In this paper, TV 2 explores a new architecture in IP based playout and workflow.
In this paper, GLOBO introduces a novel algorithm responsible for the automatic thumbnail selection of drama series content published on OTT platform Globoplay.
In this paper, iSIZE proposes deep neural networks as precoding components for current and future codec ecosystems.
In this paper, Nokia Technologies explores OMAF and NBMP standards for an immersive virtual reality experience.
In this paper, Finconns Group, SWISS TXT and more explore
The architecture of an evaluated multi-screen experience based on MotoGP sports content, which was developed using an object-based broadcasting approach.
The serverless cloud model is particularly attractive for TV services, it can reduce operational overheads and lower barriers to entry.
This paper presents background information on the state of video codec licensing and lays out a description of the XVC licensing framework, constructed to significantly improve the current video codec licensing situation.
Capitalising on the efficiency and scalability that the cloud offers, Avid undertook a number of cloud test drives with select media organisations in Europe and the US to develop a deeper understanding of cloud workflows.
This paper analyses the overall compression capabilities of these two emerging technologies with respect to HEVC, including objective and subjective performance evaluation and the associated encoding and decoding complexities.
Now that the specification is finalised, the Alliance for Open Media has set high expectations for AV1. The prospect of a royalty free alternative to HEVC has many industry supporters, particularly those addressing streaming applications for a standard that is optimised for OTT delivery.
Bridging broadcast and internet services can be difficult because the system architectures are typically different.
The upcoming MPEG Media Orchestration standard enables the temporal and spatial orchestration of multiple media and metadata streams.
Though High Efficiency Video Coding (HEVC) is still in its take-up phase, it is foreseeable that even better compression will be needed in the future.
A replacement for the JPEG 2000 (J2K) block coder that offers exceptionally high throughput, with a small reduction in coding efficiency.
Video production is characterised by large data volumes, to ease intensive workflows a novel image and video codec called JPEG XS is currently standardised.
Improving the quality of service and efficiencies with higher resolution, HDR and WCG in online delivery, there is a need for advanced video compression standards.
The EBU Recommendation R-137 (TLCI-2012) is based upon the behaviour of modern broadcast HDTV cameras with 3-sensor technology.
The consumption of video contents rises and consumers’ behaviour changes, video broadcasters must find new strategies to engage with their viewers.
The 1998 Winter Olympics in Nagano prompted the NHK Broadcasting Centre to adapt its VCRs for the High-definition television format.
In a broadcast organization content is created generally with an intent to publish and/or archive it in one way or another.
Only a decade ago, high definition was the big new thing. With it came new wider 16:9 aspect ratio flat screen TVs that made the living room stylish in a way that old CRTs couldn’t match.
The television industry is going through rapid change. The adoption rate of new formats and technologies is accelerating.
In this presentation we are going to look at some of the different challenges that 4K presents.
An ever-growing share of US consumers uses OTT for viewing live content, such as sports events, while the vast majority is still served using traditional distribution methods, such as cable, satellite, IPTV and terrestrial broadcast.
In an HAS system, a single master high-quality video source is transcoded into several streams, each with a different bitrate and/or resolution.
We are witnessing today the big shifting of audio-visual professionals towards Beyond HD resolutions.
Over the last 30 years the volumes of ‘SDH’ captioning (Subtitles for the Deaf and Hard of Hearing), both live and pre-recorded, have increased considerably across the globe.
The Third Generation Partnership (3GPP) project since its creation in December 1998 has a long history in enabling mobile communication and had included enablers for media streaming and distribution in its very early roadmap.
Digital video compression has transformed the way in which television has been consumed and delivered to consumers for more than 25 years.
Over-The-Top (OTT) content streaming is poised to grow exponentially in the coming years, driven by the consumer’s need for a rich and high quality viewing experience.