A survey of digital television broadcast transmission techniques

This paper is a survey of the transmission techniques used in digital television (TV) standards worldwide. With the increase in the demand for High-Definition (HD) TV, video-on-demand and mobile TV services, there was a real need for more bandwidth-efficient, flawless and crisp video quality, which motivated the migration from analogue to digital broadcasting. In this paper we present a brief history of the development of TV and then we survey the transmission technology used in different digital terrestrial, satellite, cable and mobile TV standards in different parts of the world. First, we present the Digital Video Broadcasting standards developed in Europe for terrestrial (DVB-T/T2), for satellite (DVB-S/S2), for cable (DVB-C) and for hand-held transmission (DVB-H). We then describe the Advanced Television System Committee standards developed in the USA both for terrestrial (ATSC) and for hand-held transmission (ATSC-M/H). We continue by describing the Integrated Services Digital Broadcasting standards developed in Japan for Terrestrial (ISDB-T) and Satellite (ISDB-S) transmission and then present the International System for Digital Television (ISDTV), which was developed in Brazil by adopteding the ISDB-T physical layer architecture. Following the ISDTV, we describe the Digital Terrestrial television Multimedia Broadcast (DTMB) standard developed in China. Finally, as a design example, we highlight the physical layer implementation of the DVB-T2 standar

Studying soap operas

This present issue of Communication Research Trends will focus on research about soap operas published in the last 15 years, that is, from the year 2000 to the present. This more recent research shows one key difference: the interest in soap opera has become worldwide. This appears in the programs that people listen to or watch and in communication researchers who themselves come from different countries

Preamble design using embedded signalling for OFDM broadcast systems based on reduced-complexity distance detection

The second generation digital terrestrial television broadcasting standard (DVB-T2) adopts the so-called P1 symbol as the preamble for initial synchronization. The P1 symbol also carries a number of basic transmission parameters, including the fast Fourier transform size and the single-input/single-output as well as multiple-input/single-output mode, in order to appropriately configure the receiver for carrying out the subsequent processing. In this contribution, an improved preamble design is proposed, where a pair of training sequences is inserted in the frequency domain and their distance is used for transmission parameter signalling. At the receiver, only a low-complexity correlator is required for the detection of the signalling. Both the coarse carrier frequency offset and the signalling can be simultaneously estimated by detecting the above-mentioned correlation. Compared to the standardised P1 symbol, the proposed preamble design significantly reduces the complexity of the receiver while retaining high robustness in frequency-selective fading channels. Furthermore, we demonstrate that the proposed preamble design achieves a better signalling performance than the standardised P1 symbol, despite reducing the numbers of multiplications and additions by about 40% and 20%, respectively

The global event? The media, football and the FIFA World Cup

An examination of the FIFA World Cup as media mega event and the role played by television in this process

Customized television: Standards compliant advanced digital television

This correspondence describes a European Union supported collaborative project called CustomTV based on the premise that future TV sets will provide all sorts of multimedia information and interactivity, as well as manage all such services according to each user’s or group of user’s preferences/profiles. We have demonstrated the potential of recent standards (MPEG-4 and MPEG-7) to implement such a scenario by building the following services: an advanced EPG, Weather Forecasting, and Stock Exchange/Flight Information

Jurisprudence under the perspective of the new media and its effect on the communication of law

Despite the law knowledge presumption, Jurisprudence has not always considered the effects introduced by the communication of law in the transition from the print to the electric revolution, using here concepts and ideas of McLuhan´s theory. The use of Internet by Brazilian Courts (on line transmission of trials, the digital process, transformation of courts in source of news on what concerns their decisions) is an interesting example of how the new medium interferes in the substance of the message of law, since the movement of the messages must be considered to understand the epistemological domain of law. New elements are introduced by the new media and interact with the old meanings, concepts and processes of law and of the old media and can themselves bring new conflicts that are relevant to the comprehension of the complete and real dynamics of Law

'TV Format Protection through Marketing Strategies?'

Commercially successful programme ideas are often imitated or adapted. Television formats, in particular, are routinely copied. Starting from radio formats in the 1950s to game shows and reality programme formats of today, producers have accused others of “stealing”. Although formats constitute one of the most important exports for British TV producers, there is still no certainty about the legal protection of TV formats from copycat versions. Since TV formats fail to fall neatly within the definitions of protected material under international copyright and trade mark regimes, producers have been trying to devise innovative means to protect their formats from plagiarism. The globalization of cultural and entertainment markets may itself have contributed to the rise of TV formats, interconnecting programming industries in a world of multiplying channels. This paper theorizes that global broadcasting and programme marketing strategies can also be used by TV format producers to protect their formats. Specifically, eight different strategies may be used: (a) trade show infrastructure and dynamics; (b) visual brand identity and channel fit; (c) brand extension and merchandising; (d) corporate branding; (e) national branding; (f) genre branding; (g) constant brand innovation; (h) fan communities. The paper develops a methodology for capturing the use and effectiveness of these eight strategies in preventing the copying of formats