?
Automatic microphone mixing, long a staple of commercial sound installations, has moved to professional dialogue recording for film and television production. This is the story of that journey over the past half century.
The EBU (European Broadcasting Union) has included two enhanced versions of HD among four alternative profiles for broadcasters to adopt on the road way towards future immersive services that incorporate all aspects of full Ultra HDTV (UHDTV). These are detailed in a new technical report, Video System Requirements for UHDTV and an Advanced 1080p Television Format, whose main premise is that an increase in spatial resolution alone will not provide a sufficient boost in the viewing experience to justify worldwide adoption of a new television system.
I was all set to write my next chapter on standards and terminology when the The Broadcast Bridge published an article quoting the Olympic Broadcast Service (OBS) that said, 4K is just a Bus Stop to 8K (along with 22.2 audio channels).
Since 2012 many moviegoers have been captivated by the nearly two thousand theaters throughout the world that have installed Dolby’s 3D immersive sound system called Dolby Atmos. Since then Dolby has worked to also make the technology available for live broadcasts, home theater systems and even stereo headphones.
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