Broadcast Facilities Research Articles

ASSESSMENT OF BROADCAST JOURNALISTS’ KNOWLEDGE AND UTILIZATION OF DIGITAL BROADCAST EQUIPMENT: A CASE STUDY OF DELTA BROADCASTING SERVICE, ASABA

In November 2017, the Delta State government commissioned the digital radio and TV studio of the Delta Broadcasting Service in Asaba. The implication of this is that the analogue equipment in the station will have to gradually give way to the digital ones. Although the government of Delta State has not provided sufficient digital broadcast facilities for the broadcast journalists, it is expected that practicing journalists will become knowledgeable and key into the new development by learning the use of the digital broadcast equipment, regardless of the government provisions. Hence, the study interrogated the level of knowledge and utilization of digital broadcast equipment and also the challenges facing the use of digital broadcast equipment among broadcast journalists in Delta State Broadcasting Service. Four major variables, namely, knowledge, utilization, challenges, and solutions, were placed under scrutiny using the census sampling procedure of a survey to examine 100 respondents spread across two departments in DBS, Asaba. The study found, amongst many other things, that there is a high level of knowledge and utilization among journalists in DBS, Asaba, as regards digital broadcast equipment, while inadequate skilled manpower, funds, training, and equipment were the major challenges facing the use of digital equipment in the station. The study therefore recommended that there is a need to intensify training and retraining of digital broadcast journalists and that the government and well-meaning people of Delta prioritize the funding of digital equipment at the station.

Can I Really Protect My Broadcast Plant From a Cybersecurity Attack?

Internet Protocol (IP) networks are fundamental building blocks of the broadcast technical plant. Integration with the legacy broadcast infrastructure can range from minimal system control functions to an end-to-end IP-based content transport facility. Regardless of the level of integration, cybersecurity cannot be ignored to ensure a reliable, secure, and protected system. Industry cybersecurity principles are commonly based on a complex framework of principles from the National Institute of Standards and Technology (NIST). The NIST Framework is often a complex and daunting task to implement within a broadcast facility. An effective cybersecurity program begins with the design of the network. This article provides an understanding of practical implementable cybersecurity precautions based on the NIST Framework for the broadcast station. Specific topics to be addressed will include an overall understanding of cybersecurity principles and a step-by-step infrastructure implementation guide for the broadcast facility whether large or small. The guide will be focused on a secure network design approach, the use of Ethernet switch security capabilities, the use of packet filtering and firewalls, and an understanding of implementing common cybersecurity threat mitigation techniques.

An ST 2110 Network-Attached Display Adapter for Virtualizing Production

Graphics processing unit (GPU) installations in post-production and broadcast facilities require video to be sent remotely conforming to the SMPTE ST 2110 standards for plug-and-play device connectivity. Furthermore, in such facilities, workstations are now being virtualized and hosted in the data center with what would have previously been a physically attached serial digital video (SDI) reference display replaced by an Internet Protocol (IP) network connection. We present a SMPTE ST 2110 virtual network-attached reference display adapter using commercial off-the-shelf (COTS) hardware that presents the GPU and network interface card (NIC) as a display on the computer workstation desktop. Color-accurate rendered video frames are transmitted directly from GPU device memory. Alignment of the GPU display of the rendered frame and the synchronization of the audio, video, and ancillary data streams are maintained by precision time protocol (PTP). Advanced Media Workflow Association Networked Media Open Specifications (AMWA NMOS) integration permits the discovery and registration of the virtual network-attached reference display adapter as a source node on the media network such that it can be remotely managed and controlled by software greatly simplifying the administration compared with a physically connected display and associated cables. Content creation applications send ST 2110-compliant video, audio, and ancillary data flows on the media network from a virtualized computer workstation desktop without the cost of directly integrating ST 2110 transmission capabilities.

Workflow as a Service Delivered by the Dynamic Media Services Architecture

Workflow as a Service (WaaS) is a term representing a platform that serves users wishing to deploy their workflows on-demand onto cloud-managed, hybrid, or on-premises services. While the idea of WaaS has been around for many years (and perhaps has its origins in the Ptolemy 1 and Kepler 2 projects), it is only now, as a consequence of broadcast facilities being constructed based on information technology (IT), that the WaaS paradigm is becoming applicable and relevant to broadcast production workflows. The Dynamic Media Services Architecture (DMS Architecture) described in this article lays out an architectural approach that has the potential to deliver WaaS to the media industry. Truly dynamic facilities require the near-constant creation, consumption, and dissolution of workflows, workflows that are created by taking advantage of capabilities provided from a pool of shared resources. This article describes an architecture capable of delivering this vision and breaks down the functionality in the architecture into major layers. The DMS Architecture provides a way forward, identifying key concepts, components, and layers required to deliver some of the many promises of IT to our industry.

A Report from a SMPTE ST 2110 Early Adopter: WTTG/WDCA Fox Television Builds an IP-Based Local Television Station

<italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">We describe the implementation of the SMPTE ST 2110 suite of standards in the construction of a new television broadcast facility for two stations in the Washington, D.C., market. We discuss problems encountered during this project, which ran between 2019 and 2021, along with their solutions and lessons learned. Particular emphasis is placed on difficulties caused by the limited adoption of Networked Media Open Specification (NMOS) IS-04 and IS-05 by manufacturers in their ST 2110 devices</i> .

An Analysis of Risk Factors for Emergencies in the Taipei Dome Complex

(1) Background: The Taipei Dome Complex is a composite park with a baseball dome, a shopping mall, restaurants, cinemas, and an office building. Sustainable cities and communities is one of the Sustainable Development Goals of the United Nations. Since it constitutes urban infrastructure, the sports park’s disaster risk management must be discussed. (2) Methods: This study focused on equipment safety, traffic, staffing, potential public risks, security management, and disaster events using an analytic hierarchy process (AHP) to determine the emergency risk factors. (3) Results: The top 14 risk factors for the Taipei Dome Complex’s tolerable risk probability account for almost 70% reliability (a moderate safety); they include insufficient fire facilities, fire, terrorist attack, earthquake, unclear escape or fire facilities signage, shortcomings in evacuation guidance, insufficient police resources, insufficient firefighting resources, MRT emergency, shortcomings in a moving line, hypoxia, insufficient medical personnel, a lack of staff training, and insufficient broadcast facilities. (4) Conclusions: Among the top 14 risk factors, security management ranks first, with a ratio of 80% (4/5), disaster events rank second, with a ratio of 75% (3/4), and staffing ranks third, with a ratio of 60% (3/5).

Factors affecting mass media methods of extension delivery system in Yakurr Local Government Area of Cross River State, Nigeria

The study examined the factors affecting mass media methods of extension delivery system in Yakurr Local Government Area of Cross River State, Nigeria. Specially, the objectives of the study were to describe the socio-economic characteristics of the farmers, access the teaching aids available for mass media method of extension delivery, identify the extension teaching methods exposed to farmers thanmass media and to identify factors affecting mass media method of extension service delivery in the study area. A multi-stage sampling technique was used in selecting 110 respondents from five (5) council wards. Data was obtained from the farmers using a set of structured and validated questionnaires and were analyzed using descriptive statistics, chi-square and likert scale analysis. Majority (58.18%) of the farmers were male, above 50 years (44.55%), married (56.36%) and with a family size of 1-4 (43.64%).Majority (76.3%) are Christians and had obtained their First School Leaving Certificate (54.55%). The result also revealed that the individual methods, group discussions, brainstorming, lecture methods, result demonstration, method demonstration, field trip, panel discussion, seminars and workshops (representing 70%, 53.6%, 70%, 73.6%, 71.8%, 60.9%, 59.1%, 60.9%, 70% and 62.7% respectively) were the extension methods exposed to farmers in the study area. Inability to access timely up-to-date information, unavailability of broadcast facility, lack of feedback, language barriers, time barriers and difficulty in accessing information (mean values being 3.72, 3.68, 3.57, 3.55, 3.54 and 3.51 respectively) were the major factors affecting mass media methods of extension delivery system in the study area. The decision rule (chi square),revealed that four mass media, namely radio (52.510), television (52.510), print media (newspaper) (44.546) and internet (14.546) were highly accessible by the farmers but radio (52.510) and television (52.510) were more highly accessible in the study area while billboards (0.290), magazines (0.582), pamphlets (2.328) and bulletins (1.310) were not accessible by the farmers. Based on the findings, the following recommendations were made: Agricultural Extension Services, including the Ministry of Agriculture in the state should strengthen the use of radio and television in information dissemination to farmers in the study area.&#x0D; Keywords: Mass media, Extension ,Service delivery, Dissemination, Broadcast, Agriculture

In Memoriam: Robert J. Gilmartin and Ross Lowell

On 26 January 2019, the New York Section lost a friend and former Section Manager, Robert J. (Bob) Gilmartin, to pancreatic cancer. Gilmartin had more than 40 years of professional experience in broadcast systems and broadcast architectural design, detailing, integration, consultancy, and operations. With more than 100 projects on his résumé, he was highly respected in the industry for his years of involvement with various systems and technological applications as well as his thorough understanding of broadcast facility infrastructure and focus on project management.

Research Trend on Broadcasting Systems, Radio and Optical Fiber Transmission Systems and Broadcasting Facilities and Operations

Research Trend on Broadcasting Systems, Radio and Optical Fiber Transmission Systems and Broadcasting Facilities and Operations

Progress Report: ST 2110 Update

2018 is the year when professional media over Internet Protocol (IP) has become a strong choice for the architecture of new large outside broadcast trucks and inside broadcast facilities. Some users are making the decision based on the density of Ethernet switches and high-bandwidth Ethernet links, commonly up to 100 Gbits/s per port, with 200 and 400 Gbits/s ports now being introduced as well. Other users seek the flexibility of the IP “pipe” to carry video with different frame rates, resolutions (including UHDTV-1) and transfer functions (standard dynamic rate and high dynamic range, for example), as well as composing media from different video, audio, and ancillary data IP sources. Software-based video processing using commercially available off-the-shelf PC servers with IP connections is also beginning to be deployed. Regardless of the decision drivers, the choice to go with IP is enhanced greatly by the multivendor interoperability of SMPTE ST 2110.

Research Trend on Broadcasting Systems, Broadcasting Facilities and Operations and Radio and Optical Fiber Transmission Systems

Research Trend on Broadcasting Systems, Broadcasting Facilities and Operations and Radio and Optical Fiber Transmission Systems

Moving Toward Zero Infrastructure Broadcasting

Is it reasonable to expect that broadcasting operations can occur with no on-premise infrastructure? This paper explores the necessary hardware and software configurations, cloud-based models, and on-demand coordination of necessary resources. Examples of the technologies and methodologies that will be discussed include services, network service orchestration, control of workflow applications, virtualized infrastructure and software applications, and the physical infrastructure layer. What, indeed, are some of the issues that are influencing these shifts in broadcasting operations and infrastructure deployments? One must only consider the nature of how consumers are accessing content on multiple devices, via Wi-Fi, in-home, and out-of-home, to obtain an indication of how much more complex broadcasting “television” has become. These new consumption realities have created a situation in which broadcast facilities are ill-equipped to ingest, transform, and distribute the multitude of formats and deliverables required. Today, it is standard fare to produce 100 different format types for a primetime television show. As a result of these new demands, a new method of facility architecture must be undertaken. This paper highlights the usage of flexible media clusters, software-defined networking and network function virtualization, OpenStack, packet media networking solutions to replace serial digital interface, software-defined storage, and resource reservation layers to elastically and dynamically provide a highly scalable allIP-based broadcasting architecture.

Radio Frequency EMF Exposure due to Gsm Mobile Phones Base Stations: Measurements and Analysis in Nigerian Environment

For some time now, members of the public have been concerned about the possible feared health impacts and safety of new RF technologies, including radar, radio and television broadcasting facilities, microwave ovens, point-to-point microwave radio, and satellite communications systems. The most recent concern is the safety of mobile phones and their base stations (BSs). In Nigerian some people believed that exposure to radiation from BSs for long period could cause different diseases like cancer, destroys reproductive organs, congenital anomalies, epilepsy and persistent headache and some of the BSs were installed near the home of residence. Owing to the growing concern, this study was conducted to evaluate the radio frequency radiation levels near several mobile phone BSs in GRA, Benin City, Nigeria. Measurements in terms of power density were made to check the exposure level at public locations. The data (power density) were collected from three (3) major GSMoperators BSs in Nigeria; all the BSs were located in GRA, Benin City, Nigeria. For each of these BSs the measurements were taken at 5m intervals to 100m from the BSs. From the results, the maximum of power density obtained for GLo, MTN and Airtel are 1.62mW/m 2 , 3.04mW/m 2 and 1.52mW/m 2 respectively. These values are quite small compared to international standard limits like those adopted by the International Commission on Non-ionizing Radiation Protection (ICNIRP) which is 9mW/m 2 for the public and 22.5mW/m 2 for those professionals involved in telecommunication industry. http://dx.doi.org/10.4314/njt.v34i4.20

A Study on Safety and Plans for Standardization of Stage Broadcasting Lighting Fixtures C-TYPE

Stage Lighting Equipment should be broadcast facility, in accordance with electrical codes into Electricity using equipment. However, Which is used by C-TYPE PLUG, in a space to take advantage of the current luminaire, On the other specifications of each company. By state does not received KC and KS Certification. Thereby are problem with electrical safety in short and life-shortening. etc,, Due to poor contact. We have a Manufacturer, It measured the dimensions of the C-TYPE PLUG. Thereby Could find Manufacturer little different size and configuration. what for small space, Also found when Service life, what for poor cohesion, which may be generated, Therefore Active standardization work is done, Ill need to try and further research, of make product through electrical stability and standardization for C-TYPE device.

Video Art: Cultural Transformations

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising.

Network-Based Timing, Genlock and Time Code Using Precision Time Protocol

Broadcast genlock is currently achieved using an analog video signal as the reference. As facilities progress toward new video formats, and also become multiformat, the use of a single analog video reference becomes progressively less appropriate. Genlock systems need to translate from the reference to the desired production format, involving complex ratios of frequency and timing. There is also no standard for the phase relationship between different video formats, although this may be important in multiformat facilities. IEEE 1588 1 supports the transport of time with a high degree of accuracy, and it allows that time to be defined relative to an epoch. Using this information, any video or audio format's timing can be generated reliably and consistently. IEEE 1588 allows for each application to define its own profile. SMPTE has defined a profile for broadcast facility use. This paper explores the choices involved in the profile and ways in which it can be applied to practical media synchronization applications.

Blue Note Records: A Singular Business Model

IntroductionSome American brands are so iconic that their corporate marks are known around the world: think golden arches, mouse ears, or the bow tiebedecked bunnies, for example. Americans are known far and wide for our brands representing business and commerce, popular culture, and popular entertainment.We don't think of ourselves as exporters of art and culture, yet there is an American art export: jazz. represents our collective and community spirit, and our rugged individualism, our history of racism, and our history of believing in equal chances for all. There's harmony, a way of thinking about music that we owe to our Western European ancestors, as well as the panoply of instruments developed there. And there's rhythm, man is there ever rhythm, thanks to the descendants of slaves who brought a rhythmic vitality directly from the drums and syncopation of Africa. Borne of trials and tribulations, hate and love, fear and courage: is taking chances and figuring it out as you go along...jazz is America.But what is the logo of jazz? Well, aficionados from Warsaw to Perth will tell you: it's that black oval and long rectangle, a strangely deconstructed musical note nestled against the iconic words: BLUE NOTE. Blue Note is more than just a record label; it is music's Library of Congress, a compendium of music, album art, photography, and liner notes that document much of the history of jazz. is also one of the most enduring businesses in the recording industry.Appropriate to this American story, two of the founding figures of Blue Note were immigrants. Alfred Lion and Francis Wolff had become fast friends in the go-go days of the 1920s Weimar Germany, listening to jazz in the clubs and cabarets of Berlin, the center of in Europe at the time. According to Lion, quite by accident he had wandered into Berlin's Admiralspalast and heard Sam Wooding and His Chocolate Kiddies revue. He was hooked. It was the beat...It got in my bones! (Blue Note, film 2007). that moment on, he became obsessed with and swing; along with his friend Wolff, Lion sought out recordings and tried to catch as many touring acts as he could.Both Lion and Wolff were Jewish, and the rise of the Nazis forced them to flee Germany. They both landed permanently in New York City, Lion in 1937 and Wolff in 1939. In 1939, along with the support of American writer and musician Max Margulis, Lion started Blue Note Records. He was joined later that year by Wolff.Pre-War YearsJazz and swing music was the popular music of the day in the 1930s in the U.S., and New York was the center. was also home of the music industry with numerous recording studios, radio stations, and broadcast facilities, not to mention such celebrated venues as the Cotton Club and Carnegie Hall. was at Carnegie Hall, in a 1938 concert called From Spirituals to Swing, that Lion was said to have gotten the idea for a record label. Count Basie was performing, as were Big Joe Turner, Sister Rosetta Tharpe, Albert Ammons, and Meade Lux Lewis, among others (Havens 2014, 42). was only a couple of weeks later that pianists Ammons and Lewis agreed to make the first recording on the label that Lion had only recently imagined. A 1939 flyer for the label includes the following, which serves as its mission statement to this day:Blue Note Records are designed simply to serve the uncompromising expression of hot and swing, in general. Any particular style of playing which represents an authentic way of musical feeling is genuine expression. By virtue of its significance in place, time and circumstance, it possesses its own tradition, artistic standards and audi- ence that keeps it alive. Hot jazz, therefore, is expression and communication, a musical and social manifestation, and Blue Note Records are concerned with identifying its impulse, not its sensational and commercial adornments. (Havens 2014, 50)Clearly, from the beginning, this was a different kind of record label. …

放送技術(放送方式/無線&bull;光伝送技術/放送現業)の研究開発動向

放送技術(放送方式/無線&bull;光伝送技術/放送現業)の研究開発動向

Using Community Radios as a Tool for Development

The purpose of this study is to determine to what extent the growth of community radios have changed the lives of ordinary people in Kenya and globally; in particular the illiterate, the urban and rural poor as well as other marginalized groups. The Kenyan Demographic and Health Survey of 2003 estimated that 60% of men and 71% of women in Kenya have only gone up to the primary school level of education (Government of Kenya, 2003). Robb asserted in his study that, “I choose to focus on radio because as a technology, it is perhaps the most suitable for community media. Unlike television, it does not require extensive broadcast facilities. Nor does it necessitate the cadre of equipment or the level of capital investment that television requires. Unlike print media, community radio does not require literacy for consumption. Lastly, 99% of American homes have at least one radio, a greater percentage than read daily newspapers (55%) have personal computers (51%) or subscribe to cable television (68%) (Media Management Center, 2007). Radio remains an accessible and inexpensive form of community media”. The historical philosophy of community radios is to use this medium as the voice of the voiceless and the mouthpiece of the oppressed people, or by communities that have not been served by conventional communication structures. It should promote development at the grassroots and bring about positive change in a community's living conditions and environment through dissemination of information and promotion of community dialogue through radio debates and dialogue via phone call ins, SMS and even through social media. The thesis of this paper is that community radios are playing significant roles in livelihood improvement especially for people with no other access to mainstream media.

Attempting an Affirmative Approach to American Broadcasting

The Public Telecommunications Facilities Program (PTFP) was the largest source of capital funding for U.S. public broadcasters for nearly fifty years. Between 1963 and 2010, the PTFP distributed more than $800 million to support the construction of public broadcasting facilities. Though the PTFP itself was generally noncontroversial, the fortunes of the program were complicated by the partisan politics of public broadcasting and federal fiscal policy. This study provides evidence of the ambiguous and contingent nature of the American approach to public broadcasting, and demonstrates some of the problems associated with affirmative efforts by government to advance public communication.