Simultaneously shooting live productions in both conventional Standard Dynamic Range (SDR) ITU-R BT.709 and High Dynamic Range (HDR) ITU-R BT.2100 with wide color gamut poses its own set of challenges. This is particularly true with a mix of SDR/709 and HDR/2020 sources be they Cameras, Replays or Graphics. While offering more engaging and realistic viewing for audiences, HDR and WCG (Wide Color Gamut) also bring additional challenges with respect to the management of video brightness and color space for broadcasters. To address these issues, an advanced set of visualization, analysis and monitoring tools is required for HDR and WCG enabled facilities, and to test video devices for compliance.

For live environments demanding a high level of portability, handheld instruments that are robust, lightweight and compact are vital. With over 8000 units in the field, our Sx Series of renowned handheld instruments are relied on by broadcast engineers globally. Designed for commissioning, fault-finding and compliance testing, the Sx range is equally at home on an outside broadcast, in a studio facility or in remote locations with remote monitoring requirements.

With the implementation of SMPTE 2110 Media over IP infrastructure, technical support staff are being forced to carry more and more equipment, allowing them to analyze both traditional SDI signals and SMPTE 2110 IP signals. Both the Leader LV5600 / LV7600 and PHABRIX Qx Series support both SDI and SMPTE 2110 signal generation and analysis, allowing engineers to quickly identify any potential issues and carry about the necessary adjustments, without affecting the broadcast output.

Camera shading is the task of making multiple cameras match, providing a picture that is pleasing to the viewer. Camera shading situations range from the highly controlled environment of the broadcast studio to the sometimes less-than-ideal remote broadcast. The basic job of the camera shader is to keep the brightness and color of the cameras consistent, so as the technical director (Vision Mixer) moves from shot to shot to shot they all look the same.

In any broadcast environment, whether it is in a studio or outside broadcast truck, there are a number of aspects that need to be checked and monitored including audio levels, closed captions, and legalized colors. Broadcasters need an array of test and measurement capabilities across their facilities to manage daily quality control, and to respond to any infrastructure faults. It’s important issues are found and resolved as early as possible to meet the high standard of content viewers are now expecting to see. Broadcasters require deeper insights into the content being transmitted and through the use of automated QC processes, save time and resources. Signals must meet standards, and content reviewed prior to transmission for regulatory adherence.

The use of high data rates such as 1.485 Gbit/s for HD-SDI, 2.970 Gbit/s for 3G-SDI and 11.88 Gbit/s for 12G-SDI, long cable lengths and the encoding methods now in common use has resulted in a data transfer that is susceptible to jitter that can corrupt data in a dramatic way. To manage and quantify this susceptibility, measurement techniques using eye pattern displays have become more and more important. One challenge that engineers in a broadcast environment face is the measurement and monitoring of SDI signal quality throughout the production chain.