With the growing popularity of social media sites, online video services, and smartphones, content consumers are recording, editing, and broadcasting their own stories.
The release of 3GPP to enable viable mobile and terrestrial TV services with the integration of rooftop antenna reception and existing TV receivers is a major milestone.
VR has gained significant attention primarily driven by the recent market availability of consumer devices.
With a new high-dynamic-range (HDR) and wide-colour-gamut (WCG) standard defined in ITU-R BT.2100, display and projector manufacturers are racing to extend their visible colour gamut by brightening and widening colour primaries.
The industry is taking its first steps in HDR production, as standards for a complete high dynamic range (HDR) television ecosystem near completion.
HDR will need a higher bit-rate because of its minimum quantisation and the fact that the images have much more details in the highlights and shadows.
The new Ultra High Definition (UHD) TV standards define a container which allows content creators to offer the consumer a much more immersive visual experience.
IP-based networks, both wired and wireless are expected to deliver commoditisation of media objects to consumers.
HDR will soon be just as much about delivering great video experiences to tablets and smartphones as it is about delivering to the UHD TV in the living room.
Sky have tackled some of the most challenging scalability problems in the OTT space head-on.
A new emerging 5G technology with phased array antennas was used for the contribution of live TV documentary broadcast in Norway.
Providing the best viewing experience with superior quality, Telstra netwokr in Australia have LTE Broadcast, extending beyond the current unicast pull-based approach.
Leading the international standardisation of the end-to-end broadcasting chain from the production of programmes to their ultimate delivery to the audience.
The Super Hi-Vision (8K) regular broadcasting through broadcasting satellite will start in 2018.
The new eMBMS systems characteristics are well aligned to the technical requirements coming from the broadcast sector for TV services.
WiB is a new system concept proposed for DTT, where potentially all UHF channels allocated to broadcasting services are used from all transmitter sites.
The first NHK 8K camera employed 4K image sensors, the second model used an 8K single-chip colour image sensor offering compatibility with digital cinema lenses.
The rapid technical, social, and financial changes in the media industry are forcing all of us to re-examine our content supply chains.
In recent years, the proliferation of highly capable smartphones means many more people are now interested in watching video on their mobile phones, and there is therefore a corresponding increase in the amount of content available for such devices, both as short- form clips as well as long-form programmes and ...
An abundance of technical advancements has expanded the range of options for media consumers.
TV as a medium is undergoing two notable changes - dispersion and atomisation.
An 8K Super Hi-Vision (8K) broadcasting system capable of highly realistic 8K Ultra High Definition Television (UHDTV) video and 22.2 multichannel (22.2 ch) audio is currently under development
The introduction of image systems with higher dynamic range and a wider colour gamut is a globally active topic.
8K Super Hi-Vision (UHDTV) is a broadcasting medium featuring 16 times the number of pixels as Hi-Vision (HDTV) and 22.2 multichannel sound to provide a highly realistic “you are there” sensation.
Streaming media technologies have evolved over the past few years. HTTP-based adaptive streaming is today the technology of choice for streaming over the Internet.
Live content gathers the highest audience share on TV today – since pre-produced content can already be viewed on demand.
H2B2VS (HEVC hybrid broadcast broadband video services) – building innovative solutions over hybrid networks
Started in January 2013, H2B2VS (1) is a Eureka Celtic-Plus project.
Virtual Reality (VR), Video, and Video games are converging. Movies and games are getting closer, sharing techniques and contents.
Many media companies are moving some of their video and visual effects workflows to the cloud, but leaving some components—such as primary data storage and editing workstations—on-premises.
4K Ultra High Definition (UHD) TV displays were introduced in 2012, with the promise of fundamentally changing television through having four times the spatial resolution of High Definition TV (HDTV), with 3840x2160 pixels.
Over the last few years, HTTP-based adaptive streaming has become the technology of choice for streaming media content over the Internet.
The history of pay-TV [1, 2, 3], considering the business at stake, is unsurprisingly tightly coupled with the history of content services piracy, effectively proving the saying that “security is a process, not a product” in this industry.
There has never been more content available and consumed then there is today. The huge popularity of media is not new.
The increasing number of connected displays is driving the current explosion of Internet video traffic.
Speed reading can often lead to misinterpretation. The title of this paper, “USING IMF FOR INTERNATIONAL DISTRIBUTION”, is intentionally ambiguous, hence the subtitle WHAT DOES THAT MEAN? Assuming that you interpret IMF as SMPTE’s Interoperable Mastering Format (1), the ambiguity comes from the word using.
With improvements in technology, television with greater impact, more “presence”, deeper “immersion”, a “wow factor”, or, in short, better pictures, is now possible.
Image adaptation requirements for High Dynamic Range video under reference and non-reference viewing conditions
High Dynamic Range video (HDR) is a relatively new technique which allows the content producer to more accurately reproduce an image without the suppression of highlights usually associated with conventional video.
ATSC 3.0 revolutionizes TV broadcast distribution. For the first time, a hybrid system is designed from day 1 in order to support broadcast and broadband distribution in an integrated manner and to target different receiver platforms.
While HTTP adaptive streaming (HAS) technology has been very successful in delivering stable over-the-top video experiences at large scale, the technology has a number of important limitations as well.
UHD televisions are now retailing in significant numbers, and UHD services are starting to appear in the market.
Broadcast production today utilises a single colour volume workflow, as majority of footage is captured in one format: SDR (gamma non-linear curve and ITU-R BT.709 (1) colour primaries).
With the streaming format wars in the rear view mirror, HAS, specifically Apple’s HTTP Live Streaming (HLS) and the Dynamic Adaptive Streaming over HTTP (MPEG DASH) specifications now allow for the efficient, scalable delivery of media content globally from conventional HTTP servers.
Content owners and broadcasters are increasingly using adaptive streaming (ABR) over HTTP to reach a multitude of devices at any time and place.
There is no question that consumers have come to expect content anywhere, any time and on any device, whether fixed or mobile, on demand.
Terrestrial broadcast services delivery is based on Single Frequency Networks (SFNs) in most European countries, and most likely, it will be the future of the North American broadcasting networks.
BT launched its IPTV service in 2006 offering a combination of On-Demand video and Digital Terrestrial Television. In 2012 BT TV added multicast delivered channels to the service providing High Definition (HD) Linear TV, over a Fibre-To-The-Cabinet (FTTC) access network, to BT Broadband customers.
The first public demonstrations of the live production and delivery to home of 3840 x 2160 images were held in the early 2010s. These early trials prioritised the broadcast of higher resolution images over increased dynamic range or wider colour gamut. They were the result of advances in technology throughout ...
Celebrating the launch of 8K/4K UHDTV satellite broadcasting and progress on full-featured 8K UHDTV in Japan
NHK has been engaged in the development and standardisation of the 8K “Super Hi- Vision” (SHV) system since 1995. Super Hi-Vision is a state-of-the-art television (TV) broadcasting system that provides ultra-realistic viewing experiences to viewers, creating the sensation that they are in the actual scene.
The primary focus of this paper is to describe the different video options that will be used for broadcast or unicast over HTTP.
You can’t stay relevant as a broadcaster with a one-to-many communication strategy. It’s a two-way street now. More and more content is being consumed on other screens than the television, and often outside of the live broadcasting schedule.
CDNs and OTT video distribution platforms today use technologies such as HTTP Live Streaming (HLS) and MPEG-DASH, which use segmentation of the video streams and HTTP for delivery.