Stephan K. Schindler

INSIGHT: State of UHD Broadcast in Europe With the 4K Summit taking place from November 11-14 in Seville, Spain, where broadcasters from France, Spain, and Italy will present their progress on UHD deployments, now is the perfect time to review the state of UHD broadcasting in Europe. In Spain, Televisión Española (TVE) was the first terrestrial broadcaster to offer Ultra High Definition (UHD) content. In February 2024, TVE launched a nationwide free-to-air UHD channel via Digital Terrestrial Television (DTT), initially simulcasting its main channel, La 1, in UHD/HDR. Notably, the SD switch-off has not yet fully occurred in Spain, and once SD broadcasting ceases, more spectrum will become available for additional UHD channels. In France, France Télévisions (FTV) was the first to offer UHD content on terrestrial television. During the Paris Olympic Games in August 2024, FTV launched a nationwide free-to-air UHD channel via DTT, initially simulcasting its main channel, France 2, in native 4K resolution for Olympic coverage, while France 3 content was upconverted from HD to 4K.France is looking at deploying UHD only channels by 2028, this would only be possible if it is mandatory regulation. The solution deployed in Spain and Italy are DVB compliant and is a brute force simulcast of UHD in addition to the already deployed HD channels, needless to say those solutions are not efficient in terms of spectrum usage. Germany, on the other hand, has so far limited DTT transmission to 1080p SDR and has shown little interest in advancing beyond that resolution. However, German broadcasters may deliver UHD services through other distribution networks, such as pay TV (DTH, Cable, IPTV). Italy lags in UHD adoption for two main reasons. First, a significant number of TVs in Italy still cannot decode HEVC signals, and the current priority is to migrate all broadcast channels to 1080p SDR in HEVC. Second, there no spectrum available for UHD, making solutions like MPEG-5 LCEVC appealing due to its bandwidth efficiency. In this setup, the HD channel would serve as the base layer (in SDR), with the LCEVC enhancement layer providing a UHD HDR signal that only newer TVs could process. Notably, such a backward-compatible scheme has yet to be deployed, meaning Italy would be the first to do so. In the UK, there are no plans to upgrade the DTT network for UHD, with an IP transition planned instead for all broadcast channels. The BBC is expected to lead this transition, although the timeline remains undefined. Nordic countries have established a UHD specification,  but no deployments have occurred to date. If you consider attending  the 4K summit, this is the best place to network with professionals on UHD topic: https://lnkd.in/gunDCrPy Jacques Donat-Bouillud Stephan Heimbecher Mickaël Raulet Benjamin Schwarz Ian Nock Simone Ferrara Jan Outters Jason Power

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Customer feedback and reception have been overwhelmingly positive since we launched our Gen-IC Cloud Intercom service at the start of the year. Transitioning production workflows from on-premises to cloud-based tools is not always smooth, and getting crews and personnel fluent with new systems can come with many teething challenges. However, one of the main pieces of customer feedback we get is how intuitive Gen-IC is to use especially with the self-serve SkyPort portal. Moreover, the users of the system continue to work with the same virtual clients or physical panels (hybrid systems) that they have come to love for many years. This results in much lower deployment costs as no user training is required. Gen-IC is our first product venture into managed cloud services, and it’s hugely rewarding to hear that it is enabling our customers to save time and money, making productions as efficient as possible. Read more in this InBroadcast write-up Phillip Izzard: https://lnkd.in/eKTDUWGK

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Need help sorting out ST2110? Check out our latest blog post.

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The award voting doesn't give information about exactly what project we entered, so if you'd like to know what cool project you're voting for as "best linear distribution," here's the great Sports Video Group article that covered it! https://lnkd.in/g7QaZJKC

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https://lnkd.in/eMMkBc_v The concept of rApp is defined by Open RAN. The rApps are software application designed to run on the Non-Real Time RAN Intelligent Controller (from now on the Non-RT RIC) to realize different RAN management and optimization use cases in an automated way, with control loops on a time scale of one second and longer. Ericsson extends the scope of the rApps to purpose-built RAN in addition to O-RAN definition. Ericsson defines four main rApp categories: Network evolution rApps Network deployment rApps Network optimization rApps Network healing rApps #rAPP #RAN #Automation #ORAN

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Reducing latency is crucial for live event producers, especially for events broadcast on multiple platforms (like broadcast and streaming). However, it's essential to recognize that transcoding latency only slightly contributes to overall latency in adaptive bitrate streaming. Before adjusting your transcode settings for lower latency, consider the impact on video quality and whether the application truly requires ultra-low latency. This article examines the impact of low-latency settings on video quality and reveals that while low-latency settings significantly reduce video quality with x264, the effect is less pronounced with x265. So, the choice of codec and specific encoding settings can have substantial implications for balancing video quality against desired latency in live streaming applications. Read more 👉 https://lttr.ai/AV9oL

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The best way to predict the future of TV streaming is to shape it yourself.  Find out more about DVB-I at the European Broadcasting Union (EBU) stand (10.D21) and at DVB Project stand 1.B73. IBC - International Broadcasting Convention #IBC24

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If you have a Schoeps Mikrofone CMIT 5, check out our latest video showing how to set it up on the Radius windshields RAD-2 mount. Even though the CMIT is a bit longer than some of the short preamp shotgun mics, it's still very lightweight. So there are options when just using a foam gag to have the soft firmness RAD hoops which provide great isolation when booming indoors (or calm wind outdoors). Shoutout to Ken Strain for testing out a variety of setups with the RAD mounts last year and giving us the tip on spreading out the soft firmness hoops to provide a little more support without having to stiffen up the isolation. https://lnkd.in/g7UG6DX4

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Here's a video for all the Sennheiser MKH50 users out there who haven't already discovered the great isolation with a Radius windshields RAD-1 Shock Mount. The 3rd setup is the one I personally prefer (pushing the capsule far forward away from the mount). If you don't have an extra RAD-2 soft firmness hoop on hand to use you can pick these up as spare parts. The front to back isolation to me is a little softer than using with the standard firmness black RAD-1 hoop in front. There's also no potential for the mic drooping down if using fur windshields on front that might weigh a little more than our Nimbus. https://lnkd.in/gEXu3PU7

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When we say Ryan Simio knows the channel – we mean it. 💪 Take a peek at Ryan's most recent blog about how Value Added Resellers (VARs) can help close deals faster.

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The Challenge of Bringing HDR to More Broadcasts This TV Tech article discusses the challenges of bringing HDR to more broadcasts. It discusses the need for new equipment and workflows. Interra Systems is a QA provider that focuses on monitoring the entire production chain, according to the article, offering tools to address the issues that can arise when working with HDR, including resolution, wide color gamut, high dynamic range, and frame rates. #HDR #Broadcasting #MediaTechnology #InterraSystems #BATONQC #ContentAwareQC https://lnkd.in/gJXDh23e

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Want to get started with using the ffmpeg-based transcoder and open source project SVT Encore but don't know really how? Check out this tutorial on how to setup a VOD transcoding pipeline based on SVT Encore in Open Source Cloud. Then if you decide this is something for you and want to bring it to your own infrastructure you can, or chose not to. It is up to you. https://lnkd.in/dCjktAKN

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Live Stream Not Working? How to Troubleshoot Live Streaming Issues with Broadcasting! When it comes to live streaming, there are many moving parts. Broadcasters need a workflow for filming the live event, encoding or transcoding the files, delivering the video to users, and allowing playback by viewers. While a modern live streaming platform makes it simple to get started, issues can still pop up, and that’s why it’s important to know how to troubleshoot live stream issues. Even though only 2.6% of live streams fail to start—the biggest problem with live video now—businesses can still lose viewers when streams have issues. If something goes wrong, therefore, broadcasters must respond with error handling best practices for streaming. That’s why we’ll take a deep dive into how to troubleshoot video streaming issues immediately. Our suggestions follow a typical streaming workflow from video encoding to delivering and playback. Read More Below! https://lnkd.in/gysq8w2q #livestreaming #streamingservices #bandwidth #wifispeed #broadcasting #troubleshootingvideo

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++ ARABSAT Selects Grass Valley’s #AMPP for Advanced Broadcast Services ++ Grass Valley, a pioneer in live production solutions, has announced that Arabsat has chosen its AMPP SaaS platform as the foundation for a new three-tiered suite of broadcast transmission services. Arabsat is a major global satellite operator that delivers over 700 TV and radio channels to more than 80 countries. "These new AMPP-based services will allow our customers to set-up a new TV channel in just a few minutes. Because this new agile, accessible and scalable cloud-based transmission technology is also more affordable, it will allow us to reach many new customers." - Alhamedi Alanezi, CEO & President, Arabsat "We’re extremely gratified to be partnering with Arabsat on this TV transmission paradigm shift. Both companies have a long track record of leadership, and this collaboration represents the next logical next step in the ease, scalability, and affordability of television distribution." - Louis Hernandez Jr., CEO and Chairman, Grass Valley #techafricanews #cabsat #live #production #solution #television #distribution #scalability #affordability #broadcast

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ADiS MUSIC GmbH: The only solution for the orchestra with breathtaking features ... Our solution is a all-in-one-solution: - devices - scores - intelligence THE DEVICES The orchestra is fitted with 2 types of device: 1/ The device common to all members built around 1 or 2 displays. You can simply decide if you want to plug 1 or 2 displays. 1 display? No problem! What orientation are you interested in? Portrait mode? Landscape mode? We recompute the score according to the orientation you selected because we don't want the score truncated after a rotation! The size of each display is exactly 15,6" with a ratio of 16/9. It is the most appropriate ratio to render the score with all the information around. To give a rough idea, the size for each display is about the size of a piano score page by G. Henle Verlag. The rendering is better than paper due to the amazing 4K-resolution. 4K-resolution? We are also thinking about 8K and made an update of the hardware to be 8K-ready. 2/ The device for the conductor with 2 displays up to 32.0" You just decide when you order your device if you want the size of 27.0" or 32.0". The ratio is also 16/9 with a 4K-resolution. The devices within the ADiS MUSIC GmbH solution make the orchestra fitted with a homogeneous solution. No more paper or PDF on stage for a full diving into digital world! AUTOMATIC SCROLLING The tempo decided by the conductor with eventual rubati is dispatched through a network within the orchestra. Each stand, whatever the instrument played (flute, clarinet, bassoon, trumpet...) benefits from the automatic scrolling of its part. The instrumentalist is entitled, among several settings to set up the user beat and decide about a whole note or a quarter note for the beat mark. INTERACTIVE SCORES We redefined the concept of score many years ago. The score as we know it for centuries is a static entity and is just the visible part of the iceberg. We enlarged the notion of score and made it hashtag #interactive without copying the paper score. The ADiS MUSIC GmbH's score opens the door to a bunch of professional features that are unrivalled on #PDF and even on #paper! The ADiS MUSIC GmbH's solution is the most advanced solution for the orchestra on the market today. We thought about it many many years ago and this amazing innovation could only be created by an entity working on all the 3 concepts together: devices, scores, intelligence. We help you quit #paper and #pdf scores to benefit from an amazing experience you never met. It is the true challenge while entering digital world for classical music. Something unknown. Something new. Try us now!

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