The Digital Production Partnership (DPP) was founded in January 2011 by the BBC, ITV, and Channel 4, with representation from Sky, Channel 5, S4/C, UKTV, and BT Sport, to help speed the transition to fully digital production and distribution in television. As part of its work, the group has established common delivery standards based on the AS-11 file format and the UKDPP shim intended to maximize the ease and efficiency of an all digital workflow by providing a tightly constrained medium for file-based content delivery.
At the end of January a new body the Institute for Training in Television Production (ITTP) held its first conference, organised by the publishers of TV-Bay magazine and chaired by former broadcaster Roz Morris, MD of TV News London Ltd. A packed room debated sometimes hotly the issues.
Having spent the last 30 years working in broadcast television and live event production in a variety of technical roles it has become plainly obvious over the last few years that we have lost some of the benefits working with the traditional PPUs with OCPs and CCUs.
Since I last wrote we have accomplished a lot more work within our projects. In December we submitted our 20-minute documentary about local traditional businesses, which has resulted in achieving distinction grades and we have also progressed dramatically with our IPTV project.
Wireless microphone systems for cameras are used by ENG crews and reporting teams as well as for TV and film shootings, where compact size, low weight and unobtrusive miking are particularly important.
This was written a few days before the opening ceremony so news arriving from the front line is of last minute angst for some of the tech teams who go out and perform daily miracles in such unuser-friendly locations year after year. Camera platforms erected in the wrong place, cables lost under a recent snowfall, cables eventually found but now destroyed by an avalanche...you know the kind of thing. All this and more just in the last few days. There needs to be medals for the tech teams.
Today, there are many discussions focused on next generation broadcast formats. This is mainly driven by the fact that the consumer industry has already launched 4K (UHD) TV sets. Beside the question is the market ready to accept a new broadcast format? One question still remains: what is the best solution for the next generation broadcast format?
At the start of each year you hear the sound and fury as the technology correspondents of broadcasters and the popular press head off to Las Vegas for CES, the annual exhibition of the Consumer Electronics Association.
The television industry has had many new technological eras in recent years. Only two years ago we were still a 3D era; the latest of the many that have surfaced and sunk over the years of cinema, making it recurring fad. Now 4K / UHD is firmly grabbing the attention of equipment manufacturers as well as production and broadcaster / media folk, and increasingly, the public.
Camera and monitor batteries - what's not to like? They're portable, rechargeable and easy to use. Well, actually, there are some drawbacks. Batteries can be heavy, expensive to replace and difficult and costly to travel with, as airline passengers know all too well.
Cloud computing, forecast to become a 150 billion dollar industry by 2014, is not only growing, its transforming almost every industry. And it could transform TV and broadcast media too, especially when it comes to first mile production, collaboration and data security.
They didn't tell me this in the job interview but one of the great features of being Sales Director of PlayBox Technology UK is that you get to see inside more racks rooms than almost anyone else on the planet.
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