noggin's posts, page 9

The Sky News Thread

I think the discussion is about how it gets to Sky, not how it gets from the reporter's home.

Question is whether the reporter is connected directly to Sky (via a Sky LiveU/WMT etc. server) or whether the reporter is connected to LiveU/WMT server at NBC in NY/DC etc. as usual, then there would be an additional connection from NBC NY/DC etc. to Sky (which may be satellite or a compressed IP circuit etc.)

The Sky News Thread

BBC US->UK backhaul has been fibre for literally decades (they backhaul US SNG downlinks in the ASI domain rather than baseband video, then ASI decode and standards convert in the UK) - what makes you think Sky are using satellite for their US->UK circuits?

AIUI Sky are heavily into IP connectivity - with an IP MCR for Sky News - so I wouldn't be surprised if they had IP connectivity over fibre IP circuits for transatlantic stuff, with some presence in an NBC MCR or two?

Screen processing is usually only a few frames - and you can normally spot it as there is a sound-sync issue with the reporter in the screen (unless they also delay full-screen version and audio to match the screen delay)

These days codec and FEC/buffer protection delays on IP contributions can be significantly more than the delay introduced by satellite paths. (Particularly if you have to do a double encode/decode plus a standards conversion en-route). From memory an Alchemist adds around 9-10 frames of 50Hz audio delay on a 59.94->50Hz conversion.

ITV production/presentation slides

AIUI Action Time shows were unusual in that the Action Time element often refers just to the format, not the actual execution of the production - so ITV regional companies could license the format from Action Time, and possibly incorporate a level of production input, but production would still largely be handled by the ITV company.

The nuances of Euston Films, Zenith, Cosgrove Hall etc. where the prod co was owned by the ITV regional contractor may have created a difference - particularly in the pre-1993 era when fully independent productions commissioned by an ITV franchise/licensee for Network ITV was still relatively unusual, but still the only way for Indie originations (as opposed to acquisitions) to hit ITV screens ?

Digitising Collection

One thing worth remembering is that higher levels of MPEG2 compression don't handle noise and random motion at all well - so by running at lower-quality rates you may end up introducing a lot of blocking on the digital copy (as VHS noise, drop-out and 'wobble' will push encoders harder than a nice clean signal).

I'd run at the highest quality / lowest compression possible.

My USB2 PAL capture dongle runs at 8Mbs MPEG2 - which is about the highest quality that DVD can also run at. It worked pretty well for VHS stuff - though there were still blocking artefacts. I know some DVD recorders have pretty good timebase correction and some mild noise reduction to improve their quality (removing wobble and reducing noise without introducing too many noise reduction artefacts, like motion smear)

Live Aid 1985 - BBC Camera Quality

It had gone in the analogue age too once CCD cameras replaced tubed cameras. (CCDs are analogue too )

Live Aid 1985 - BBC Camera Quality

Once BBC OBs got the Philips Minicams in the very early 70s - which pioneered triax (only a very small number of PAL models of that camera were made) - there was no way they were going to be buying multicore cameras again if they could avoid it. The LDK5 was indeed a game changer for OBs - and the pictures they generated were very good (particularly the very early models - which I believe had slightly better aperture correction than later models?)

Bravia Core

There are LOTS of devices with 100Mbs ports - they are still cheaper in hardware terms and if you only need a low-ish bitrate connection why include GigE. This new Sony service is the first time an official platform has required the bandwidth that GigE provides - though people running Kodi on their Android TV platforms (which Sony TVs are) and playing local UHD Blu-ray rips will have needed >100Mbs connectivity (which can be retrofitted via a USB3->GigE adaptor - which will work if the Sony have included the drivers in their Android TV build - which is usual).
Even with a USB 2.0 port a USB3.0->GigE adaptor will deliver >300Mbs usually.

Coronavirus - Impact on live/recorded shows

The BBC informed staff across the corporation (including News, Studios and Studioworks) yesterday that there were new protocols arriving next week.

Lateral Flow Testing is being introduced. Test will be twice a week for people working in BBC buildings for 4 or more days a week, or a test once a week for those working 3 or fewer days a week.

2m proximity warning devices to be worn by key staff in certain areas to warn them when they are closer than 2m to someone else wearing a similar device, but the announcement didn't elaborate on who these key staff were. It would certainly make sense for it to be those who have to work with limited visibility (such as those in studios).

BBC News nostalgia, including BBC World

Yes, definitely. A lot of effort was made in BBC News 24/Joint service running order terms to accommodate an opt-in point for BBC One. In some cases multiple points were provided for BBC One national variations as well in the very early days. The use of the flags at the opt-in allowed NC1 and the News gallery a little bit of a buffer in timing terms.

Of course in those days it was possible for NC1 to cut to a live source pretty much instantly, these days manual transitions to live sources have around a 2-3" delay. (There's a delay both on the automation system actioning the cut, and an inherent delay in the incoming vision source within the IP processing)

HBO Max

Yep - didn't want to get too detailed, but there are stages in commissioning too. For instance a single commissioning broadcaster may kick off a commission with some development funding (to develop scripts, story structures etc.) and that in turn allows the production to be shopped around other broadcasters. Once they come on-board, sometimes later when more funding is needed, or when budget decisions around casting, directing, location and 'scale' choices are being made. (i.e. a BBC-only commission may run with lower-cost, UK-friendly, talent, but if additional co-production money arrives then that will then potentially allow the production to sign-up bigger-ticket, globally-recognised talent etc.)

Bravia Core

Have Sony started putting GigE ports on their TVs? Previously they were limited to 100Mbs.

Or are they hoping that WiFi will be good enough (in some cases WiFi will out perform 100Mbs cabled Ethernet these days)

HBO Max

In what way?

Co-production in the UK usually delivers the UK domestic broadcast and streaming rights for a specified window (3-5 years in most cases) to the UK co-producer, unless unusual deals have been made, and removes those rights from rival streaming services or output deals operated domestically with other outlets/broadcasters within the UK territory.

In most cases UK co-productions with HBO will involve HBO and Sky or the BBC co-commissioning a third party indie (who may also retain some rights in some territories after the BBC's licence period has ended) to make the show, with production input from both commissioning broadcasters over elements such as casting, episode structure, budget, production talent etc.

As the BBC also has a production arm, in some cases the BBC and a third-party broadcaster or OTT operator may co-commission BBC Studios to act as the production arm (distinct from BBC Public Service/BBC Content co-commissioning the production alongside a co-production partner), and BBC Studios (as a commercial arm) may also co-fund some co-pros (separate to BBC Public Service/BBC Content funding). (Good Omens was a BBC/Amazon co-copruduction, produced by BBC Studios for instance. Doctor Who has been a co-production in the past too, made by BBC Studios Wales).

Good Omens was an interesting example as Amazon had negotiated first-run rights on their OTT platform in the UK, with the BBC taking public service rights in a later window in the same territory. This isn't always the case.