Sitting at home watching the Olympics 400m Women’s hurdles final live on NBC’s 4K HDR channel, home audiences were captivated by the sweat and effort displayed on screen with immersive sound of the runners’ feet hitting the track. Viewers thousands of miles away could be excused for thinking they had the best seat in the Japan National Stadium. The live 4K HDR broadcast of NBC’s primetime show throughout the Games were an extrasensory experience unlike any previous Olympics telecasts.
We live in fascinating times: increasingly, we live in the era of cloud-based broadcast operations.
Building optimized systems that scale to meet peak demand delivers broadcast facilities that are orders of magnitude more efficient than their static predecessors. In part 2 of this series, we investigate how this can be achieved.
Olympic Broadcasting Services (OBS) the host broadcaster for the Games was founded twenty years ago and has arguably gone through its hardest and most intense period of digital transformation for Tokyo 2020.
For many years broadcasters have been working with static systems that are difficult to change and upgrade. This two part series explores the unfolding of a more elastic future based on COTS hardware and flexible licensing.
In this second installment of our extended article looking into HDR for cinematography we look at the practical aspects and applications of HDR.
High dynamic range and wide color gamut combined with 4K resolution and progressive frame rates have catapulted broadcast television to new levels of immersive experience for the viewer. As HDR and WCG are relatively new to television, we need to both understand their application and how we monitor them to enable us to surpass the levels of quality and immersive experience cinematographers’ demand.