The new year is a time to ponder the past and muse about the future. In the past, nearly each technical device needed to produce broadcast TV cost more than building a new house, was as huge as it was heavy, and made pictures nobody would accept today. About 20 years ago, many analog TV stations were launching their DTV stations. Today, US TV stations are launching ATSC 3.0. Can you imagine what TV broadcasters will be doing in 2042?
“There will never be an option where the network is so resilient that you don’t need a backup plan.” Mike Kralec, SBG.
Entertainment over the internet has gained significant traction over the last years. For this reason, companies have developed new business models in order to retain customers, by meeting their emerging needs and studying the behavior patterns of online streaming consumption.
IP monitoring differs from SDI and AES due to the abstraction of the video, audio and metadata essence leading to new methods of measuring and monitoring levels and timing.
TAG Video Systems takes advantage of over 70,000 globally deployed probing points to give users the ability to dive deep into streaming content monitoring. The company anticipates more than 100,000 probing point deployments by the end of 2021.
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.