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What broadcast engineer, video or audio technician or camera person hasn’t wanted to work the Super Bowl? Being part of the broadcast team for the most high-profile event in U.S. television is considered by many to be a career-crowning achievement. For those who do work the Super Bowl, it may be just another weekend football game—albeit one with an intensity that is off the chart!
The ATSC continues its work on the next-generation television standard, known as ATSC 3.0. The committee is now looking for ways to deliver an immersive audio experience in the form of multiple channels which enable consumers to focus on specific “objects” or audio elements within content.
The Super Bowl is as much about sound as it is the specular images generated by millions of dollars in video gear.
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.
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.