The BCD Audio black box range includes three units intended for Digital Audio measurement. Primarily intended for use at installation time, they are also useful in checking out the audio side of a TV installation.
It seems that numbers are a great eye-catcher and 4K was everywhere at NAB, and will be at IBC too. Here, of course, we are talking about a TV system with four times number of pixels of HD, namely a picture area of 3840x2160 for TV, or for cinema 4096x2160.
Stereoscopic television may still be in its infancy as a home entertainment medium but it is thriving in the cinema world. Freed from domestic distractions, cinema audiences are ideally placed to give their full attention to the images on the big screen.
Delivering a high quality of service (QoS) is critical in the broadcast world, as it greatly impacts viewer satisfaction and a broadcasters revenue streams. However, the television environment is becoming increasingly more complex, as stations transition to digital and add next-generation OTT or hybrid TV services that require maintaining compliance with industry standards.
Established for 10 years, NyeTec is a growing family run company. We believe traditional service and support of our clients is paramount. Terry Nye, as MD of the company, has over 30 years experience in Television, building on a solid foundation at the IBA, and having installed several of worlds first Digital Head Ends.
Traditionally, broadcasters and others in the delivery chain must verify compliance manually by simply capturing and archiving content and then reviewing it if a complaint is made. Its a cumbersome, labor-intensive process that is prone to errors.
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When focusing on the actual content itself, rather than the service, network or other components, the key is the readiness of content to be used. For instance, a piece of media must be syntactically correct in order to ensure that it causes no downstream issues in the workflow and that it will play and decode properly.
At the pure analogue end of the audio world (which these days is very narrow with much of the audio content being captured digitally) it is quite straight forward to check that an audio channel is present, that it sounds right and has the right levels. Likewise if the audio channel has hum or a buzz on it is relatively easy to identify the problem and fix it.
Best to keep well away from the Australian fast bowlers then! Joking apart, what is the future of television test and measurement? Or should we rather refer to media dispersion MD for short. MD is taking off big-time.
Photosensitivity is sensitivity to flickering or intermittent light stimulation and visual patterns. It is a condition which affects approximately one in four thousand people. A number of young people have this sensitivity but have not yet had a seizure and therefore have not been diagnosed with the condition.
One of the many demands broadcasters face today is establishing effective multiformat signal management and confidence monitoring, which have become critically required capabilities, and there are several reasons behind this.
Time-to-market is a familiar buzz word for any engineer. Meeting these demands requires early concept testing where simulations have become an indispensable tool. This approach is particularly useful when developing cable TV components, which must cope with many different types of interference.
The Sonifex Redbox RB-TGHD is an 8 channel audio tone generator that provides line identification for multi-channel audio systems, including BLITS 5.1 and 7.1 surround sound typically used in high definition television broadcasts.
Thanks to its long-standing association with virtually incomprehensible acronyms, dark machine rooms and (lets face it) engineers with unruly beards, the subject of Test and Measurement (T&M) always gets a bit of bum rap.
The task of maintaining loudness-compliant, high-quality delivery for broadcast audio is no longer a question of simply using ones ears. Audio channels produced for todays fast-paced productions come in embedded SDI workflow with streaming signals containing a mix of mono, stereo, surround, Dolby encoded and descriptive audio, as well as alternative mixes and multiple language tracks. Maintaining a quality audio track using this disparate mix of audio elements is one part of the QA equation facing broadcasters.
OmniTeks latest waveform analysis software focussed on assessing the degradation in video and audio quality and timing suffered by images as they are transmitted or stored. What approach has OmniTek taken to measuring these effects?
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