The days of looking at bars and tone and calling it a quality check are long gone. The digital world makes it easier to playout and produce high quality. It can also be more difficult to identify errors. With this in mind, where in the playout and production chain should one perform quality-control checks?
If you are one of those people who think that all HDMI cables are the same, you are not only wrong, but you may be missing out on some major features of 4K television like HDR, high frame rate and the lack of a wide color gamut.
"Ownership of connected televisions and streaming media players is accelerating while the availability of streaming content is simultaneously expanding. These combined forces will continue to drive increased adoption of connected devices within U.S. households,” John Buffone, executive director, Connected Intelligence.
Consultant Gary Olson offers his thoughts on what NAB 2018 could, or should, offer attendees. It’s time for a look into his technology crystal ball.
ATSC 3.0 broadcasting will soon become an established standard in North America and elsewhere. American broadcasters await the FCC's ruling (expected by end of the year) that U.S. broadcasters can legally use ATSC 3.0. Even so, a debate remains over the economics and practical value of migrating from the current 1.0 standard, which many HD stations are happy with, to a new and, less familiar, OFDM-based technology which brings with it uncertainty and added cost.
ATSC 3.0 proponents continue to remind the industry of coming new capabilities, opportunities and advantages. Yet, the consumer electronics industry remains quiet on implementing such features in new consumer televisions and related products. This article reviews the options and benefits 3.0 offers.
The hype and discussion about next generation telecom systems - most notably 5G - has hit the mainstream, partly because of the promise of faster and more widespread mobile broadband services for smartphones and other devices. It is also something that is being debated seriously in broadcast circles as a possible alternative - if not replacement - for digital terrestrial transmission in both radio and television, as well as cable and satellite.
There are literally thousands of different microphones available for broadcasting and recording applications. How does one pick the right microphone for a particular sound source? It’s a complex question. Here’s a guide.
Most of us agree that the fat warmth of analog sound is the Holy Grail of recording in this sterile digital age. That magical sound comes from a combination of the overloaded tube, the coloration of a transformer and the compression of saturated analog tape. The good news is we can now have that coveted sound at affordable prices.
Consultant Gary Olson looks at IBC and the production technology on display.