Workflows, equipment, and technology breakthroughs. Discover who is using 4K/8K and why. Understand the theory and practical significance of providing more pixels, higher frame rates, and bigger and better color space.
IP has now come of age and many broadcasters are looking to transition to ST2110. The Broadcast Bridge has been championing IP education and in this unprecedented IP seminar they have brought together leading industry experts to deliver an in-depth case-study of the world’s leading ST2110 IP installation at NEP Australia.
Philo T. Farnsworth was the original TV pioneer. When he transmitted the first picture from a camera to a receiver in another room in 1927, he exclaimed to technicians helping him, “There you are – electronic television!” What’s never been quoted but likely the first question raised was “What do we do with it?”
Since opening in 2016, the Golden 1 stadium, which is home to the Sacramento Kings NBA team, has been considered one of the most technologically advanced event venues in the U.S.
With The NAB Show 2019 on the horizon, just for readers of The Broadcast Bridge, a top Sony expert helps us understand what will be behind their HDR display technology at this year’s techno-gala.
New England Patriot quarterback, Tom Brady, entered Mercedes Benz stadium in Atlanta, GA on February 3rd having already won five Super Bowl games. And through four-quarters of play, all delivered by a television crew of hundreds of technicians, sports casters and engineers, about 100 million television viewers watched Brady add another victory to his historic play by setting the record for the most Super Bowl victories by any player in the league, now totaling six.
Super Bowl 2019 will raise the bar for live broadcasting technology with innovations in augmented reality (AR) and use of at least one 8K camera, while also highlighting past innovations that have fallen out of favor.
Like many professional football players themselves, CBS Sports Lead television director Mike Arnold tries to treat the Super Bowl as he would a regular season game, calling the same shots and camera angles—albeit with many more cameras at his disposal, augmented reality graphics on the field and virtually every part of the playing field mic’d up.
With the introduction of Apple’s iPhone XR and XS models, the mobile do-everything wünderdevice is again drawing attention as a viable alternative, in some applications, to a traditional broadcast camera. In feature films, iPhone aficionados can already look to Steven Soderbergh 2018’s UNSANE, starring Claire Foy, for confirmation, which was shot entirely with an iPhone 7 Plus. Soderbergh is quoted as saying of the experience: “I’ve seen [my movie] on a 40-foot tall screen and it looks like velvet. This is a gamechanger to me.” he told Indiewire, an online movie site. “I look at the iPhone [and its video capabilities] as potentially one of the most liberating experiences I’ve ever had as a filmmaker.” Those are big words.