IPTV Broadcasting, Protocols and Switching

Total Page:16

File Type:pdf, Size:1020Kb

IPTV Broadcasting, Protocols and Switching IPTVIPTV Broadcasting,Broadcasting, ProtocolsProtocols andand SwitchingSwitching Notes: Silicon-IPTV-Broadcast -1 CourseCourse ObjectivesObjectives When you have completed this course you will be able to • Understand the equipment and software used to deliver IPTV and VoD services • Describe the architecture of a these modern TV services • Compare Cable, over-air terrestrial, satellite and Internet delivery systems • Appreciate the trend in the technologies • Understand addressing schemes for IP network prefix configurations • Examine resilience for MAC/IP mappings for reliable redundancy switching • Select the best routing and switching strategy for server and delivery networks • Analyze protocols used to carry multimedia and troubleshoot services problems • Appreciate how multicast routing protocols function • Specify requirements for firewall transit of video services • Compare how DiffServ, DSCP, RSVP, WFQ, MPLS and 802.1P/Q can provide quality of service • Select the most appropriate quality of service option © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -2 Notes: Silicon-IPTV-Broadcast -2 CourseCourse MaterialsMaterials • Course Notes — Copies of all slides and supplemental presentation material © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -3 Notes: Silicon-IPTV-Broadcast -3 CourseCourse ContentsContents • Chapter 1 Television Architecture and Evolution • Chapter 2 Broadband Distribution Systems • Chapter 3 IP Delivery of Multimedia Services • Chapter 4 Layer 2 Addressing • Chapter 5 Layer 3 Addressing • Chapter 6 Routing • Chapter 7 Multicasting • Chapter 8 Management of Devices With SNMP • Chapter 9 Next Generation Network Technology • Chapter 10 Customer Home Network • Chapter 11 Industry Trends • Chapter 12 Summary and Evaluation © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -4 Notes: Silicon-IPTV-Broadcast -4 CourseCourse ScheduleSchedule Each day, the course will follow this schedule: Start class 9 a.m. Morning break 10:15 a.m. (approximately) Lunch Noon Resume class 1 p.m. Afternoon break(s) As needed Adjourn 4:30 p.m. © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -5 Notes: Silicon-IPTV-Broadcast -5 LogisticsLogistics • Restrooms/toilets • Drinking fountains, coffee and soft drink machines, snacks • Restaurants • Messages/phones • Security • Emergency measures • Use of equipment after class hours (if applicable) • Other important items © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -6 Notes: Silicon-IPTV-Broadcast -6 CourseCourse InstructorInstructor • Background and education • Current position • Experience © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -7 Notes: Silicon-IPTV-Broadcast -7 AttendeeAttendee IntroductionsIntroductions • Your name • Organization name • Current position • Experience in:- — Television Technology — Networking and LANs — Telecommunications Technology • Expectations © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -8 Notes: Silicon-IPTV-Broadcast -8 ChapterChapter 11 TelevisionTelevision ArchitecturesArchitectures andand EvolutionEvolution Notes: Silicon-IPTV-Broadcast -9 ChapterChapter ObjectivesObjectives In this chapter we will • Examine what the major TV systems in the world are • Explore how the various systems have evolved • Compare various system capabilities • See how digital and analogue systems differ © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -10 Notes: Silicon-IPTV-Broadcast -10 TelevisionTelevision ArchitecturesArchitectures andand EvolutionEvolution What is Television Today? Analogue and Digital Compared Delivery Systems: What are they Chapter Summary © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -11 Notes: Silicon-IPTV-Broadcast -11 HumanHuman VisionVision • What we see as essentially white light is a band of energy • Individual colours map on to particular wavelengths • The eye can be fooled into seeing white by using 3 primary colours • Other colours can be formed by mixing these in proportion © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -12 The light that lights up our world and allows us to see that world is solar energy in what is known as the visible region of the Spectrum. This visible region is a very narrow segment of this spectrum extending from ~ 440nm in the extreme blue (near ultra violet) to ~ 690 nm in the red region--with green in the middle @ ~ 555 nm. Human vision is such that what appears as white light is really composed of weighted amounts of a continuum of so-called Black Body energy. Tungsten lamps have a similar spectral distribution. Sodium, Mercury vapor, fluorescent (a variant of Mercury), etc., on the other hand, do not have this continuum of spectral energy, but are composed of several discrete wavelengths in proportions that "fool" the eye. Color cameras are designed to "see" three (overlapping) segments of this spectral continuum by the action of red, green and blue optical bandpass filters. The encoded color signal from the camera does not convey any real wavelength information relative to the original hue. Notes: Silicon-IPTV-Broadcast -12 ColourColour TVTV CameraCamera • A colour TV camera filters the light into three primary bands — Orange for example at about 570nm would be make up from proportions of green and red Wavelength in nm © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -13 If a predominantly orange color is imaged the red sensor will describe the light as some intensity of Red only. However, the green sensor will also image some part of this orange light and convey some intensity of what is essentially green light. This only works because the optical color filters are bandpass in nature and posses finite selectivity. If they were discrete monochromatic filters the color imaging system would fail. This points out the ratiometric nature of this imaging system, i.e., the overlapping gradual gradation of the color filters--all three filter have a weighted proportion of the visible spectrum. On the display side of this arrangement is a display device capable of producing only three narrow nearly discreet wavelengths of Red, Green, and Blue light. This is a result of electron bombardment of certain selected phosphors inside the CRT, each releasing a quanta of photons which are essentially "Monochromatic. "The wavelength of which is a function of each's atomic structure. This all works because human vision can be easily fooled when it comes to absolute color discrimination. Within reason, the actual color or hue of each of these three colors is not critical. Notes: Silicon-IPTV-Broadcast -13 MixingMixing ColoursColours • Primary colours can be mixed in proportion to form white © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -14 The addition of colors in the correct proportion creates white; unlike paint which darkens, e.g., black is the addition of Yellow, Cyan and Magenta pigments. Yellow absorbs all but yellow light so it in fact absorbs blue removing it from what we see. In order to produce "White" light to the human observer there needs to be 11 % blue, 30 % red and 59% green (=100%). However, if you shifted, say the red light source to a longer wavelength, the white light would appear more toward cyan. White balance could be restored by changing the three color's weights, i.e. other than the original 11, 30, 59 percent ratios. Each phosphor is formulated as a compromise between its quantum efficiency and desired hue or color. An example of this is the fact that red phosphor requires more energy to cause it to "appear" equally bright to the human observer. Evidence of this can be seen when a CRT is over driven, the first color to bloom, is red. One point should be made: the human observer is very discriminating when it comes to flesh or skin tones. Notes: Silicon-IPTV-Broadcast -14 TheThe ColourColour PalletPallet © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -15 The luminance of the image seen will affect the perceived colour as well. By adjusting the luminance, effectively the black to white level, at the same time as changing the proportion of different proportions of red, green and blue light the full range of colours needed to produce a television picture can be formed. Notes: Silicon-IPTV-Broadcast -15 FormingForming TelevisionTelevision PicturePicture ColourColour TestTest PatternPattern © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast -16 In a test pattern different combinations of luminance level and colour mixes are used to provide the range of signals needed in a full picture. This allows flaws in the systems caused by malfunctions or incorrect adjustment of signal levels to be detected. Notes: Silicon-IPTV-Broadcast -16 PALPAL D1D1 testtest PatternPattern © Copyright: All rights reserved. Not to be reproduced without prior written consent. Silicon-IPTV-Broadcast
Recommended publications
  • British Sky Broadcasting Group Plc Annual Report 2009 U07039 1010 P1-2:BSKYB 7/8/09 22:08 Page 1 Bleed: 2.647 Mm Scale: 100%
    British Sky Broadcasting Group plc Annual Report 2009 U07039 1010 p1-2:BSKYB 7/8/09 22:08 Page 1 Bleed: 2.647mm Scale: 100% Table of contents Chairman’s statement 3 Directors’ report – review of the business Chief Executive Officer’s statement 4 Our performance 6 The business, its objectives and its strategy 8 Corporate responsibility 23 People 25 Principal risks and uncertainties 27 Government regulation 30 Directors’ report – financial review Introduction 39 Financial and operating review 40 Property 49 Directors’ report – governance Board of Directors and senior management 50 Corporate governance report 52 Report on Directors’ remuneration 58 Other governance and statutory disclosures 67 Consolidated financial statements Statement of Directors’ responsibility 69 Auditors’ report 70 Consolidated financial statements 71 Group financial record 119 Shareholder information 121 Glossary of terms 130 Form 20-F cross reference guide 132 This constitutes the Annual Report of British Sky Broadcasting Group plc (the ‘‘Company’’) in accordance with International Financial Reporting Standards (‘‘IFRS’’) and with those parts of the Companies Act 2006 applicable to companies reporting under IFRS and is dated 29 July 2009. This document also contains information set out within the Company’s Annual Report to be filed on Form 20-F in accordance with the requirements of the United States (“US”) Securities and Exchange Commission (the “SEC”). However, this information may be updated or supplemented at the time of filing of that document with the SEC or later amended if necessary. This Annual Report makes references to various Company websites. The information on our websites shall not be deemed to be part of, or incorporated by reference into, this Annual Report.
    [Show full text]
  • Channel Switching-Triggered Charging for Pay-TV Over IPTV
    Channel Switching-Triggered Charging for Pay-TV over IPTV vom Fachbereich Informatik der Technischen Universitat¨ Darmstadt genehmigte Dissertation zur Erlangung des akademischen Grades eines Doktor-Ingenieurs (Dr.-Ing.) von Dipl.-Inform. Tolga Arul geboren in Frankfurt am Main, Deutschland Referenten der Arbeit: Prof. Dr. Sorin A. Huss Technische Universitat¨ Darmstadt Asst. Prof. Dr. Abdulhadi Shoufan Khalifa University Abu Dhabi Prof. Dr. Stefan Katzenbeisser Technische Universitat¨ Darmstadt Tag der Einreichung: 18.08.2016 Tag der mundlichen¨ Prufung:¨ 06.10.2016 Darmstadter¨ Dissertation D 17 Darmstadt 2017 EHRENWÖRTLICHE ERKLÄRUNG Hiermit versichere ich, die vorliegende Arbeit ohne Hilfe Dritter und nur mit den ange- gebenen Quellen und Hilfsmitteln angefertigt zu haben. Alle Stellen, die aus den Quellen entnommen wurden, sind als solche kenntlich gemacht worden. Diese Arbeit hat in glei- cher oder ahnlicher¨ Form noch keiner Prufungsbeh¨ orde¨ vorgelegen. Darmstadt, 18. August 2016 Tolga Arul CHANNEL SWITCHING-TRIGGERED CHARGING FOR PAY-TV OVER IPTV To my family CONTENTS List of Figures vii List of Tables xi Acknowledgments xv Acronyms xvii 1 Introduction1 1.1 Context2 1.1.1 Pricing for Information Goods4 1.1.2 Charging Models for Pay-TV7 1.2 Short-Interval Charging 10 1.2.1 Consumer Opportunities 10 1.2.2 Consumer Challenges 11 1.2.3 Network Operator Opportunities 12 1.2.4 Network Operator Challenges 14 1.3 Objectives and Organization 15 2 Prospects 19 2.1 Market Participants 20 2.2 Market Background 21 2.3 Consumer Perspective
    [Show full text]
  • Assessing the Value of Public Service Programming on ITV1, Channel 4 and Five
    Assessing the value of public service programming on ITV1, Channel 4 and Five Summary Report September 2008 Prepared for: Prepared by: Holden Pearmain Research, St. George's Business Park, 1st Floor, 205 Brooklands Road, Weybridge, Surrey, KT13 0BG Tel: 01932 850333 www.holdenpearmain.com Ofcom PSB Willingness to Pay – Summary Report TABLE OF CONTENTS 1.0 BACKGROUND ......................................................................................................................... 4 2.0 EXECUTIVE SUMMARY............................................................................................................ 5 3.0 INTRODUCTION ...................................................................................................................... 10 4.0 CONTEXT................................................................................................................................. 17 Most Watched TV Channels ..............................................................................................17 Regularly Watched TV Genres ..........................................................................................18 Perceived achievement of PSB aims by channel ..............................................................20 5.0 AUDIENCES VALUATION OF PUBLIC SERVICE BROADCASTING (GABOR GRANGER EXERCISE) .......................................................................................................................................... 23 Introduction ........................................................................................................................23
    [Show full text]
  • New Frontier Media Inc
    SECURITIES AND EXCHANGE COMMISSION FORM SB-2 Optional form for registration of securities to be sold to the public by small business issuers Filing Date: 1997-09-10 SEC Accession No. 0000912057-97-030428 (HTML Version on secdatabase.com) FILER NEW FRONTIER MEDIA INC /CO/ Business Address 1050 WALNUT ST CIK:847383| IRS No.: 841084061 | State of Incorp.:CO | Fiscal Year End: 0331 STE 301 Type: SB-2 | Act: 33 | File No.: 333-35337 | Film No.: 97678603 BOULDER CO 80302 SIC: 6770 Blank checks 3034440632 Copyright © 2012 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document AS FILED WITH THE SECURITIES AND EXCHANGE COMMISSION ON SEPTEMBER 10, 1997. REGISTRATION NO. 33- . - -------------------------------------------------------------------------------- - -------------------------------------------------------------------------------- SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 ------------------------------ FORM SB-2 REGISTRATION STATEMENT UNDER THE SECURITIES ACT OF 1933 ------------------------------ NEW FRONTIER MEDIA, INC. (Exact name of small business issuer as specified in its charter) COLORADO 5190 84-1084061 (State or other jurisdiction (Primary Standard Industrial (I.R.S. Employer of Identification No.) incorporation or organization) Classification Code Number) 1050 WALNUT STREET, SUITE 301 BOULDER, COLORADO 80302 (303) 444-0632 (Address, including zip code, and telephone number, including area code, of registrant's principal place of business) ------------------------------
    [Show full text]
  • Production Pack
    COMMISSIONED PROGRAMMES PRODUCTION PACK Entertainment Channels COMMISSIONED PROGRAMMES PRODUCTION PACK Sky Entertainment commissioned programmes to be HD 5.1 Dolby E December 2020 1 COMMISSIONED PROGRAMMES PRODUCTION PACK CONTENTS: Page Contacts 3 Important information to be provided as soon as your Production is Green Lit 4 Important information to be provided prior to Broadcast 5 Pre-production & Production Archive and Clearances 6-7 Budget, Cost Reports, Accounts and Invoicing 8 Contracts 9 • Release Forms 9 • Major Contributor Contracts 9 • Talent Contracts 9 • Personnel Contracts 9 Diversity 10 Editorial control 10 Policies 10 Health & Safety 11 Insurance 12 Live Programmes 13 Physical Materials 14 Production Research and notes 14 Production Assets 14 Production Procurement 14 Press and Publicity 15 Post Production & Delivery 15 Edit schedule 16 Master Deliverables 17 Credits and End Boards 18-19 Opening title sequence and bumpers 20 EPG Deadlines 20 Programme durations and Part Times 21 Sky Entertainment On Air Promotions 21 Out of Hours Emergency contact list (for transmission enquiries only) 22 Appendices 23 1 – Limited rights waiver form 23 2 – Sky Sports Archive Request Form 24 COMPLIANCE Please follow separate link on the Production website to all compliance related material. This includes: • Product Placement Guidelines and Form for completion • Contributor Policy and Guidance • Contributor and Data Protection Checklist • Children Participating in Programmes • Work Experience • Talk Shows and Surreptitious Filming and/or Audio
    [Show full text]
  • Exploring Welsh Speakers' Language Use in Their Daily Lives
    Exploring Welsh speakers’ language use in their daily lives Beaufort contacts: Fiona McAllister / Adam Blunt [email protected] [email protected] Bangor University contact: Dr Cynog Prys [email protected] Client contacts: Carys Evans [email protected], Eilir Jones [email protected] Iwan Evans [email protected] July 2013 BBQ01260 CONTENTS 1. Executive summary ...................................................................................... 4 2. The situation, research objectives and research method ......................... 7 2.1 The situation ................................................................................................ 7 2.2 Research aims ......................................................................................... 9 2.3 Research method ..................................................................................... 9 2.4 Comparisons with research undertaken in 2005 and verbatim comments used in the report ............................................ 10 3. Main findings .............................................................................................. 11 4. An overview of Welsh speakers’ current behaviour and attitudes ........ 21 4.1 Levels of fluency in Welsh ...................................................................... 21 4.2 Media consumption and participation in online and general activities in Welsh and English .................................................. 22 4.3 Usage of Welsh in different settings ......................................................
    [Show full text]
  • Regional Variation in 140 Characters: Mapping Geospatial Tweets
    Regional variation in 140 characters: Mapping geospatial tweets George Bailey University of Manchester @grbails Using Twitter for Linguistic Research - University of Kent, 31st May 2016 What is Twitter? • Social media platform where users post short, 140-character messages called ‘Tweets’ So weird how like a potato can taste so diferent just by cookin it in an oven rather than boiling it - it's the same food #themindboggles • In most cases, Tweets are visible to anyone • You can choose to ‘follow’ other users, so that their Tweets populate your timeline • Noted for viral content, internet memes, early adoption (innovation?) of online slang terms, hashtags etc. 2 Why study it? • Great source of natural language data • more than 500 million tweets sent each day (Twitter 2015) • as of 2013, seven years after its founding, over 170 billion tweets had been sent (Leetaru et al. 2013) • Easy to collect, just leave the script running! • Informal style, which leads to lots of variation and creative use of language • Lots of metadata… 3 Metadata {"created_at":"Mon May 09 07:59:23 +0000 2016","id":729581517257740288,"id_str":"729581517257740288","text":"Dumb idea. Won't achieve anything. https:\/\/t.co\/ EGOno9VXNw","source":"\u003ca href=\"http:\/\/twitter.com\/download\/iphone\" rel=\"nofollow\"\u003eTwitter for iPhone\u003c\/a \u003e","truncated":false,"in_reply_to_status_id":null,"in_reply_to_status_id_str":null,"in_reply_to_user_id":null,"in_reply_to_user_id_str":null,"in_reply_to_screen_name":null,"user":{"id": 28327397,"id_str":"28327397","name":"Amy\u270c\ufe0f","screen_name":"amycfc90","location":"Birmingham,
    [Show full text]
  • CHANNEL GUIDE AUGUST 2020 2 Mix 5 Mixit + PERSONAL PICK 3 Fun 6 Maxit
    KEY 1 Player 4 Full House PREMIUM CHANNELS CHANNEL GUIDE AUGUST 2020 2 Mix 5 Mixit + PERSONAL PICK 3 Fun 6 Maxit + 266 National Geographic 506 Sky Sports F1® HD 748 Create and Craft 933 BBC Radio Foyle HOW TO FIND WHICH CHANNELS YOU CAN GET + 267 National Geographic +1 507 Sky Sports Action HD 755 Gems TV 934 BBC Radio NanGaidheal + 268 National Geographic HD 508 Sky Sports Arena HD 756 Jewellery Maker 936 BBC Radio Cymru 1. Match your package to the column 1 2 3 4 5 6 269 Together 509 Sky Sports News HD 757 TJC 937 BBC London 101 BBC One/HD* + 270 Sky HISTORY HD 510 Sky Sports Mix HD 951 Absolute 80s 2. If there’s a tick in your column, you get that channel Sky One + 110 + 271 Sky HISTORY +1 511 Sky Sports Main Event INTERNATIONAL 952 Absolute Classic Rock 3. If there’s a plus sign, it’s available as + 272 Sky HISTORY2 HD 512 Sky Sports Premier League 1 2 3 4 5 6 958 Capital part of a Personal Pick collection 273 PBS America 513 Sky Sports Football 800 Desi App Pack 959 Capital XTRA 274 Forces TV 514 Sky Sports Cricket 801 Star Gold HD 960 Radio X + 275 Love Nature HD 515 Sky Sports Golf 802 Star Bharat 963 Kiss FM 516 Sky Sports F1® 803 Star Plus HD + 167 TLC HD 276 Smithsonian Channel HD ENTERTAINMENT 517 Sky Sports Action 805 SONY TV ASIA HD ADULT 168 Investigation Discovery 277 Sky Documentaries HD 1 2 3 4 5 6 + 518 Sky Sports Arena 806 SONY MAX HD 100 Virgin Media Previews HD 169 Quest
    [Show full text]
  • Program and System Information Protocol Implementation Guidelines for Broadcasters
    ATSC Recommended Practice: Program and System Information Protocol Implementation Guidelines for Broadcasters Document A/69:2009, 25 December 2009 Advanced Television Systems Committee, Inc. 1776 K Street, N.W., Suite 200 Washington, D.C. 20006 Advanced Television Systems Committee Document A/69:2009 The Advanced Television Systems Committee, Inc., is an international, non-profit organization developing voluntary standards for digital television. The ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. Specifically, ATSC is working to coordinate television standards among different communications media focusing on digital television, interactive systems, and broadband multimedia communications. ATSC is also developing digital television implementation strategies and presenting educational seminars on the ATSC standards. ATSC was formed in 1982 by the member organizations of the Joint Committee on InterSociety Coordination (JCIC): the Electronic Industries Association (EIA), the Institute of Electrical and Electronic Engineers (IEEE), the National Association of Broadcasters (NAB), the National Cable Telecommunications Association (NCTA), and the Society of Motion Picture and Television Engineers (SMPTE). Currently, there are approximately 140 members representing the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. ATSC Digital TV Standards include
    [Show full text]
  • Digital Television: Moving Towards
    A Guide to Digital Television and Digital Switchover This edition: 1 June 2005 A GUIDE TO DIGITAL TELEVISION AND DIGITAL SWITCHOVER Index Introduction 1. Facts about digital television 1.1 Digital television platforms 1.2 Interactivity and digital television 1.3 Electronic Programme Guide (EPG) 1.4 History of UK digital television broadcasting 1.5 Uptake of digital television in the UK 1.6 Digital television in other countries 1.7 The European dimension to switchover 2. Coverage and Spectrum 2.1 Analogue terrestrial coverage 2.2 Digital terrestrial coverage 2.3 Set top reception 2.4 International spectrum planning 2.5 Reception and coverage of non-terrestrial digital television 2.6 Spectrum planning for switchover 3. Digital Switchover 3.1 The Process of digital switchover 3.2 Technical trials 3.3 Switchover implementation body (SwitchCo) 3.4 Government policy and statements 3.5 Cost Benefit Analysis 3.6 Progress towards switchover - Ofcom and BBC reports 4. Digital Switchover and the consumer 4.1 Consumer Expert Group Report 4.2 Ofcom Consumer Panel 4.3 Attitudes to digital television and digital switchover 4.4 Usability and accessibility 4.5 Accessibility for disabled people 4.6 Informing consumers 4.7 Planning permission for satellite dishes 4.8 Communal aerial systems and landlord/tenant Issues Appendices List of useful websites Introduction The UK leads the world in digital television. In just five years from the launch of this new technology, over 50% of all UK homes were accessing digital television services: that’s a faster rate of adoption than colour TV, mobile phones or CD players, all of which we now look on as everyday goods.
    [Show full text]
  • Television Access Services Review of the Code and Guidance
    Television access services Review of the Code and guidance Consultation Publication date: 23 March 2006 Closing Date for Responses: 8 June 2006 Television Access Services Contents Section Page 1 Summary 1 2 Research and analysis 7 3 Current situation 19 4 Review of Code 26 5 Review of guidance on standards 33 Annex Page 1 Responding to this consultation 40 2 Ofcom’s consultation principles 42 3 Consultation response cover sheet 43 4 Consultation questions 45 5 Quantative research: key statistics 47 6 Impact assessment 48 7 Draft amended Code on Television Access Services 58 8 Communications Act: subsections 308(7) to (9) 64 9 Draft guidelines on television access service standards 65 Television Access Services Section 1 1 Summary Background 1.1 Television access services (subtitling, signing and audio description) help people with hearing and / or visual impairments to understand and enjoy television. Subtitling for hearing impaired viewers consists of the display of dialogue and sound effects in text form at the bottom of the television screen; users have the option to turn it on or off. Audio description comprises a separate audio track in which a narrator uses spaces in the original sound track to describe what is going on for the benefit of people with visual impairments; like subtitling, it can be turned on or off. Signed television programmes incorporate the image of a signer translating dialogue and sound effects into sign language for the benefit of those who use it to communicate. 1.2 On 29 December 2003, that part of the Communications Act 2003 dealing with the provision of subtitling, signing and audio description (television access services) on television came into force.
    [Show full text]
  • Sustaining the Public Value of ITV News in a Changing World
    Robert Kenny Sustaining the public value of ITV News in a changing world October 2020 About the Author Rob Kenny is a founder of Communications Chambers. He has extensive experience on issues of TMT policy and regulation, and PSB and news in particular. He has worked on PSB issues for clients such as the BBC, ITV, RTÉ, Virgin Media, COBA, the Broadcasting Authority of Ireland and the Belgian government, addressing funding, public value, market impact, distribution strategy, and many other topics. He has also worked widely on news issues, including plurality, the business of news, and interventions to support news. Relevant clients have included the BBC, Sky, 21st Century Fox, News Corp, GMG, the Broadcasting Authority of Ireland and the Australian Competition & Consumer Commission. Previously Rob headed strategic planning and corporate development for Hongkong Telecom, and corporate development for Level 3. Disclaimer This is an independent report prepared for ITV. The opinions offered herein are purely those of the author. They do not necessarily represent the views of ITV, nor the views of all Communications Chambers members. [0] Contents 1. Executive Summary .................................................................................................................................. 2 2. Introduction ................................................................................................................................................. 6 3. A rapidly changing news market ........................................................................................................ 7 3.1. Shifting platform preference 7 3.2. News economics 10 3.3. The nature of news 12 4. A news service for everyone: the current role of ITV News ............................................... 15 4.1. ITV’s news offering 15 4.2. ITV’s investment in news 19 4.3. Consumption of ITV News 21 4.4. Trust in ITV News 25 4.5. ITV News during COVID-19 25 4.6.
    [Show full text]