Arkona Technologies, provider of IP core infrastructure solutions for top-tier broadcast productions, has closed a large expansion deal with the Australian branch of a multinational company known for its live […]
The fully remote production launches tonight with a new mobile fleet of 16 that’s producing the games in 1080p with High Dynamic Range with around 250 people onsite for each TNF game. (Courtesy of Prime Video)
The 4K revolution appears to have stalled out. According to high-profile streaming technology analyst Dan Rayburn, an executive at an ISP he spoke to said that less than 10% of digital bits transmitted over the company’s network are related to 4K/Ultra High Definition video — roughly flat with 2021. Meanwhile, an also-unnamed official for an OTT service provider said that less than 2% of the company’s streaming time to customers was for 4K/UHD video.
Sinclair Broadcast Group thinks it has found a cost-effective solution in conversion technology that can take standard-dynamic range (SDR) content and transform it to high-dynamic range (HDR) content in real-time, a technology it demonstrated at last month’s NAB Show.
Whether offered as a standalone unit or combined with other components of the broadcast workflow, multiviewers are tackling a mix of formats and a higher volume of content to monitor. Above, Studio Berlin uses the Apantac KVM over IP solution for its multiviewers.
Broadcasters are insisting on more from their cameras, from the ability to capture more cinematic-style video with shallow depth of field to 4K, UHD and HDR capabilities, remote PTZ abilities and ever-smaller sizes. Above, a JVC camcorder being used on location for Idol Chat, which premiered on Retro TV and The Family Channel.
Exclusives
Unlike studios and streamers, U.S. and international broadcasters have been reluctant to embrace the Interoperable Master Format. Their move to UHD programming and gradual operational shift to the cloud may change that.
Canon USA, a provider of digital imaging solutions, unveiled the company’s first line of 4K UHD PTZ cameras — the CR-N500 and CR-N300 for indoor live-streaming and the outdoor CR-X500. […]
Networks, mobile truck companies and tech vendors agree the pandemic will impact HDR and UHD production through this year through a combination of equipment availability, complex new remote workflows and financial constraints.
MediaKind, a global provider of media technology and services, worked with New Digital Technology on the delivery of high-quality recorded 4K content for BTV’s winter sporting events channel, which launched […]
German public broadcaster WDR is among the first European customers to adopt Riedel Communications‘ all-new MediorNet MicroN UHD media distribution and processing device. WDR is deploying 13 MicroN UHD devices […]
Canon U.S.A., a provider of digital imaging solutions, has launched a new addition to its UHDxs series of 4K UHD broadcast portable zoom lenses: the CJ20ex5B. Within this category of portable […]
Apantac, an international manufacturer of multiviewers, video walls, extension and signal processing solutions has launched two UHD splitters for the openGear platform. Apantac is the first openGear partner to introduce […]
Around 10 markets should be on-air with 3.0 broadcasts by the end of the third quarter and perhaps 20 by year’s end, according to representatives of Pearl TV and BitPath. Broadcasters are also exploring the full capabilities of the NextGen standard with several new initiatives this summer, including the launch of a NextGen-capable smartphone and a trial of advanced alerting capabilities in Washington, D.C. Above, one of the six 2020 LG OLED sets that have earned the NextGen TV logo from the Consumer Technology Association.
MediaKind, a global media technology provider, has introduced its next-generation broadcast solution, Aquila Broadcast, to enable broadcasters and operators to make a seamless, step-by-step transition from appliance-based platforms to all-IP media […]
The pandemic created an opportunity to stress-test distributed and virtualized workflows right now that stations and networks were already considering for the future. The industry’s shift may now be ahead of schedule because of it. Above, NBC Universal’s Boston Media Center is one of the latest all-IP broadcast facilities.
Costs are inhibiting a flood of 4K sports production, but 1080p HDR offers numerous practical advantages, among them that the improvement in picture quality is more readily apparent to consumers than the gain from 4K resolution. Above, Sony tested an 8K camera at the Sony Open in Hawaii last year, but doesn’t expect 8K to be used for regular sports production for several years.
Multiviewers are in the midst of a rapid evolutionary phase spurred by the proliferation of signals that need monitoring and the IP transition. As the need for control across multiviewer screens increases, the technology is also becoming more integrated with other pieces of equipment.
Today, Amazon Web Services (AWS) announced availability of Accelerated Transcoding, a new feature within AWS Elemental MediaConvert that enables broadcasters, over-the-top (OTT) distributors and other premium content providers to complete […]
Vislink received an order valued at approximately $1.5 million for multiple HCAM 4K UHD wireless camera systems for deployment in Asia. Vislink’s 50-year heritage is rooted in designing and deploying wireless video […]
The collaboration with South Korea’s KT Corp. will work to establish an enterprise 5G UHD broadcast network and related broadcast capabilities in Korea.
Cobalt Digital will demonstrate its new 9971 Series of UHD multiviewers for the openGear platform next month at the NAB Show (booth SL9111) in Las Vegas. The new cards support a […]
Katy Noland, senior R&D technologist at the BBC, has been chosen as one of TVNewsCheck’s 2019 Technology Women to Watch and will be honored during the NAB Show on April 9 in Las Vegas.
On The NAB Exhibit Floor: EVS
EVS | Booth SL3816| www.evs.com EVS specialized in technology for live video production. It is introducing the latest live production server into its iconic XT range – XT-VIA — its most […]
Avid today announced the immediate availability of workflow innovations for enabling sports broadcasters to streamline creation and airing of live ultra-high definition (UHD) programs. Integrating Avid’s Maestro graphics suite, Avid FastServe video […]
On The NAB Exhibit Floor: Tektronix
Tektronix | Booth SU5006| TEK.COM/VIDEO Tektronix Inc., a provider of video test, monitoring and diagnostics solutions, will be demonstrating solutions that enable the delivery of content quality, signal integrity and […]
On The NAB Exhibit Floor: FOR-A
FOR-A | Booth C5117 | https://www.for-a.com/ FOR-A is demonstrating its end-to-end line of video production tools and unveiling several solutions, including video switcher, frame rate converter, routing switcher and technologies […]
On The NAB Exhibit Floor: Hitachi Kokusai
Hitachi Kokusai | Booth C4309 | http://www.hitachi-kokusai.co.jp/global/en/index.html Continuing to enable broadcasters and production companies to adopt Ultra HD (UHD) at their own preferred pace, Hitachi Kokusai Electric America today announced the CU-HD1300F-S1 HDTV camera control unit with 4K, 12G-SDI output. […]
HDR To Be Focus Of Cameras At NAB Show
The interest in HDR units is due to their ability to improve quality and enable content creators to migrate toward 4K incrementally over time. “We foresee significant growth in HDR products within the next two years, driven by consumer demand for HDR TV sets,” says FujiFilm’s Thomas Fletcher. Above, a Ross ACID HDR camera. Click here to access TVNewsCheck’s NAB 2018 Resource Guide listing of camera vendors and products or here to download it as a PDF.
On The NAB Exhibit Floor: Tektronix
Tektronix | Booth SU5006 | TEK.COM Tektronix will showcase innovative solutions that ensure content quality, signal integrity, and regulatory compliance as the transition to next generation networks, workflows, and delivery mechanisms […]
The living room in 2018 will increasingly belong to 4K, particularly where the higher-end TV models are concerned. From the broadcasters’ perspective, getting 4K content to the home is still a challenge to be bridged. “Of course, ATSC 3.0 will change all that, but that’s still, I think, going to take a couple years,” says Alec Shapiro, industry consultant and former president of Sony Professional Solutions.
As broadcasters’ infrastructures evolve to accommodate IP, UHD and HDR, it stands to reason that vendors will necessarily to need to support workflows that — to various extents, and for various possible durations — are in a state of flux. Evertz indicated that it was up for the challenge in a press conference on Sunday that touched on its latest developments in areas including SDN, playout, compression, remote production and more.
On The NAB Exhibit Floor: Alticast
Alticast | Booth SU12706CM | Website: www.alticast.com Alticast will showcase solutions that help pay-TV operators address two major shifts — the changing viewing habits of millennials and new technologies that […]
Master Control Slowly Moving To Cloud, Pt. 2
Many agree master control and playout are headed to the cloud. But there is less agreement about the timing. While industry consolidation is spurring continued interest in centralizing master control and playout in the cloud, factors like looming UHD rollouts and satisfaction with channel-in-a-box and integrated playout solutions likely mean a mix of solutions will be deployed for some time. Be sure to look for Part I here. Click here to access TVNewsCheck’s NAB 2017 Resource Guide listing of master control and playout vendors and products or here to download it as a PDF.
It’s been almost two years since Comcast promised to launch its 4K UHD and HDR set-tops, yet as the first quarter of 2017 rolls to an end, those boxes are still missing in action. The reason? Comcast doesn’t just want to offer a 4K UHD service, it wants that service to include high dynamic range (HDR) technology and 10 bit HEVC encoding for greater color precision.
