noggin's posts, page 288

25, 30, 60 Frames Per Second

300fps pretty much does that by all accounts. I saw the great BBC 25/50/100p demo at IBC a few years ago where the benefits of 100p at reducing motion blur on moving content were amazingly clear to see. 120p with a narrower-angle than usual shutter is NHK's approach - be interesting to see if the shuttering is mitigated by the higher frame rate and doesn't look 'juddery' (1/150th shuttered 50i looks very odd - i.e. SuperSlowMo cameras cut to air live)

25, 30, 60 Frames Per Second

All current moving image capture solutions are effectively based around temporal sampling (i.e. taking a sequence of still images and then redisplaying them - using the eye/brain's persistence-of-vision to merge them into perceived motion), just as digital still image capture is based around spatial sampling. Digital TV is thus using spatio-temporal sampling.

I guess object based capture - where you create a 3D model of the scene you are trying to convey, complete with motion tracking, might achieve something close to what you want - but unless you can find a way of injecting this into someone's consciousness or brain, I am not sure how you would render it without using a sequence of stilll images.

25, 30, 60 Frames Per Second

AIUI around 220-300fps is the limit of response time for trained viewers (fighter pilots have to recognise shapes moving VERY quickly and were subject to some research) Once you go above 300fps you are capturing higher temporal resolution than the eye/brain can differentiate between.

The BBC have trialled 300fps acquisition (albeit not in real time) - and NHK are suggesting that 120fps with shorter than usual shutter speeds could be very effective for 8k Super Hi Vision, and that is likely to be a standard.

Fountain Studios To Close

He's a businessman above all else - why would he throw money away to save them?

Fountain Studios To Close

Have a feeling the owners were not the operators of the business?

BFI to digitise 100,000 British TV programmes

Not quite the case.

The BBC are replaying D3 (and 1"/2" transfers to D3) in digital composite, but then decoding them to digital component via the amazing BBC R&D TRANSFORM PAL decoder. This generates stunningly good - close to component quality - decoded pictures which are then losslessly recorded as data to LTO tape AND dubbed to Digital Component DigiBeta.

The lossless LTO 'file-domain' copy is a lossless recording, but of the component NOT composite signal. AIUI it isn't the digital composite signal, or the raw data, but the digital component copy that is losslessly recorded.

HOWEVER - the TRANSFORM PAL decoding process is mathematically reversible, so you can play the lossless component data back through a reverse TRANSFORM encoder and accurately recreate the PAL composite digital source signal, just in case a better PAL decoder comes along again in the future. In reality I don't think many (any?) reverse TRANSFORM encoders exist in hardware, but it would likely be a software process - as would any future improvements in PAL decoding allied to it.



I hope they use PAL TRANSFORM decoders for PAL composite stuff (though the BBC own the only ones in existence I think - and they are based on a lousy hardware platform with dodgy PSUs - which is the same as the old COM^3 Composite Compatible Component gear from the mid-90s) and an archive quality lossless format (There is a lot of traction for a couple of open source lossless codecs in archive circles these days I believe)

Let us hope they don't do what one broadcaster, who will remain nameless did. Took their 2" Quad B&W recordings and fed them straight into an XD Cam deck's composite input. Cross chroma/luma artefacts baked into the archive copy of a B&W show... If they'd just used the analogue component Y input they could have avoided that...

BBC News Channel Presentation - 21/03/16 onwards

I don't think you can read too much into that. BBC News now operate the BBC English Regions news operations, and the newsgathering facilities (particularly regional SNG and VSat trucks) are funded to provide coverage for network news (which has been HD for a couple of years now since the move to NBH)

Similarly all new tapeless ENG/PSC cameras bought by English regions and BBC News over the last few years have been HD / SD switchable (e.g. PMW 500s, the cheap JVC VJ cameras etc.) "Inside Out" in many regions (all?) is now routinely produced in HD, with one region selected each week to be broadcast in HD on BBC One England HD, and in some cases cut-downs of Inside Out reports have been broadcast in HD on The One Show and other BBC News HD outlets.

That doesn't mean English regions will be rushing to upgrade their studios to HD - even if they have HD studio cameras. AIUI the upgrade at BBC Plymouth has caused a major rethink in how HD production upgrades should happen, with a lot of discussion about whether the Local Radio VILOR model (which is heavily based on remote IP-based production - with equipment housed off-site in data centres) could be a more cost-effective approach (and less disruptive on-site potentially)

However there was a charter aim to get BBC One HD in England to be regionalised - though that could be SD upconversions of regional content in the first instance.

ITV restructuring CITV - Boss faces the axe

What hours does Disney+1 broadcast between? It could be that the way they are calculating some figures assists channels that broadcast across longer hours, or across fewer hours. I've seen both methods used to boost or reduce figures 'creatively'

ITV restructuring CITV - Boss faces the axe

Could also be related to the Olympics - as they caused a bit of disruption for some services as BBC Four changed transmission hours, which had a knock on for some of the kids services (particularly HD?)?

Cue Dots

Did C4 Playout handle ITV Schools Playout or was it an ITV contractor


Yes - increasingly contribution circuits only carry the active picture area. Some encoders and decoders are aware of the various signalling standards and will carry them separately, but this is by no means guaranteed (particularly on international distribution)

In-vision cue dots are still bomb-proof (though you may still have to think about ARCing in some territories)...

BBC News Channel Presentation - 21/03/16 onwards

No - the feed to the TV is the ringmain, the actual box is a Ringmain tuner.



No - here a Ringmain is a bespoke (usually RF but could be IP) TV distribution system - used in hotels, conference centres, newsrooms, office buildings etc.



Sonifex Newsroom system - specified and bespoke to the BBC I think. There were analogue versions at TV Centre. It allows tuning of video and audio either together or split (the analogue models allows teletext access too ISTR) They have manual keypads for channel changing and other functions for very obvious reasons.. (Think of hundreds of identical IR remote controls being used in a room...)



That's a Delec desktop talkback box.

Delec no longer exist (which is a bit unfortunate for the BBC as they based almost all of NBH around Delec talkback kit). It was not particularly liked by operators and engineers alike, and made little headway in the UK outside the BBC (no-one else bought it). TBS, in the US, announced a major purchase - but I don't know if that actually came to fruition.

Riedel have bought Delec's Intellectual Property, but aren't continuing the product lines AIUI (Delec had some nice IP-based intercom stuff which Riedel may well fold into their Artist or similar series of products)

In the UK Riedel is incredibly popular (Sky, IMG, BT Sport, Arena, BBC Sport are all based around Riedel) though RTS and Clearcom also have some impact on the market. (Trilogy was - and is - used by BBC News as well - but I think have been bought up by another manufacturer recently. Trilogy was the standard talkback solution for BBC News at TV Centre, and is still deployed - alongside Riedel - for the elections)

UK and US talkback differ significantly - and have different requirements as a result. (UK systems are based far more around 4 wires than 2 wires, and the concept of the "Production Loop" is unheard of in the UK, where "Open Talkback" is used - but with a far more matrix-based talk/listen system that allows different mixes to be generated for individual operators or groups)

BBC News Channel Presentation - 21/03/16 onwards

Ringmain is in use elsewhere as a term too. It is used by hotels to describe their bespoke RF distribution system too I believe.