noggin's posts, page 176

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NG
noggin Founding member

Can an ident be abandoned?

Riaz posted:
noggin posted:
Company C's status would be key, though you may end up in a situation where no surviving entity can claim the rights. These would potentially be Orphan works? That would then allow Company D, who have the physical copies of the content, to apply to license them?


What about a company that has the rights to the name and logo of company A? Lets say that company E buys a few programmes from company C that also includes a programme by company A and the right to the name and logo of company A is sold along with it.


I don't think ownership of the name and logo has any relevance to ownership of the artistic works made by the company, unless they were purchased along with the name and the logo (and accompanied by the relevant contractual rights agreements and paperwork that made it possible to pay people to allow them to be rebroadcast or released on other media)
NG
noggin Founding member

Who Wants to be a Millionaire?

Brekkie posted:
PFMC84 posted:
If this does come back for a future series with him, I hope he gets some proper "training" as it were in order to help him make the show, and his words, flow more smoothly.

Are you volunteering to be the production assistant who tells him after 30 years of presenting at the BBC he needs some "training"?


It wouldn't be the PA who had to tell him that - they're too busy holding stopwatches and counting backwards Smile
NG
noggin Founding member

Can an ident be abandoned?

Riaz posted:
A British satellite TV company A ceases broadcasting (so it no longer has use for its idents and promos) but continues as a supplier of programmes from its back catalogue to other TV channels.

It moves to another premises and leaves the tapes of its idents in a closet of its old premises that are sold to company B which is not a TV company. No details of the tapes are included in the sales paperwork so the tapes are effectively abandoned / forgotten.

A foreign TV company C takes over company A for its back catalogue. Company A is liquidated and the tapes of its back catalogue later leave Britain. New digital copies of the programmes are created and the old tapes are destroyed. Company C rebrands programmes by changing endcaps etc. to eliminate all identity of company A. The paperwork is also updated to remove references to company A as it no longer exists.

Company C goes bust and it sells off its back catalogue of programmes on a piecemeal basis. The back catalogue of company A is now split up and owned by several organisations, most of which have little knowledge of company A.

Company B sells their premises to company D, which is also not a TV company. During refurbishment the tapes of the idents from company A are found in a closet.

Who exactly has the rights to them?


I'm pretty certain that Company B and Company D have no rights even if they physically have possession of media. Ownership of media doesn't confer rights to the intellectual property contained on the media. Nor do items left in a building become the property of the building owner automatically under UK law AIUI.

Company C's status would be key, though you may end up in a situation where no surviving entity can claim the rights. These would potentially be Orphan works? That would then allow Company D, who have the physical copies of the content, to apply to license them?

https://www.gov.uk/guidance/copyright-orphan-works

However I suspect this is tricky if people who have a stake in the original work (actors, writers, directors etc.) who could reasonably expect recompense aren't easy to draw up an agreement with? You might be able to set-up a fund to pay them on an 'await claim' basis, though it looks as if the Orphan Work licensing may allow for this already?
NG
noggin Founding member

ITV abandons the South Bank

John posted:
Did Pebble Mill ever have issues with light and sun? I presume it was the first programme to use a windowed ‘studio’ in the UK.


Pebble Mill had a pretty good location to avoid direct sunlight AND was the first UK studio I know to use polarising filters (as This Morning used in their last studio on The South Bank)
NG
noggin Founding member

ITV abandons the South Bank

The key requirements for a year-round windowed studio are :

1. Control of sunlight during daylight transmissions. Direct sunlight through your window is incredibly difficult to control. Shade during your transmission hours, or indirect sunlight reflecting off buildings in the background is best. Polarisers, ND filters or scrim/gauzes can help control relative light levels for indirect sunlight and keep it manageable.

2. Control of the lighting of your background during transmissions when the outside is dark. If you can light your backdrop, you can ensure you have a good interior/exterior lighting balance, and avoid your windows turning into mirrors, or having to light your studio with ridiculously low light levels.


The problem Daybreak had was 2. They launched with a studio that had a dark view at 0600, and couldn't control the lighting of the skyline backdrop... To try and see any view, they ran the studio LED lighting at very low levels, which was incredibly unflattering. London Tonight were able to use the studio far more successfully as they were able to optimise the studio design for just a handful of shots (basically a great St Pauls-backed mid shot), and they had a lit St Pauls. (Which I think Daybreak finally organised too)
NG
noggin Founding member

Royal Wedding - Harry & Meghan

Rkolsen posted:
What type of cameras are going to be used. I remember inside the chapel for William and Kate they used Sony P1s. Since it’s UHD I assume they are going to use the Sony HDC-P43 UHD ones that appear to be HDR unless they go Grass Valley.


They only used P1s for the unobtrusive PTZ mounts or lock-offs in Westminster Abbey. The main cameras with operators were still regular HDCs (I think it was Sony, rather than GVG/Philips LDKs?).

I'd expect a similar mix of HDC4300s for the operated cameras and the P43s in the roles the P1s would have taken. St George's Chapel in Windsor is a much more intimate space though - so the mix is likely to be different.
NG
noggin Founding member

Sky News | General Discussion

roo posted:
AIUI the royal wedding won't be part of the BBC's UHD trial, possibly because of the FA Cup final clash.


Rumblings I heard were different to this, but I am happy to be proved wrong.
NG
noggin Founding member

TV Breakdown Appreciation Thread

Inspector Sands posted:
commseng posted:

The rules were relaxed, and self provision of downlinks was allowed by 1996, but there weren't that many large steerable dishes available, so it is quite likely that the limited BBC TVC dishes were already committed for other services.

Yep in 1989 according to this article, that was when the BBC got their first dish
http://www.bbc.co.uk/blogs/aboutthebbc/entries/a2cb4b43-61a4-3929-bdaf-cb24e497d9f8


I think that is when TV Centre got its own big dish. UKI-1 - which was BBC OB's mobile uplink dish (also capable of downlinks) pre-dates it I think?
NG
noggin Founding member

Sky News | General Discussion

derek500 posted:
“We’re incredibly excited to be the first and only broadcaster to televise a Royal Wedding in UHD and to offer those watching the ceremony across the country expert analysis, innovative technology and bespoke coverage on mobile.”

Seems it's Sky only.


Not what I've heard... Sky may be using a very narrow definition of 'broadcaster' and 'televise' to ignore iPlayer?

(AIUI the BBC are running an iPlayer UHD HDR trial this year, and The Royal Wedding was an event listed as likely to be part o the trial)
NG
noggin Founding member

Sky News | General Discussion

mapperuo posted:
Although the new NEP/CTV/Arena trucks are all UHD anyway, presumably Sky are paying a high percentage of the host OB costs to get this exclusive. Unless the BBC just weren't arsed?


I think the BBC also have access to the UHD feed, and AIUI the BBC are likely to make an HLG UHD HDR version available via iPlayer as a live stream.

Sky Q will be SDR UHD AIUI unless Sky have implemented HLG flagging now.

Sky can claim exclusivity in broadcast terms as their coverage will be DVB-S2 distributed, whereas the BBC will be unicast IP which isn't considered 'broadcast' in the strictest sense of the word.
NG
noggin Founding member

Royal Wedding - Harry & Meghan

dosxuk posted:
Markymark posted:
dosxuk posted:

The facilities companies don't produce the programming, they just provide the kit.


Yes, but the layout and facilities on the trucks differ, and are often aligned towards production of specific sports etc.

I've built two otherwise identical trucks recently, but with very different monitoring arrangements in the 'VT' area, because the two client broadcasters have different production needs.


Agreed, but (as I'm sure you know!), none of them are going to have a truck designed for "Royal Wedding", and the production team will have far more impact on the style of programme than which truck gets booked.


Yep - but equally different production teams have working relationships with different resources providers and different truck layouts are more or less suitable for different ways of working.

We're very lucky in the UK to have Arena, CTV, NEP Visions/OBS and Telegenic who are all top notch OB providers with excellent trucks, and Timeline aren't bad either (though a small operation)
NG
noggin Founding member

Interesting and unusual uses of teletext

Rkolsen posted:
noggin posted:
Rkolsen posted:

The CEA-708 digital standard isn’t as flexible when it comes to recording. If your using a DVR it’s fine but if your outputting your receiver to a VCR (even ones with digital tuners) or a DVD recorder your out of luck. You would have to have your receiver output the captions to the recording device and they’d be burnt in with no way to turn them off.


Ah - I thought there were STBs that did 708 to 608 conversion at one point to allow for TV rather than STB decoding ? These would only work on SD outputs (same issue with DVB teletext, which can be re-inserted into an SD VBI for analogue SD output and display decoding, but has to be receiver decoded and burned into video for HD HDMI outputs)

Nope. The only way for a TV to do the decoding is for it to directly receive the signal.

Analog connections SD (composite) or HD (component) don’t transmit it either. So your stuck with the converter or STB.


Ah - not the case here. Because we have a DVB version of teletext that is data compatible with the old analogue SD VBI system it's very easy for SD STBs to received DVB World System Teletext packets and insert them into analogue video blanking for TVs downstream to decode. It's very useful for analogue SD ring mains in hotels showing satellite channels (as the teletext services - including subtitles - survive Smile )