Intro
This webpage for members and guests of Lower Great Lakes Chapter of NATAS features stories and opinions about impending changes in the way television is delivered to the viewer, and the weekly observations of Hal Protter, Chairperson of the Technology and Engineering Committee of the National Academy. He can be reached at hal.protter@cwtv.com.
Mr. Smith Goes To Vegas With An Agenda
As reported by TVNewsCheck, Apr 6 2010, By Hal Protter
NAB President Gordon Smith is unimpressed with the FCC proposal to shift spectrum from broadcast to broadband. To him, it's like trading away the "seed corn" for a suspect IOU. Without sufficient spectrum, broadcasters will not only be unable to maintain their current level of service, he says, they will also be unable to tap the potential of multicasting and mobile DTV. The FCC's spectrum plan is just one of the issues facing Smith as he prepares for his first NAB convention as head of the trade group.
TVNewsCheck Editor Harry A. Jessell, interviews Smith covering subjects such as cable's push for retransmission consent reform, ownership deregulation, the state of the NAB lobby and the need to keep reformers from choking off political advertising. Smith’s comments are edited for space…
Jessell: Broadcasters have generally reacted negatively to the FCC spectrum plan. Why?
Smith: We had hoped the plan would be voluntary. We're disappointed to find the FCC intention to turn this into the Marlon Brando/Godfather kind of volunteerism. Either your signature or your brains are going to be on the paper.
Jessell: But it is partially voluntary. I know they're talking about taking six channels off the top and repacking, but the rest of it is voluntary, isn't it? They're saying, consolidate your stations, double up, and whatever is left over we will auction and share the proceeds.
Smith: That requires an act of Congress, but when you start repacking, you're basically telling a number of stations that you must go out of business. For example, in Los Angeles, you have got 70 over-the-air stations. You are going to divide those in half. You're taking out a whole swath of broadcasting and subordinating it to second-class citizenship in the communications world.
Jessell: Isn't there a deal to be made here? Let's presume for a moment that the country does need additional spectrum for broadband. Some broadcasters may be willing to make a deal if they thought they could get some cash for their spectrum.
Smith: I find it very unlikely that Congress would agree to such a thing. The other way, of course, is truly voluntary — allowing broadcasters to engage in the leasing of spectrum of licensed space so that it could be utilized as broadcast or broadband. That's the voluntary way..
Jessell: Would you be willing to work with the FCC to reshuffle the broadcast spectrum so that it can be packaged in a way to make it more appealing to broadband wireless providers?
Smith: Well, the only areas where this issue is really a problem and where the plan really focuses is on large metropolitan areas, and that's where the damage can be done to the broadcasting category. Broadcasters can fix the rural piece without any intervention by the FCC.
Jessell: Well, what about the metropolitan areas? Can you work with the FCC to open up spectrum in the big markets?
Smith: There are so many trade-offs that are bad for consumers and bad for broadcasters that there is considerable push back by broadcasters who object to compulsory repacking and eliminating mobile video, multicasting,
Jessell: You suggest that Congress would not allow the FCC to share auction proceeds with broadcasters, but would you oppose giving FCC that authority on Capitol Hill?
Smith: If it has the unintended consequences that I think it would, then I would oppose it. I do think that the whole plan presumes problems that I think technology will resolve over time without subordinating the broadcast category to a second-class citizenship.
Jessell: Could you elaborate on what you mean by "second-class citizenship?"
Smith: The promise that Congress made the American people and broadcasters is that if you invest in the digital age, you will have the space to monetize with high definition, mobile video and multicasting. Perhaps there's even an opportunity for leasing for broadband in particular places. I don't want to lose those opportunities for broadcasters. Spectrum is the seed corn. Broadcasters want the ability to continue providing free, local, over-the-air service and I think there's a public good, a public value, there that is served in no other way.
Hal Protter
Burbank 818-977-6184 Fax 818-977-4438
Cell 314-708-3696 Home 805-529-0742
hal.protter@cwtv.com
CNN puts a new spin on HD studio in Atlanta
Mar 15, 2010 12:46 PM, By Michael Grotticelli
CNN’s new HD studio in Atlanta features a rotating platform (right, foreground) for multiple views. Photo credit: Ted Pio-roda/CNN
After systematically building state-of-the-art HD production facilities in New York City, Los Angeles and Washington, D.C., over the past three years, CNN has turned its attention to its original home and main headquarters at CNN Center in Atlanta. In late spring, around the time of the 2010 NAB convention in Las Vegas, the all-news network will unveil a brand new studio with all of the traditional HD production equipment one might expect, as well as a few technical surprises.
As of mid-April, all of CNN's domestic programming (as well as some programming on HLN) will now be distributed-via cable, satellite and telco television service in the 1080i HD format. The new studio and the associated tapeless newsgathering operations at all of its facilities will be supported in the field by nearly 20 HD microwave trucks and more than 100 photojournalists, who all shoot in HD. (There will still be a lot of SD material from international bureaus and archived material used that will be upconverted before going to air.)
The new set features a 103in flat-panel plasma display with a touch-screen overlay called “UTouch” that allows on-air talent to manipulate graphic elements. Photo credit: Ted Pio-roda/CNN
The new studio in Atlanta is the largest (5000sq-ft, or more than three times the size of the network's existing anchor desk and weather set combined) to date for CNN and includes a rotating anchor desk that allows the crew to use the same new Sony HD studio cameras to shoot various interviews with different backdrops or mini-sets installed around the four walls of the studio.
One wall features two 103in Panasonic HD plasma screens: one with a touch-screen overlay called “UTouch” that allows the user to manipulate or graphic elements around one wall and another with Perceptive Pixel software that allows the on-screen talent to expand an image with their fingers (which CNN pioneered on-air for the 2004 presidential elections). There's also more than two miles of LED lighting adorning the set, which can be used in a variety of ways to create alternate moods and ambiance.
“This is the culmination of our master plan to convert the entire network to HD,” said Matthew Holcombe, vice president of Network Support for CNN's engineering group. “We did New York and Washington with the intention to get to Atlanta; it took just a bit longer than we had hoped because we had a lot of infrastructure to build before we could launch the studio. It was worth the wait, and we're very pleased with the results.”
In 2007, when CNN launched HD operations in New York, the Atlanta facility was also equipped with a new master control system to handle the extra-bandwidth HD programs and send them out to viewers with HDTV sets. In 2008 new HD routers and HD servers were installed in Atlanta, and in October 2009 the first HD control room (“B”) went on-air for a small amount of programming. When the new digital record and edit system launches later this year everything will be captured and distributed in native 1920 x 1080i HD resolution, with a 16:9 widescreen aspect ratio. Some SD content will appear with sidebars to fill the screen when necessary.
The innovative rotating desk, designed and implemented by CNN's in-house engineering group with help from an outside system integrator and developed by a theatrical scenic design company is powered by a series of chains, high-intensity cable and gears that can be rotated during commercial breaks to change the on-screen look. The plan was to build a flexible studio that could accommodate a lot of different shows with a variety of different camera angles and backdrops. It was technically challenging to implement.
“We had to figure out a way to move all of that chain and set cabling without it getting pinched or crimped every time we rotated the stage, because there's quite a lot of weight on that platform and it has to move smoothly,” Holcombe said. “We could move it between shows if needed.”
There was a time when some questioned the need for newscasts to go HD. At CNN, there's no question it is a critical part of staying competitive. But, of course, it came at a cost.
“Moving to HD operations across the entire network has been an evolution and big investment by the company,” Holcombe said. “Despite what you might hear from equipment vendors, HD is not cheap.”
Hal Protter
Burbank 818-977-6184 Fax 818-977-4438
Cell 314-708-3696 Home 805-529-0742
hal.protter@cwtv.com
DTV Delay Act
Hal Protter, NATAS Chair of the Technology and Engineering Committee has made available the the rules issued by the Federal Communications Commission regarding the turning off of analog television as revised to reflect the legislation passed by the United States Congress on February 4th entitled “The DTV Delay Act” that extends the date for completion of the transition from analog to digital from February 17th to June 12th, 2009. The 9 page document is posted on our website as a pdf file. You need to go to your own corporate manager or communications attorney for legal interpretations of these rules.
Be aware that there is flexibility in the revision to the original rules that enables stations to shut down analog transmitters on or after February 17th – it is not mandatory to wait until June 12th. According to Shelly Berman in his blog on Thursday, February 12, 2009, FCC chairman Michael Copps noted that TV stations looking to make the digital transition before June 12th may be barred from doing so. As many as 690 local TV stations want to make the transition now to save thousands of dollars in broadcasting fees. Also, Hal Protter reported the same day that the FCC has told 12 stations that wanted to turn off analog on February 17, or shortly after, that they cannot without submitting additional information. A new FCC Public Notice dated February 11 detailing conditions for analog stations terminating on February 17 has been added as a PDF file on our website. Just click below to read the new Public Notice.
The new Public Notice confirms that the FCC’s primary concern is to ensure that viewers relying on over-the-air television do not lose access to local news, public affairs and emergency information before they are ready for the full power television transition to all-digital transmission. The FCC reviewed 491 station requests by stations to terminate analog on February 17. Of those applications, 368 stations were approved to terminate February l7.
Here in Ohio, Dayton stations WKEF, WHIO, WRGT and WDTN were not approved for early analog turn-off subject to providing more information that might permit them to make the transition after March 14. The Plain Dealer reported this week that WOAC in Canton has applied to the FCC to switch to digital on February 17. In the Cleveland/Akron DMA only WJW/Fox 8 and WVPZ/23 are reported to be considering switching during the March 14-June 12 window.
CLICK HERE TO OPEN PDF FILE OF FCC RULES FOR ANALOG TERMINATION.
CLICK HERE TO OPEN A PDF FILE OF THE FCC PUBLIC INTEREST CONDITIONS FOR ANALOG TERMINATION.
Hal Protter, Chair of the NATAS Technology and Engineering Committee reports:
3D HDTV COMING SOON TO A TV NEAR YOU!
By Ed Milbourn, Correspondent
As posted 10.22.08 on HDTV Magazine
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Spurred on by the technical and economic success of digitally produced and distributed motion pictures, the inevitable emergence of the third dimension of consumer HD is upon us. Consider the following items:
- Approximately 5000 movie screens in North America now show motion pictures digitally distributed with approximately 1000 of these 3D capable projection systems. However, this estimate is gradually being increased, as the digital production and distribution cost model becomes increasingly attractive.
- At least ten major motion pictures, including all of DreamWorks' animated productions will be released in 3D within the next two years. Many in the industry feel this number is probably low due to the increasing availability of economically attractive digital 3D production tools.
- Many Hollywood production support companies are providing Digital 3D services. Among them are PACE, 3Ality Digital, Dolby, RealD, Thomson and others. Adding 3D to an existing digital production physical infrastructure is relatively inexpensive. Some estimates are in the 10% to 15% range. However, as experience with 3D is gained, specific camera and editing skills are being developed that greatly enhance the 3D viewing experience and move it away from the early film 3D "gimmick" exhibitions. These techniques include fewer editing "jump cuts," less aggressive panning and more discreet use of "focused object" (sometimes called "convergence") , thereby "opening up" the scenes to provide more realistic 3D images.
- Experiments in the production and distribution of live HD3D are on-going with HD Net and others. In the past 18 months two National Basketball Association games have been produced live in HD3D and transmitted to closed circuit venues. Both CBS and Time Warner's HBO have been experimenting with HD3D as has ESPN with tests of HD3D segments of their "X-Games" production last August. Additionally, many recently digitally produced or transferred 3D material exists such as IMAX 3D features. More recent 3D hits such as Chicken Little, Meet the Robinsons, Journey to the Center of the Earth, Beowulf, and the Hannah Montana, U2 and Rolling Stones concerts are "in-the-digital can."
- Several television commercial production equipment manufactures are starting to offer digital 3D cameras, editing and monitoring equipment. These include Thomson (Glass Valley), Sony, Avid, Quantel, Cine-tal, RED and others.
- Panasonic, Samsung, Mitsubishi, (Royal) Philips, Hyundai and others are currently publically demonstrating or offering HD3D consumer display systems. The CE industry is expected to sell up to two million such 3D capable ("ready") HDTV monitors this year. Most of these are DLP based rear projection models that employ switched frame techniques generating the stereoscopic images at a sequential 48p or 60p frame rate. Source material includes 3D encoded DVD's and games played-back via computer (with a specific video card and special software) and coupled to the display monitor via DVI/HDMI. The viewers wear IR coupled "shutter" glasses to product separate synchronized images for each eye, thus producing the 3D effect. (Philips, however, uses an "autostereoscopic" system which does not require glasses). However, as more 3D movie productions are transferred to HD3D on Blu-ray discs, one can understand the economic potential of HD3D.
- Standards: The real key to moving HD3D forward, however, is the generation of acceptable production, transmission and reception/display standards for stereoscopic high definition television. To this end, last summer the Society of Motion Picture and Television Engineers (SMPTE) established a task force to define the parameters for 3D mastering of content for viewing in the home. This is the prologue to actually generating SMPTE consumer HD3D display standards. Further, this fall, the Consumer Electronics Association (CEA) will form a discussion group to investigate the need for standards to address the delivery and presentation of consumer HD3D television. Thus, both the "software and hardware" aspects of the industry are starting to focus on generating the standards that, like radio, television, color television, stereo audio and HDTV will serve as the technical foundation to drive the future of HD3D consumer products. Quite possibly the two efforts will merge under the auspices of the ATSC (Advanced Television System Committee) similar to the process used to generate the US DTV standard. But the gestation period for standards is normally very long, and unless they are expedited in this case, the technical and market pressures may result in another HD DVD - Blu-ray type debacle.
The good news is that the addition of the stereoscopic element will not require much change in the present HDTV production, transmission and reception/display infrastructure. Yes, stereoscopic cameras will be needed along with 3D editing suites, but the added information to deliver 3D video can essentially "pass through" the existing HDTV production and distribution system. For instance, the two stereoscopic channels can be mixed, compressed and added to the baseband video digital stream. The two components needed include one spatial (the distance between the pixels of the two images), and one temporal (the rate of change of the pixel spacing as the image moves). The multiplex composite of these two components can then be compressed and added to the brightness ("Y") baseband digital stream. This would be done at a very low level and only discernable by a dithering of the least significant digit in the decoded "Y" stream. In this manner, similar to a "dynamic" invisible copy protection watermark, the 3D information would (hopefully) survive channel distribution.
Non 3D receivers would ignore the 3D information, but it would be detected by 3D sets, decoded and thus establish the spatial position of the two images. Using this type of scheme would require no changes in the production infrastructure and would be transparent to existing HD accessories such as HD disc players and DVRs.
In terms of HD3D development, the production elements are fairly mature. HD3D cinematography and editing techniques continue to be refined but are certainly within the dimensions of commercial acceptance. Psycho-optic 3D elements that cause viewer discomfort such as eye strain and unrealistic image separation are understood and being addressed.
However, the display side needs work. Although shutter glasses are acceptably, the "Holy Grail" continues to be some type of wide aspect ratio direct view system that would be compatible with the legacy switched (glasses) approach. Perhaps some holographic techniques would work. Nonetheless all the "big boys in the pool room" of the industry are gambling bunches of dollars on it. Next year's CES and NAB exhibitions are sure to see the real start of the big HD3D push. It will only get better. Stay tuned.
Hal Protter, Chair of Natas Technology and Engineering has posted this check list that you can offer to your viewers:
Digital Television Transition Check Sheet:
- Check to make sure the viewer thoroughly understands the process.
- Direct them to the coupon assistance website. WWW.DTV2009.GOV
Cable? |
Satellite? |
Antenna on Analog TV?
(This means TV sets receiving free TV using an antenna) |
Antenna on Digital TV?
(If a DTV tuner is built-in then that means you can receive digital signals already) |
Ensure each set in the home is hooked up to cable. |
Ensure each set in the home has a DBS (Direct TV or Dish) box. |
Yes, action is required. |
Yes, action is
required. |
No other action is required. |
No other action is required. |
1) Get a converter box. Get an antenna if the viewer currently does not have one. For more on antennas go to www.DTVanswers.com. An antenna can be purchased at an electronics store. |
1) To determine if your TV set has a built-in digital tuner, look on the set for an indication of an Advanced Television Systems Committee (ATSC) tuner or ask the TV manufacturer. |
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2) Converter box plugs into TV. Converter box needs to be connected to an antenna. Hook it up now, do not wait until 02/18/2009 |
2) Hook the set to an antenna which can be purchased at an electronics store if the viewer currently does not have one. For more on antennas go to www.DTVanswers.com |
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3) Converter Box Coupon Program
DTV2009.gov
888-DTV-2009 |
3) Scan for stations
Do it now, do not wait until 02/18/2009. You will want to rescan 02/18/2009. |
Note: There is no need for a “DTV” antenna. Any antenna which works with analog signals should work with DTV. It is important that everyone know if, after 2/19/2009 your market will be UHF only, UHF plus high band VHF, or UHF plus VHF. This changes the antenna requirement.
Congress unhappy with lack of antenna knowledge for DTV transition
Hal Protter recently reported to NATAS chapters that members of congress are worried that millions of viewers are going to lose free television service without the installation of good rooftop antennas.
John Dingell and Ed Markey, key leaders of the House Subcommittee on Telecommunications and Internet, have joined about a dozen other committee members to warn broadcasters, the FCC and the National Telecommunications & Information Administration (NTIA) about the importance of antennas. Their education campaigns, the members said, need to warn viewers to upgrade or install new antennas to pick up digital TV signals.
“The commission has failed to provide the American public with adequate information concerning the need for new antennas and/or antenna adjustments to receive digital broadcast signals,” the members of Congress wrote, noting that a significant number of viewers may have reception problems.
Barry Goodstadt, senior vice president of Centris, a market research firm that first warned of the antenna problem, said the antenna message should have been in the DTV education effort in the beginning. “They should have let people know that buying a converter box was not the full story,” Goodstadt said. “The full story was that you had to make sure that your antenna worked adequately.”
Shermaze Ingram, spokeswoman for the NAB’s DTV education effort, said she didn’t know if antenna education was something that the trade association deliberately waited to do. “It may not have been a message that would have been as easily digestible to consumers six months ago,” she said. Now, however, the NAB is offering public service messages focused on solving antenna issues.
The NTIA’s acting chief, Meredith Attwell Baker, was asked by reporters why there is no warning on DTV converter boxes that even if users do everything right, they could still lose TV signals due to the change in signal contours of stations. Baker didn’t answer, instead deferring to the FCC on antenna and reception issues.
Wilmington revealed two problems with antenna reception. First, viewers on the edge of TV reception areas will probably not get signals. And, second, viewers who once got a signal may no longer receive one due to changes in the signal contours. Goodstadt noted that even if viewers are within a television reception area, it is a good chance they will still need a rooftop antenna.
On the set-top box subsidy, FCC chairman Kevin Martin has now warned that the $1.5 billion converter box coupon program may well run out of money before the deadline. He joined Baker, who admitted the problem earlier to members of Congress.
Martin suggested the NTIA could have underestimated the number of coupons it will need, using Nielsen data estimating there were 13.7 thousand over-the-air-only households in Wilmington, NC. In fact, there were 19.1 thousand requests from Wilmington households that identified themselves as over-the-air-only. If that is extrapolated to the rest of the United States, Martin said there could be 5 million more over-the-air households than previously expected.
Sony Pushes Low-Cost HD Studio Camera
According to Hal Protter, Chair of NATAS Technology & Engineering Committee, Harry Jessell wrote in TV Newsday on January 8th that even with restricted capital budgets, many stations will be rolling out HD news this year to keep pace with their competition.
To help cope with smaller budgets, Sony is offering a low-cost alternative -- the PMW-EX3 HD camcorder configured for studio use with the new NIPROS/1, an optical fiber adapter with all the inputs, outputs and interfaces needed to fully integrate the EX3 into a studio operation. The EX3 with lens, lists for $10,000, while the NIPROS/1 goes for about $20,000. So, a studio-ready EX3 is just $30,000. Sony began shipping NIPROS/1 in December, and so far around 100 have been delivered with half going to US TV stations.
At the heart of the EX3 are three half-inch type Exmor CMOS sensors, each with an effective pixel count of 1920 x 1080, delivering HD images in 1080p, 720p or 1080i. The unit also features "Slow & Quick Motion," selectable gamma curves, slow-shutter and interval recording.
The EX3 is a half-inch, CMOS, full-raster, 1920 x 1080 camera that produces excellent pictures. For the full story go to www.TVnewsday.com and click on Tech Spotlight.
