Until now, 4K/UHD and high dynamic range (HDR), in many ways, has been little more than a science project, as manufacturers have struggled to convince production entities of the long-term practicality and viability. Fears of overly complex pipelines and dual HDR-SDR workflows hinder widespread adoption.
Beyond the manufacturer hype suggesting greater resolution in home displays, HD HDR, with its clearly improved dynamic range and enhanced highlights and shadow detail is what consumers really notice and ultimately care about. For broadcasters, there is beauty in HD HDR, as the technology doesn’t require more bandwidth. It simply remaps the available bandwidth already in place, albeit at an increased bit depth. The Broadcast Bridge camera expert, Barry Braverman shows you one solution to solve the workflow issues.
This week’s second showcased article is focused on audio engineers and highlights the first in a three-part series on audio over IP technology written by The Broadcast Bridge Technology editor and consulting engineer Tony Orme.
Now that IP is central to broadcast facilities, engineers need to better understand how Layer-2 switching and Layer-3 routing operates, and how these relate to the Open Systems Interconnect (OSI) model. Learn more in his tutorial linked below.
For directors of photography (DP), HDR poses significant challenges. While most cameras today can output the 10 to 11 stops of dynamic range required to produce good HDR, there are still serious concerns for those of us struggling to preserve the integrity of our images from capture through the long journey downstream.
For over-the-air (OTA) broadcasters, HDR can be particularly problematic. Beyond the limitations of a 10-bit signal, most TVs today do not support HDR and can’t differentiate an SDR signal from an HDR one. Beyond that, the old ATSC 1.0 and DVB MPEG-2 standards from 20 years ago are still in use in many parts of the world, creating an even greater complication for those of us with a dog in the fight. Need help? Braverman suggests one solution in the article, “We Need HDR Fixed! The AJA FS-HDR Real-Time Converter Can Help.”
To fully leverage the benefits of IP networks engineers need to think in IT terms. Just replacing the acronym MADI or AES with IP is insufficient as the result is just a very complex, poorly utilized, static network.
It doesn’t help that broadcast engineers refer to signal switching devices as routers, such as an SDI router or audio router. The terminology becomes even more challenged as Layer-2 switches sometimes incorporate Layer-3 routing functionality. These switches are often referred to as multilayer switches. Confused? See the article, “Audio Over IP - Making It Work - Part 1” for clarity on IP and audio. If you have already read Part 1, Part 2 can be found here.
IBC2018 is coming!
Let The Broadcast Bridge help you prepare for a busy convention. Special pre-show coverage begins on July 1, 2018. Don’t rely on out-of-date print newspapers for new product news. Get your daily dose of new products, technology developments, company show announcements and other pre-IBC2018 coverage here at The Broadcast Bridge.
You might also like...
We editors, color graders and graphics artists are an opinionated group and that’s a good thing because with the speed technology is changing we need open communication among ourselves.
This is part 2 of the series “Where is Production Technology Headed for 2019?” Here we ask three executives from key production technology companies for their thoughts on new technology developments for 2019.
Working with older storage technology, here we mean small gauge film, is a challenge requiring special techniques. In this concluding segment of a three-part series, we examine image quality differences that may result in when transferring Super 8 and 8mm film…
Content producers often prefer to shoot or record original content. Documentarians, on the other hand, typically must rely on material recorded by others that is often stored on film stock, Regular 8mm and Super 8mm being common formats. Working with…
This article concludes a three-part series on color grading products and technology. There are both hardware and software-based systems in all varieties of sophistication and cost. Key is first understanding your needs, then find a solution to match.