noggin's posts, page 172

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NG
noggin Founding member

2018 FIFA World Cup Russia

Yes - BBC has confirmed :

40Mbs 3840x2160p50 (I wonder if there will be a lower quality >16Mbs but <40Mbs 2160p stream or if they want to ensure only the best quality UHD is seen for this)
16Mbs 2560x1440p50
10Mbs 1920x1080p50
7Mbs 1280x720p50

These are all 10bit HEVC/H265 compressed with HLG HDR.

https://www.bbc.co.uk/rd/blog/2018-05-uhd_hdr_world_cup_2018

The peak current SDR HD iPlayer (*) stream is ~5Mbs 1280x720p50 8-bit AVC/H264. (And HEVC/H265 is a lot more efficient than H264/AVC so the 720p and 1080p streams should look very good too)

(*) Sky offers 1920x1080i25 (which is still 50Hz motion) at 8Mbs I believe - but that's not a BBC CDN-provided stream, and is a progressive download via Sky's CDN.

Sad that they can't find a way of compatibly offering 5.1 audio - I guess DD/DD+ as used by Netflix and Amazon Prime isn't an option, and some TV manufacturers may struggle with streamed AAC 5.1 (though Freeview HD uses it)
NG
noggin Founding member

2018 FIFA World Cup Russia

DVB Cornwall posted:
For Ultra HD, audiences will need an internet connection of at least 40Mbit/s for the full 3840 pixel Ultra HD or 20Mbit/s for 2560 pixel Ultra HD. Footage will be played at 50 frames per second.

| from …….. | MEDIACENTRE on BBC.CO.UK | 31-May-2018 @ 11:44 |


Yes - I expect the BBC will limit the lower resolutions of the UHD/HDR MPEG-Dash option to ensure people don't get SD quality.

AIUI there were two bitrates for 2160/25p Blue Planet II at 2160p, then 1440p and 1080p options in the MPEG-DASH manifest. (Wireshark is your friend)
NG
noggin Founding member

NBC News, MSNBC, CNBC, NBC affiliates and TODAY

Charles posted:
WW Update posted:
Brekkie posted:
It isn't a tragic and freak accident - it's putting two human beings deliberately in danger to win ratings, regardless of the cost too life.


But even the local fire chief called it a "freak accident." The crew was driving on a highway when their car was hit by a tree that collapsed because the ground was saturated -- hardly a case of someone being put "deliberately in danger." In fact, from the sound of it, this could have happened to anyone.


They went to the fire station to interview a fire chief and head back to the station when a tree fell on their car as they were driving. The area wasn't in an evacuation zone. I agree that I don't think that was a deliberate attempt to put them in danger. I can definitely think of far more situations where field crews have been subjected to much, much more dangerous conditions.

It's a cheap shot, or at the very least, a stretch, to say they died because of our private industry television market.


I'm not sure it's a cheap shot to question the safety training and risk assessment culture of an industry? Particularly when working to a deadline had been used in a previous report, and in an industry that is seen as incredibly commercial.

In the UK we hear some horror stories of US News safety culture - some of it, I'm sure, exaggerated. However when you read of US news crews working on live trucks being electrocuted by masts hitting power lines, and news helicopters crashing into each other, it does raise questions.

Yes - freak accidents do happen, and tragic situations do arise that couldn't reasonably be predicted. What is really important is to learn from them.
NG
noggin Founding member

NBC News, MSNBC, CNBC, NBC affiliates and TODAY

Rkolsen posted:
Brekkie posted:
Rkolsen posted:
WYFF the Hearst owned NBC station in Greenville, SC lost two employees today - an anchor/reporter and a photographer. They were covering severe rain from now sub tropical storm Alberto when a tree fell ontop of the SUV they were working in. A tragic and freak accident. Thoughts and prayers to their family.

It isn't a tragic and freak accident - it's putting two human beings deliberately in danger to win ratings, regardless of the cost too life.


I see what your saying. But what about BBC, ITV or Sky News covering storm? I imagine sometimes they are on a deadline working in their car.


I can't speak for ITN or Sky - but I know the BBC has pretty robust safety training and risk assessment training in place for all field crews - reporters, field producers, camera operators and other technical teams.

That training includes not being blinded to risk by a deadline and to always prioritise your own safety, and that of others. It certainly includes the 'hidden' dangers in covering bad weather (particularly flooding)
NG
noggin Founding member

International Sports Coverage

thegeek posted:
noggin posted:

IPTV delivered via multicast over FTTC VDSL from your local exchange, or FTTP ISP, is usually pretty rock solid, as it doesn't use 'the public internet'. It's how BT TV works, and is how many IPTV fibre TV cable-equivalent systems work in Europe. In usage terms this can feel identical to a DVB-T/C/S solution, as it delivers linear channels to you without having to serve to you directly, you just pick up a routed version of the common IP stream that everyone is watching.

Again, fine if you're an ISP with the infrastructure, but Eleven ain't one of them either. And what incentive would an ISP have to do a multicast peering deal with them - other than to be in competition with a BT or a Sky? (Perhaps I've answered my own question there)


I guess the peering deals will be an interesting discussion moving forward. It could well be that the government decides that IP delivery of linear TV is preferable to OTA - and mandates some 'must carry' peering deals for existing broadcasters (particularly FTA ones) to speed migration away from UHF spectrum.

AIUI there is a post-DVB-T2 plan being mulled, based around an all-IP delivery system.
NG
noggin Founding member

ITV To Buy Share In UKTV?

Whataday posted:
Isn't the Netflix model based on content rather than the platform, whereas UKTV is a platform with not much of its own content?


Yes - Netflix's model is effectively based around original content in the territories it operates in (but that doesn't mean the content is totally unique to Netflix globally).

The UKTV model in the UK is about a 'second chance to see' content usually - and as most of it was shown previously FTA on network channels, the level of payment the public will want to make for 'watching repeats' is probably a lot less.

There IS some UKTV original content (Taskmaster, Dave Gorman's stuff) but it's a very small part of their linear channel offering, and not going to be a Netflix equivalent.

Ironically a UKTV is a much more compelling proposition abroad - where operations like BritBox - offering high-quality original BBC and ITV content that is otherwise less easy to watch - is a better bet. That's akin to UK Netflix viewers watching US Network TV shows that would be viewed on their home networks in the US.
Last edited by noggin on 30 May 2018 12:21pm
NG
noggin Founding member

International Sports Coverage

Brekkie posted:
IPTV does have some advantages, but more for on demand content as Netflix have exploited than live streaming IMO, which from my experience even despite a decent fibre connection suffers that little bit too often from issues to be a suitable equivalent too broadcast. Also it isn't just a case of turning on the TV and switching to the channel - you can have gone through an entire pack of tic tacs before you get to your destination.


IPTV delivered via multicast over FTTC VDSL from your local exchange, or FTTP ISP, is usually pretty rock solid, as it doesn't use 'the public internet'. It's how BT TV works, and is how many IPTV fibre TV cable-equivalent systems work in Europe. In usage terms this can feel identical to a DVB-T/C/S solution, as it delivers linear channels to you without having to serve to you directly, you just pick up a routed version of the common IP stream that everyone is watching.

However if you go down the unicast-over-public internet solution you are at the mercy of streaming servers, public internet connectivity etc. as every viewer is sent their own version of the video content.
NG
noggin Founding member

The Yorkshire and Lincolnshire Thread

radiolistener posted:
harshy posted:
Studio is nice but the titles are in the wrong font, dosent match up with the font on the Aston’s. all they had to do was to mimic North West Tonight(without the animations), they have it perfect across the Pennines.


Well they are obviously not "in the wrong font" if the designers have OK'ed them and the image teams and producers and visual designers are happy with them.

What always makes the commentators right?


Sadly you'll often discover in-house teams aren't properly aware or across in-house branding guidelines...
NG
noggin Founding member

Eurovision 2018

tightrope78 posted:
There were various comments online this year that it was a surprise to see anyone from the BBC at the artists press conferences during Eurovision week. Of course they were referring to Rylan who absolutely took to it like a duck to water and really immersed himself in the experience.


I wonder if the people commenting recognise the members of the BBC One, BBC Four and Artist Delegation teams that the BBC send each year, or just the on-screen/commentary team...
NG
noggin Founding member

The Sport Thread

London Lite posted:
dosxuk posted:
UKnews posted:
Ah shame, thanks for the info - shame 25fps isn’t possible, in the absence of 50p that would be preferable.


They're American, nothing 50Hz based exists. It took years of complaints about Chromecasts being stuck on 60Hz before Google even acknowledged there was an issue to look at.


Not helped that Roku for most is still 60Hz, although they did update the software for NOW TV boxes to be 50Hz, which is going to be fun when Netflix customers get motion judder on the non UK sourced material.


The UHD HDR Roku Streaming Stick is great - it does full frame rate switching (and UHD HLG iPlayer). It's nicer than a lot of internal player solutions.
NG
noggin Founding member

Royal Wedding - Harry & Meghan

mapperuo posted:
noggin posted:
So its likely that Sony bought P43 brick cameras, and hired remote heads for them, rather than buying 'robotic UHD' cameras.


Apologies my wording wasn't to imply they were a combined UHD PTZ unit, I just used that term to differentiate those cameras to the larger ones. Your right the remote heads were hired separately.


The P43s will probably be redeployed for sport UHD Steadicam use I expect?

It appears that a mix of F55s and PXW-Z450s are used for UHD RF shoulder mounts, though I think I may have seen F55s on Steadicams too. (The PXW-Z450s effectively replacing the PMW-500/450s or PDW-700/800s in that role, though you do see HDCs running RF too sometimes?)
NG
noggin Founding member

Royal Wedding - Harry & Meghan

Rkolsen posted:

I don’t think many broadcast companies use GVG cameras in the UK. I think the pool was done with NEP trucks and camera wise they go with Sony - unless it’s a specialty truck that is owned by them but essentially leased out full time by a broadcaster.


Until NEP moved to UHD they were all-LDK (Philips or GVG depending on age Wink ) for their own NEP Visions trucks - both LDK cameras and GVG mixers. Their acquired trucks (OBS, Barcyd and others) were inherited with Sony cameras and mixers and continued largely to run with them. AIUI Visions DID have to use Sony Super Slow mo cameras in their otherwise LDK-based trucks because there weren't enough LDK Super Slows knocking around on the hire mark.

NEP have moved to Sony HDC4300s globally for UHD vehicles - as they have done a global procurement deal with Sony AIUI. They appear to be using the not-liked-by-many SAM Kahuna (now owned by GVG) mixer as it is a good fit for UHD 2110 production (operators don't like it though). There's a hope that the Kahuna IP know-how will be married to the GVG control system and surfaces...

Ironically Arena, who were entirely HD Sony for cameras (and vision mixers), have moved to GVG for their IP UHD trucks, partially because they've totally bought into the early GVG IP solution...