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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.
Intelsat and its partners demonstrate the readiness of 4K UHDTV technology for satellite delivery
The Super Bowl is as much about sound as it is the specular images generated by millions of dollars in video gear.
Not so long ago Augmented Reality (AR) was considered a gimmick in studio presentation, but it is now becoming an integral part of many productions. AR elements are becoming part of the workflow, with integration to NRCS systems, triggered by the switcher or controlled by studio automation systems. Continuous improvements in computing technologies and camera tracking method will also contribute to the future growth of AR usage during production. This three part report looks at the challenges in working with real and virtual elements. For part one we turned to the insight of Orad Hi Tec System’s studio and tracking product manager, Haim Halperin.
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.
Don’t confuse YUV color space with RGB color space. The differences are critical for broadcast signals.
