As new media distribution opportunities are enabled by the internet, mobile devices and other new technologies, broadcasters face many new challenges. While they need to pursue these new methods of distribution, the cashbox for the moment remains traditional broadcasting through traditional means. The new distribution methods are risky with a low return on investment, but necessary with a high likelihood of eventually replacing how we view and monetize media. So what can a broadcaster do to manage the need to invest in the future, while still maintaining today’s technology?
Slow motion replays are now widely accepted as an integral part of television sports coverage. Indeed, many sports now rely on these replays to help game officials judge close plays and questionable calls.
To create a slow-motion replay which appears smooth, it is necessary to have a camera and a recording system which is capable of shooting faster than the normal 50 or 60 fields or frames per second rate. Capturing more pictures than normal then playing those out at the standard speed gives you smooth motion at a reduced speed of action rate.
This was the thinking behind the development of the Grass Valley LDK 23 which set the standard for live, super slow-motion system, or super slo-mo. The LDK 23 shot at three times normal speed, producing 75 or 90 frames a second depending on video format, giving perfect motion at one-third normal speed, for 3X super slo-mo.
The important point here is that the technology existed for this to happen within a live production without complex processing or delay. With a special super slow- motion server, the 3X output could be recorded, then played back instantly at variable speeds. The recording could go on indefinitely; normally super slo-mo server channels are permanently recording, capturing the entire game.
EVS Case Study: China Central Television (CCTV), China’s national television service, was named the sole provider of the 2008 Olympics in Beijing to mainland China. With a network of 18 channels broadcasting different programming, CCTV reaches more than
a billion viewers on the Chinese mainland.
CCTV had been using the EVS XT[2] production server and related software for field production in its OB Vans for several years already, but the 2008 Olympic Games marked the first time the company used EVS equipment in a studio setting as well as in the field.
This paper describes a massively parallel Single Instruction, Multiple Data (SIMD) "Smart Memory" processing fabric, the ASProCore, developed by Aspex Semiconductor.
It then describes Aspex's new seventh generation LineDancer HD system-on-chip, which includes 4,096 ASProCore processing elements.
The paper then goes on to describe Aspex's implementation of a multi-standard high definition video compression solution, using the ASProCore fabric to implement multiple codecs including MPEG-2, H.264, and VC-1
Cable operators face many challenges today, from the quest for more bandwidth to the pressures of competition. To stay ahead, they must deploy new, personalized services to
meet the needs of customers, while delivering highly targeted advertisements to generate revenues from advertisers in an increasingly on-demand environment.
In addition, with the cable industry seeing constant growth in the number of programming channels, and particularly in the number of high definition (HD) channels, cable operators face the challenge of managing a rising number of digital MPEG video and audio streams.
To meet these demands, MSOs must deploy scalable and flexible solutions that support this growth and the expansion of their programming networks.
This paper reviews the various technologies and applications of digital program insertion (DPI) in today’s digital video environment. It also spells out the benefits of RGB’s high density solution for grooming, transrating, statistical multiplexing and DPI.
In this white paper we will address how Red Bee Media researched and built the BBC's HD playout solution and how we have developed various levels of end-to-end HD solutions for a variety of broadcasters.
Early adopters are showing considerable interest in High Definition Television (HDTV), largely because of the dramatic increase in picture quality which supports these consumers’ demand for ever larger screen sizes. In order to appeal to the wider consumer audience, many of whom will not be persuaded by screen size arguments, HDTV will need to demonstrate considerable additional value over that of the standard definition incumbent.
Internet Protocol Television (IPTV) offers a foundation for the delivery of such incremental value. IPTV provides the capability to offer truly tailored television services in either a lone viewer or community viewer based environment. The additional resolution afforded by HDTV, enables the compelling visual presentation of the information and controls which will form a vital part in the translation of HDTV demand from the early adopters to the high value mass market.
WRAL-TV is the first commercial station in the United States to adopt a file based High Definition (HD) newsroom. WRAL is famous for breaking new ground in HD starting 10 years ago with their first HD broadcast programming in 1996, and the first station to broadcast a local High Definition newscast in 2000. This transition to using video as files was driven by the need to consistently deliver the highest quality product to their viewers, as well as easily repurpose their HD content for products such as their 24-hour News Channel, website, and mobile devices. The selection, preparation, and deployment of WRAL-TV’s newsroom production system, in partnership with BitCentral, resulted in an improved workflow, superior quality from acquisition to air, and a streamlined means of re-purposing video content.
High definition (HD) services have been available in the USA, Canada, Japan, South Korea and Australia for a number of years, with varying degrees of success. Broadcasters in Europe are now starting to launch HD services. This paper explores why and how they are doing so; some of the challenges they face; and whether or when HD will become a mass market service within Europe. It then assesses the applicability of European experience for broadcasters in the Far East and reviews the approaches, issues and costs that they should consider when building HD facilities and offering HD services. The focus of the paper is on HD transmission, but production issues are also explored.
