Broadcasters face a bewildering range of new technologies in an ever more competitive landscape. With new delivery platforms, OTT, streaming, cellular, VOD and others, broadcast professionals need to adopt the newest technology solutions to remain competitive.
One key decision is which new technologies to support, ATSC 3.0, UHD, 4K, others. The Broadcast Bridge has a full-range of tutorials on many of these new technologies. Below are two that may be key to broadcasting’s future.
A presentation by Semtech shows that there are different versions of UHD detailed in the SMPTE standards specifications.
The adoption of UHD is lagging in most regions of the world because while 4K TV sets have been on the market for three years now, the traditional broadcaster has yet to fully commit to meeting the demand for native UHD content.
Why? According to John Hudson, Director of Strategic Technology and International Standardization for Semtech's Signal Integrity Product Group, “Many [traditional], broadcasters have just completed investment in their HDTV build out, and don’t see any particular value in just more lines of resolution.”
Yet, Hudson notes that blind viewer tests show that an HD set showing images shot with high dynamic range (HDR) can appear to be sharper, more dimensional and much more engaging than that of a set with higher resolution (4K) only.
Said Hudson, “Consumers buy new sets a lot sooner than they did in the past and those replacement sets will be UHD capable. As a consequence, the demand for UHD content will increase accordingly. Broadcasters need to get started on UHD transmissions or risk losing their audience.
Learn more about UHD for broadcasters in the article, “To Stay Relevant, OTA Broadcasters Must Embrace UHD.”
The market for 360 and VR cameras is growing. Left Nokia Ozo ($15K), right Sphericam, which includes internal image stitching.
New production technologies like 360 and VR are making inroads in professional entertainment. It remains to be seen if either, or both, will become a commercial success. Even so, a fair number of experiments are pushing these boundaries. Is either format in your future?
There are many ways to describe VR film shooting and production. For a scuba diver it might be open ocean diving. Once the diver is down 40-60 feet they are immersed in a world of nothingness. The world around them goes on forever with no point of reference.
The folks who do VR day-in and day-out know that feeling because there are no guidelines, no proven techniques. They’re on the bleeding edge of one of the techniques visual storytellers use to express themselves, but VR is way different because the filmmaker will turn over much of the storytelling to the viewer with VR.
And there are people like Steven Spielberg who say VR is dangerous because in his words, “…it gives the viewer a lot of latitude not to take direction from the storytellers but make their own choices of where to look.”
Others are even less kind.
Are there VR or 360 Degree production technologies in your future? Read “Learning, Testing the Boundaries of VR and 360 Degree Production”, to find out.
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