未来广播电视

未来广播电视（精选十篇）

未来广播电视 篇1

The Future of Broadcast TV initiative (FOBTV) was formed in April 2012 by leading world TV organizations to attempt to bring about a unified next-generation broadcast television system.

The Technical Committee has initiated two working groups to progress the FOBTV objectives:“To produce common requirements for a new terrestrial broadcast standard, applicable to mobile devices and accommodating internet connectivity, Ultra HDTV and new coding schemes like HEVC”.Thus:

1) The Use Case Analysis Group (TC-UCAG) has collected use-cases from the FOBTV members, performed their analytical classification, and has started to identify relevant technologies and technology gaps,

2) The Global Model Editorial Group (TC-GMEG) has been assigned to provide an overview of an end-to-end delivery system allowing the implementation of all the collected use-cases.

The TC-GMEG has adopted for the purpose of this study, a“top-down”methodology and has performed modeling of the current platform, observations of the trends in all areas of the digital terrestrial television chain and finally has elaborated a Global Model for the Future of Broadcast TV.

This TC-GMEG report is accordingly organized into five sections:1) A Starting End-to-End Model for Reasoning;2) Trends in the Multi-Media Value Chain;3) Contours of a LOCAL End-to-End Model;4) Globalisation of the Local Model;5) Beyond the Global Model.

2 A STARTING END-TO-END MODEL FOR REASONING

For the sake of argument, three areas of the Digital TV value chain have been arbitrarily defined (Production, Distribution and Consumption) and are presented in Fig.1.

For historical reasons, the overall broadcast infrastructure for the delivery of TV services has been organized to disseminate simultaneously as many real-time live-events as possible to a massive amount of users for immediate consumption.

2.1 TV Programmes&Services Production Area

Analogue TV content was limited to continuous processes for production, distribution&consumption of video and audio signals.These signals were then fully translated into the digital world as digitally compressed audio-visual streams supplying permanent&branded digital pipes.

However, the appearance of digital TVs and TV set top boxes“connected”to the Internet provided TV studios with the opportunity to extend their services in two directions:

1) To enhance the broadcast TV service with additional content delivered in real-time.

2) To make available TV programmes at any time after their prime broadcast delivery.

Accordingly, TV studios (or third-party organisations) are producing complementary streams sustaining live broadcast (enriched service) and/or are delivering“on-demand”already broadcast TV programmes (enriched offer) , in order to provide to the user a feeling of a“personalised TV service”.

As far as the production area is concerned, the hunt for an extended audience pushes its participants to diversify the means used to deliver TV services beyond the“island-based”implementation of a vertically integrated broadcast platform.

2.2 TV Programmes&Services Distribution

Analogue TV signals were provided in the vicinity of a TV transmission tower, to give a local TV service.In some countries, this was extended nation-wide by replicating local TV cells.

“Localism”has been one of the major attributes maintained by the TV broadcasters;and this has been fully translated to the digital world and digital broadcast infrastructures, which deliver locally either a unique TV service or a multiplex of TV services (mainly Europe) .The extension of the local area is performed by a multiplication of the transmitter sites, operating either on different frequencies (Multi-Frequency Network, MFN) or on a unique frequency (Single Frequency Network, SFN) .

In every case, the digital broadcast infrastructure delivers a basic linear TV service using a self-documented“digital pipe”and the receiving terminals need only to decode the Electronic Programme Guide (EPG) embedded in the broadcast pipe to access any multi-media content.

But in some countries, in order to provide enhanced&“personalised”TV services (i.e., Hbb TV in Europe, Hy-brid Cast in Japan) , broadcasters are using a broadband in-frastructure provided by third-party Internet Service Pro-viders.In these cases the Programme Guide (EPG) , carriedby the broadcast pipe, includes the required URL referenc-es needed to access the complementary multi-media con-tent, made available by the broadcaster, on a server con-nected to the Internet.

As far as distribution to the consumer is concerned, the existence of two infrastructures (broadcast&broadband) seems to support globalisation, as broadcasters aim at delivering a full range of TV programmes&services to a wide range of terminals, only some having access to both the broadcast (one-to-many) and a broadband (one-toone) delivery means.

2.3 TV Programmes&Services Consumption

Analogue TV programmes were usually consumed on a dedicated terminal:the TV set.This concept has also been fully translated to the digital world and digital decoder–which embeds a digital (signal) demodulator, a digital (source) decoder&the capacity to decode EPGs–appearing either outside (i.e.set top box) or inside (i.e.integrated“digital tuner”) the TV terminals.

In some countries, both traditional&enhanced TV services offerings have been extended to non-stationary TV receivers such as the TV sets installed in vehicles (thanks to the robust performance of digital transmission and to ad-hoc network planning) , and to Mobile handheld devices as witnessed by the One Seg&Not TV services deployed in Japan.But these new TV services, like Hbb TV in Europe and Hybrid Cast in Japan, are conceptually operating two adjacent screens supplied in parallel by two uncorrelated networks, and having only a weak cooperation at the application level.

Connected TVs with access to both broadcast&broadband networks has not only allowed some broadcasters to emphasise the personalisation behaviour of linearly programmed TV services but also allowed“Over-the-Top”providers to deliver a mimic of TV services to every terminal having broadband connection.

For Smart Terminals having access only to the broadband infrastructure, the TV programmes&services are provided as unicast streamed audio&video.As the storage capacity of the Smart Terminals is not exploited, only live consumption of TV services is performed and neither data push nor datacast delivery methods are used.

As far as the consumption area is concerned, the heterogeneous connectivity of the terminals increases the tendency to repeat TV services on both the broadcast&broadband platforms:repetitions are performed (during the night for instance) on the broadcast platform without knowledge of the consumers, and the unicast delivery of TV services over broadband network seems to constitute a serious contribution to the exponential growth of data traffic observed on the broadband infrastructures.

3 TRENDS IN THE MULTI-MEDIA VALUE CHAIN

The use-cases studied have revealed the deep expectations occurring at both ends of the Multi-Media value chain:on the content providers’side, there is a desire to make Multi-Media content available on a multiplicity of platforms, and on the users’side there are expectations for an ubiquitous consumption of Multi-Media content regardless of the location, instant of time and screen type available.

These hopes have implications for all segments of the Multi-Media value chain and reveal major challenges for the infrastructures expecting to connect the studios (providers of content) to the users (consumers of content&services) .

3.1 Multi-Media Production

Nowadays, almost all TV content is produced digitally, but professional content providers tend to enlarge their deliveries in terms of format (i.e.higher video resolution, higher audio channel numbers, etc.) and variety (i.e.multiview angles, 3D complement, facilities for impaired people, emergency warnings, etc.) .

The historical concept of using a TV infrastructure to disseminate live-events for immediate consumption in real time has changed, and has evolved to the planning of Multi-Media content production for immediate or later release.

For linearly programmed television to remain centric in TV studios, there is both the need to improve the TV service offering in a way that remains inimitable by the Internet players, and the goal to increase the user’s freedom of choices in a mimic of an“internet TV”service.

If these trends drive Producers to use two delivery platforms in parallel, it also implies managing two costly workflows in studios.The Production area is accordingly studying the“Create Once, Publish Everywhere” (COPE) paradigm having the ambition to run a unique workflow to produce Multi-Media content suitable for a multiplicity of consumption screens supplied by a variety of delivery platforms.

An interesting consequence of the COPE paradigm is the underlying desire to operate a“Smart Delivery Platform”facilitating the Publish Everywhere concept, but also providing the insurance that Digital Rights will be securely managed end-to-end!

3.2 Multi-Media Distribution

Almost all TV distribution platforms have achieved their migration to digital, but they remain structured to deliver audio-visual content for immediate consumption:the Branded Digital Pipe supplied 24/7 remains a core feature for broadcast TV services.

The“branded digital pipe”inherited the behaviour of a“voice telecom circuit”from the ISO-MPEG System Layer1specification, which defined“Transport Stream”packets to carry digitally compressed audio-video on any distribution means having a constant delay and being packet loss&jitter free.The permanent circuit connection characteristic has been inherited from the historic features of the analogue platform delivering live television.

None of these circuit characteristics (i.e.permanent&constant) can be satisfied in an Internet Protocol (IP) context, and specific protocols (and consequent overhead) must be used to compensate for the deficiencies of the“best effort”behaviour of IP networks.

Accordingly, the current digital broadcast platform implementations appear to be too specialised to distribute Digital Multi-Media content, anywhere, at any time, to an evergrowing multiplicity of terminals-and this increases the requirement for a digital broadband platform operated in parallel to the broadcast one.

The challenge for a future harmonised Multi-Media distribution platform seems to rely on its capacity to make available a large variety of Multi-Media content (not just access to a branded&permanent digital pipe) , within an enlarged area (not only in the vicinity of the TV transmission towers) , at a time wished by the consumers (not uniquely at the time programmed by broadcasters) , on a personal nomadic terminal (not to a digital TV set“prisoner”of a mandatory wall outlet) .

3.3 Multi-Media Consumption

Users tend to consider smart terminals as a“oneshoe-fits-all”or“all-in-one”device and accordingly expect from them ubiquitous access to any Multi-Media service&content.

At home, when watching the family TV, individual“second screen”terminals are used to consume broadcasters’data (complementary to the broadcast programme) , to chat with the social network community (about current broadcast delivery) , and even to watch“individually”a broadcast TV programme other than the one delivered on the family screen.

On the move, users tend to recover their“TV watching experience”while commuting or traveling in foreign countries with the“one-does-it-all”personal terminal, which permanently accompanies them.

These new habits are emphasised by the Digital TV sets having connection to the Internet, via the proliferation of accessible broadband networks (either“operated” (3GPP) or“not operated” (IEEE) ) and by the“Over-TheTop”players providing a TV experience over the Internet.

The challenge for the future Multi-Media terminals seems then to be able to access a multiplicity of distribution platforms providing Multi-Media content&services.As none of the existing distribution platforms is able to provide a“universal”coverage, and because TV services of today cannot yet be ubiquitously distributed on every platform, it suggests that future Consumption terminals must be granted with a series of assets:e.g.a“Hybrid Access interface” (to surf on every platforms) ;some storage capacity (to disconnect the acquisition of Multi-Media contents from the user’s consumption) ;and a“Smart TV application” (to hide but also to perform all the technicalities required to locate, to access and to present the Multi-Media content) .

3.4 Multi-Media Value Chain Trends:First Outcomes

The observed trends highlight that the digitalisation of the broadcast TV platform, which translated the analogue value-chain (i.e.studio, infrastructure and terminals) in the digital era, has not sufficiently anticipated the evolutions of the terminals capabilities and the new usages they introduced from users.

Nevertheless, TV usage remains popular as witness the surveys revealing that the time spent watching professionally produced linearly programmed TV content tends to increase or at least to be stable.Thus it is more the delivery of TV services to nomadic terminals, which must be studied, rather than the TV services themselves.

Nomadic terminals have to be served wirelessly and up to now, only wireless broadband radio technologies are able to do so, resulting in a ever-growing pressure to increase the amount of spectrum devoted to Mobile Broadband services.

But, there is no evidence that mobile broadband infrastructures will be able to deliver live content on a larger scale to simultaneous users, nor to absorb the data tsunami resulting from the ever-growing consumption of streamed video delivered individually to smart mobile terminals.Even if Content Delivery Networks (CDNs) reduce the traffic in the core broadband network (by storing content as close as possible to users) , the last mile radio connection is expected to be seriously overloaded by video streams during the peak hours of broadband traffic.Consequently, the“one-to-many”delivery method (also known as broadcast or multicast) over the last mile radio seems to be a very sensible&sound solution to optimise the last mile delivery.

As TV services can benefit from an additional“oneto-one”broadband connection and as mobile broadband services benefit from using an additional“one-to-many”broadcast capacity, it seems the“hybrid radio”access or interface will constitute a very promising concept for both infrastructures.

Future global optimisation of the whole Multi-Media value chain drives us therefore to consider evolutions for each of its segments:

1) Production must be done using a unique workflow (i.e.COPE) and Services should be agnostic with regard to the Delivery platform.

2) Distribution must use optimally and indifferently broadcast&broadband means, thus allowing either linearly programmed or on-demand services, while optimally using the infrastructure resources.

3) Distribution to nomadic Mobile terminals must be done over a hybrid platform (i.e.Broad Cast+Broad Band) and must focus on Universal Coverage:accordingly, cooperation between hybrid platforms (i.e.Broad Cast=Satellite or Terrestrial and Broad Band=IEEE-Wi Fi or 3GPP-LTE) must be enabled.

4) Consumption must be achievable on all types of terminal running a“Smart TV Application”, providing that every terminal has a hybrid access interface.Also, if the storage capacity of the terminals is considered, the platform should manage the transfer of Multi-Media content at any time convenient to any of the players (i.e.Producers, Distributors, Consumers) .

In summary, to satisfy the trends in the Production and the Consumption areas, the technical platform must manage the distribution of the Multi-Media content within the infrastructure on a global scale, and take benefit from the cooperation between broadcast&broadband platform technologies to optimise their last mile delivery-possibly using the terminal storage capacity as the ultimate extension of the Content Delivery Network.

4 CONTOURS OF A LOCALEND-TO-END MODEL

The review of the FOBTV use cases highlighted not only the evolution needs for the last mile of the delivery platform, but also revealed that an end-to-end system must be analyzed in terms of its capacity to connect every type of multimedia service with every type of“all-in-one”terminal, everywhere, at any time.

Offering a whole range of Multi-Media services implies operating a one-to-one connection with every terminal.However, to transfer Multi-Media content optimally to all terminals, implies using a one-to-many delivery method instead of a one-to-one“unicast”one, if at all possible.

The UHF band (300 MHz to 3 GHz) , which exhibits a range of wavelength sizes appropriate for antennas embedded in smart mobile terminals, is therefore very suitable for wireless delivery of Multi-Media content to these devices.But, the scarcity of this spectrum resource requires optimising the service delivery in terms of effectiveness and efficiency of use, especially if targeting global coverage.

Accordingly, a hybrid radio system appears to be the right solution to provide such multidimensional optimisation, and the updated end-to-end model proposed in Fig.2outlines the contours of such a“hybrid”platform.

This updated end-to-end model aims at changing the way that the two individual infrastructures operate in parallel (i.e.a one-to-many infrastructure performing linear distribution for immediate consumption, and a one-to-one infrastructure performing on demand distribution) to a combined infrastructure that manages the distribution of all Multi-Media content, either as a linear continuity or an on-demand serviceand takes advantage of both the one-tomany and the one-to-one connections that the users have established with the platform.

“Smart Broadcast”is the main ambition here:to respond to the current&future needs of the broadcasters wishing to deliver TV Programmes&Services;to respond to the end-users’demands for TV content professionally produced;and, more importantly, for every type of MultiMedia content“on-the-move”using“all-in-one”Smart terminals.

The“Smart Broadcast Infrastructure”aims at reducing the cost of the“last mile”delivery (i.e.the collective distribution to the home) as well as the amount of spectrum necessary to provide this delivery (i.e.using broadcast instead of unicast as the unique delivery method) , and also optimising globally the economic model while serving stationary&mobile terminals.

4.1 Introduction to the Local End-To-End Model

Nowadays, as different as they are around the globe, all broadcasters have a role concerning localism.In some countries such localism is restricted to a city, in others it means a state or a whole country–but still, broadcasting preserves local cultures, unites communities and helps to develop local economies.

Whilst they worked in the past with video and audio only, broadcasters are now developing Multi-Media programming;but their knowledge of“how to program for large audiences”remains based on their expertise in the local social context.

Even though the end-to-end model must be scalable in order to address the various topologies of terrestrial networks operated by broadcasters around the world, the basic configuration of the model must also cater for local broadcasting demands.Fig.3 shows the LOCAL configuration of the end-to-end model.

In this basic configuration, the Production area is represented by the broadcaster’s studio which delivers con-tent&services over a hybrid platform.The platform makes cooperative usage of a one-to-many“broadcast”and a one-to-one“broadband”component to supply the Consumption area, where two categories of terminals are served:the stationary ones (i.e.TV sets) and the mobile ones (i.e.smart mobiles) .

4.2 Behaviour of the Production Area

In the basic configuration, the storage capacity located in the studio is used by a (preferably unique) workflow that produces multi-media content as a collection of audio-visual sequences stored in a“play-out”server.These audio-visual sequences should include complementary information about the different format types and nature;the resulting MultiMedia packages constitute the items of a branded Electronic Programme Guide (EPG)

The EPG, which governs the continuity of the TV service programmed by the broadcaster, is delivered to both the“Linear TV”&“On-Demand TV”servers.The“Linear TV”server uses the EPG to stream the audio-visual part of the relevant Multi-Media package onto the one-tomany interface while the“One-demand TV”server manages to deliver the complementary part of the package through the one-to-one interface in response to user’s requests.

To support this Production area behaviour, some technologies are required.Among others:

1) ISO/MPEG is working on a Modern Media Transport (MMT) specification with the goal of providing“the transport of MPEG media in an interoperable fashion, especially given the recent increased demand of multi-media delivery in the heterogeneous network environment.”An MMT draft specification is expected in 2013, as a companion to the HEVC (H.265) video compression standard.

2) ISO/MPEG-DASH has demonstrated recently (cf.VRT during London Olympic Games) its ability to stream live TV programmes and to deliver TV services over a nonmanaged (nonoperated) Internet connection.

Interestingly, both technologies (i.e.MMT&DASH) include a transport layer and a presentation layer, highlighting the recognition of a“Multi-Media Package”as the managed quantum of Multi-Media content.

The Multi-Media package seems thus to be the unit which has to be distributed and then delivered to the users;and a common set of protocols must be used to enable the delivery of these quanta to be agnostic of the means (one-to-one or one-to-many) used to do so.

4.3 Behaviour of the Distribution Area

In the basic configuration, the Distribution area implements a hybrid infrastructure involving a one-to-many component (broadcast) and a one-to-one component (broadband) to bridge the Production&the Consumption areas.

The broadcast transmitter coverage determines the“local”area served.Within this local area, the infrastructure serves both stationary&mobile terminals, in both indoor&outdoor locations.

These requirements have implications on both the one-to-many&the one-to-one components of the infrastructure:

1) The one-to-many component suggests a requirement for the broadcast waveform to cope with both multipath propagation (i.e.frequency selectivity of the channel for stationary reception) and Doppler shifted echoes (i.e.frequency selectivity&time-variant channel for mobile reception) .

2) The payload distributed using these waveforms must be protected with at least two levels of robustness in order to cope with outdoor vs indoor reception situations (i.e.further carrier attenuation resulting from the outdoor to indoor penetration loss, proximity effects, etc.) and this payload must be tailored for different categories of screens.

3) The one-to-one component can use a wired Internet connection to reach stationary terminals, but to reach mobile terminals a wireless Internet connection is mandatory.Accordingly, the wireless one-to-one component could use either the services of an Internet Service Provider (ISP) or a Wi Fi infrastructure deployed in the“TV white space”.This last alternative offers the advantage that the Distribution infrastructure will be deployed in a“broadcast”sub-band (i.e.TV channel AND white space channels) that can be secured by the operator of the hybrid infrastructure especially in terms of radio interferences.

To support this behaviour in the Distribution area, some technological developments are required, including:

1) One-to-many broadcast systems operate close to the Shannon boundary, so increasing the system throughput requires increasing the RF bandwidth (e.g.using channel bonding for instance) , and/or using MIMO techniques2.Both techniques should be evaluated in the light of the throughput that will be required for future TV services delivered in 4K or 8K HDTV formats.

2) As areas covered by the one-to-many&the oneto-one components may not match exactly, only a subset of the services will be available when only one component is available.Since the EPG is broadcast with the MultiMedia packages, this self-documented delivery allows linear-TV services to be enjoyed over the whole local zone.The full range of TV services will be provided only in areas where the two components are available.

3) A“broadcast”transmission mode (in addition to the native“one-to-one broadband”one) will be needed to optimize the delivery of the whole range of TV services in areas where only the one-to-one component is available.The LTE-e MBMS3service mode constitutes an example of such an in-band broadcast mode over a broadband wireless connection.It could provide a“broadcast”mode to sustain the Broadcast/Multicast protocol on an“IEEE-Wi Fi operated in TV white space”context.

4) Even though the primary business case of the terrestrial broadcast platform is the Free-to-Air (FTA) one, technologies must be identified to allow various business models for the Distribution area in order to create a viable economic balance for the operator.Conditional Access System (i.e.CAS) technologies must be evaluated for this purpose.

A common set of protocols must be adopted to make the Service delivery agnostic to the number of components available to stationary&nomadic terminals.Similarly, in order to render a Universal service, the cooperation of several hybrid platforms (i.e.Broad Cast=Satellite or Terrestrial or Cable or IPTV;and Broad Band=IEEE-Wi Fi or3GPP-LTE or IPTV) , usingsuch common set of protocols, should be considered.

4.4 Behaviour of the Consumption Area

In the basic configuration, the Consumption area is modelled taking in account two categories of terminals:Stationary (with the possibility of wired connection to the Distribution infrastructure) and Mobile (having only wireless connections to the Distribution infrastructure) with the typical consumption usage being the“indoor”one.

Both stationary&mobile terminals are provided with hybrid platform access to the two components of the infrastructure.This is already the case for the so-called“Connected TV, ”but not for the traditional TV sets that have access only to a broadcast component, nor for the smart terminals that have only access to a broadband component.

Within every terminal, the consumption of TV and Multi-Media services is governed by a“Multi-Media application”having the capability to use the two components provided by the infrastructure.This Multi-Media application should not be confused with a cooperative presentation layer (i.e.juxtaposition of content governed by a broadcast centric application) nor with a cooperative network layer (i.e.juxtaposition of screens supplied by two uncorrelated networks) , but instead, as a Multi-Media Consumption Application that embraces all upper layers down to the network layer.

A“branded TV application”can be located by a search engine and delivered to the terminal from the“ondemand TV server”using a traditional Internet connection.Additionally, the“on-demand TV server”provides technical information related to the Distribution infrastructure in the local area and the Electronic Programme Guide, which lists the Multi-Media packages related to the past/present/future broadcast periods.As similar information is continuously delivered via the one-to-many component using a data carousel, the terminals with no Internet access can discover the infrastructure and update their information using a traditional frequency scanning method.

The“branded TV application”using the EPG information presents the collection of Multi-Media packages available on the platform, and responding to the user’s request manages the required terminal connections to deliver the Multi-Media content for immediate consumption.

In the basic implementation of the model, the storage capacity of the terminals has not been considered in the behaviour of the platform.Nevertheless, the“branded TV application”could benefit from such terminal storage capacity to implement“Personal Video Recorder” (PVR) services.In this case, the application must have the ability to run in the“background”and to access the infrastructure while the terminal is moving in the coverage area.

To support the desired behaviour in the Consumption area, some technology developments are required, including:

1) As far as terminals are concerned, the model implies the generalisation of a hybrid access, either wired or wireless, which involves a“Mo Dem/Demod”device implementing the lower-layers (up to the network layer) of respectively the one-to-one&one-to-many components.If the physical layers of the two access components are distinct by nature, a harmonisation of the data link&network layers of the existing one-to-one broadband system and the future one-to-many broadcast system must be implemented.

2) As far as consumption is concerned, the model implies a“branded TV application”able to run in the background, implementing the upper layers and interfacing with the devices that implement the lower-layers.Due to the variety of operating systems used in Smart Multi-Media terminals, a generic API must be defined in order to guarantee the versatility of the hybrid access amongst terminals.

3) As far as TV services are concerned, provisions must be made to allow the management of both Digital content Rights (DRM) and Conditional platform Access (CAS) .

A common set of protocols must be adopted to allow future Smart Terminals to access Multi-Media content through any hybrid platform.

4.5 Local End-To-End Model:Summary

The LOCAL implementation of the end-to-end model has highlighted requirements for evolutions in the three areas of the Multi-Media value chain, with three consequences:

1) A first consequence is that instead of implementing a permanent&branded digital pipe, the end-to-end Infrastructure must manage Multi-Media packages (i.e.live video-clips, already produced audio-visual files, etc.) made of Multi-Media components (i.e.audio, video, complementary data, etc.) , each retaining the brand name of its origin.In this context, the lower-layers of the protocol stack will not be considered as having a“constant end-to-end delay&errorless behaviour” (i.e.circuit behaviour implied by the ISO/MPEG system layer) and accordingly, the transport layer must incorporate provisions to guarantee a“broadcast”QualityofServiceevenoveran“open_but_best_effort”infrastructure (MMT and/or DASH technologies should tackle this constraint) .

2) A second consequence is that in order to facilitate competition, the end-to-end platform must embed provisions to guarantee both the Digital (Copy) Rights of the content owners (i.e.DRM) and the business model of the operators by the use of a Conditional Access System (CAS) suitable for any configuration of the platform (i.e.working when either single or dual components are available on the termination side of the platform) .

3) A third consequence is that the model fosters the generalisation of a“hybrid access”and of a generic“Multi-Media application”in the terminals.That implies a clear definition of the whole protocol stack and a universal interface (API) between hardware&software devices regardless of the operating system environment.

The described Local end-to-end model should be considered as an aggregation of technological bricks that are already in operation on Free-to-Air, IPTV and OTT platforms, but the ambition of the model is to harmonise the usage of these technologies in order to foster the universality of Smart terminals and open functional interfaces.

5 GLOBALISATION OF THE LOCALEND-TO-END MODEL

Even though the prime application of the end-to-end model is to provide“Smart LOCAL TV services”, the endto-end model must be scalable in order to address the various topologies of terrestrial networks operated by broadcasters around the world.

The expressed wishes to“Create Once and Publish Everywhere”and to“Consume Everywhere at Any Time”imply extending the platform beyond the primary LOCAL TV services area and for the sake of argument, Fig.4 is proposed to represent an up-scaled GLOBAL end-to-end model.

In the GLOBAL architecture, a Distribution infrastructure is established by the aggregation of the previously de-scribed local cells, which become its Delivery nodes.Each of the Delivery nodes is required to deliver multimedia services and takes benefit of a hybrid one-to-one&one-tomany means to serve terminals in a local area.

This global architecture aims to take into account the various topologies of broadcast networks operated worldwide nowadays.For instance:

1) A“global TV”operator supplies affiliated“local TV”operators with content having countrywide destination.The“local TV”operator broadcasts the“national”content but part of the time, produces and broadcasts its own“local”content.In this situation, the“Local TV”operator controls the content delivered over the“local area”while the“Global TV”operator acts as a content provider.

2) A“Broadcast Network”operator collects content from various sources and distributes them over a given territory.In each region, an aggregation of specific content is performed and addressed to a collection of local areas, which each delivers a“multiplex of TV services”.In this situation, the“Broadcast Network”operator centrally controls the content delivered over every passive“local area.”

Whatever the management of the end-to-end platform (i.e., distributed or centralised) , two stages of processing are performed:the Distribution of content within the infrastructure and the Delivery to the users through the means available to serve the“last mile.”

5.1 the Hybrid Distribution

In the global implementation of the end-to-end model, the“studio servers”are duplicated in a collection of“Delivery Nodes”interconnected by the Distribution infrastructure.

The Delivery node acting as a“Local Studio”stores Multi-Media packages coming from the Distribution infrastructure, but also generates“Local Content”delivered locally and distributed to the other nodes using the Distribu-tion infrastructure.

lates the“branded Multi-Media package”as aquantum of management, which open numerouspossibilities far beyond today’s manipulations of“branded Digital pipes” (i.e.commutation of brandedcircuits) :1Multi-Media content not related to live

) –events-can be distributed over the platform to bringthem as close as possible to the location where theywill be consumed, thus permitting their delivery tothe terminals at the most convenient time for the broadcaster, and/or the platform operator and/or the user.In that sense, the“Multi-Media Distribution”area looks like a broadcaster’s branded Content Delivery Network (CDN) having the particularity to use hybrid technologies, for instance a one-tomany satellite distribution to the local nodes and a one-tomany terrestrial distribution to the terminals.This would be more efficient (and potentially more secure) than the CDNs used by OTT providers,

2) Multi-Media content–not related to live eventsare stored in the Delivery node in advance until the instant when they should be delivered to the terminals (i.e.time dictated by the EPG time schedule) .But if the Delivery node is able to manage the population of terminals it serves, the storage capacities of the terminals can be dynamically managed in order to optimise the“cost”of delivery (i.e.delivery organized as a“push data to many”or Multicast service) .In that sense, the“Multi-Media Delivery”to terminals could be perceived by the user as a“broadcaster’s branded Cloud”.

The cooperation of one-to-many (i.e.satellite distribution for instance) and one-to-one (for the control&command of the distribution process) components within the Distribution infrastructure constitutes a major asset of this model.

The Distribution infrastructure could also offer mediation capacities with other platforms.Accordingly, its CDN (and possibly Cloud) behaviour could be used to extend the territory on which the branded TV services are natively offered:Multi-Media packages could be distributed, by contractual agreement, to foreign platforms which would serve“local terminals”abroad;foreign terminals could be hosted&served, providing contractual attachment/roaming rules, by a local Delivery infrastructure.

If this openness is strongly desired by the two ends of the end-to-end Multi-Media value chain (NB:Publish Everywhere&Consume Everywhere) , it provides an opportunity for the broadcasters to differentiate their platforms.The clever end-to-end management of the content’s Copy Rights as well as the clever management of the Access Rights to the Delivery platform make this a clear asset…But the underlying technologies for this scenario must be carefully selected especially if they impact on the compatibility of legacy versions of the nomadic devices.

5.2 Local Delivery in a Global Context

The GLOBAL end-to-end model aims at establishing a global platform performing the dissemination of Multi-Media content produced&delivered within the in frastructure by LOCAL delivery nodes.The duality of the Multi-Media Delivery nodes is tentatively pictured in Fig.5.

At the delivery node, every Multi-Media package either coming from the distribution platform or produced lo-cally is stored in the Multi-Media database, and thus becomes available for their delivery as soon as possible for immediate consumption, or for their delivery in advance of the time of their consumption, or for their subsequent delivery with regard to catch-up services.

The two servers, linear-TV&on-demand, cooperate in order to optimise the usage of the transmission resources available on the hybrid local delivery cell.As much as possible, the“one-to-many”delivery means is used to deliver Multi-Media packages to the population of served terminals:

1) For linear-TV services, the EPG drives the usage of the resource especially for live-events or for packages delivered for the first time (NB:night repetitions of content can be done without real-time broadcasting using management of the terminals storage capacity) .

2) For“predictive datacasting”services, the EPG permits anticipating the delivery of Multi-Media packages for storage in the terminals, but authorising consumption only at the time imposed by the EPG.

3) For catch-up TV services, the user demands should be employed to identify popular content and then to manage their“predictive”&simultaneous delivery to multiple terminals available in the local cell.

4) Etc.

The ambition of the managed delivery of Multi-Media packages is to counteract the inefficiency of a collective, but blind, delivery service without knowledge of the audience (i.e broadcast“default”) , and that of the multiple individual delivery of given content (i.e.broadband“default”) .In this way, the system provides to the broadcasters an ultimate optimisation in the usage of the scarce spectrum resource they operate.

The hybrid local delivery cell, as in the previouserage of the local cell for both the“one-to-many”&“one-to-one”com-ponents.If the“one-to-many”cover-age could be easily extended by theuse of additional SFN transmitters, theextension of the“one-to-one”spots–permitted by the availability of TVwhite space spectrum resources–may have (economic) limitations andmight require the cooperation of vari-ous broadband infrastructures.

Possibly, some areas covered by the one-to-one component will be outside the ones covered by the one-to-many component.Accordingly, the availability of a“broadcast”mode-e.g.LTE-e MBMS like-for the one-to-one component would permit the operation of the delivery node even if only a single component of the hybrid cell were available.

Incidentally, the availability of an in-band broadcast mode within a broadband wireless connection should constitute a promising characteristic to build up in-home extensions within the infrastructure (e.g.in-home Multi-Media LANs) .

The delivery of every kind of TV service (i.e.live, predictive, on-demand) will be possible when stationary terminals can receive hybrid coverage, while only a subset of TV services will be possible under partial coverage.The nomadicity of mobile terminals adds a constraint to the coverage:the presence of mobile terminals in the coverage area must be managed and the delivery of Multi-Media packages should be performed when favourable conditions occur, using the predictive datacasting capabilities of the platform.

The consumption node is intended to be universally implemented across every type of terminal, both stationary and mobile.The consumption node involves hybrid access to the hybrid infrastructure, a storage capacity managed by the infrastructure (i.e.by the delivery node) and a MultiMedia consumption application, which acts as a client of the delivery node servers.

The Multi-Media application plays a crucial role in the performance of the global end-to-end model.It guarantees the efficiency of the DRM&CAS management, which form the differentiation asset of the platform;it facilitates the optimum usage of the transmission resource by supporting the various methods of delivery (i.e.live, predictive, on-demand) .It contributes to the smart broadcast behaviour of the platform by permitting nomadic terminals to locate content, to access delivery nodes and to present content to users.

In summary, the proposed model aim at using cooperatively broadcast and broadband technologies to permit delivering traditional&extended TV services, while optimising the costs and the resources implied by the wireless delivery of contents to nomadic Multi-Media terminals.It aims accordingly not to rethink the Multi-Media services but to invent a new way to deliver them.

6 BEYOND THE GLOBAL MODEL

The global model for the Future of Broadcast TV studied in this document highlighted the benefits of a hybrid infrastructure combining one-to-many&one-to-one delivery platforms to manage the delivery of Multi-Media content at any-time, anywhere, to any consumer devices.

As far as stationary terminals are concerned, the model could be implemented through wired connections to any broadcast&broadband infrastructure, making it suitable for use with the existing satellite, cable or terrestrial platforms.

Regarding mobile terminals (by definition, not wired) , broadcast&broadband wireless platforms must be used and accordingly some spectrum resources must be allocated to them.

The UHF band (300 MHz-3 GHz) exhibits a range of wavelengths suitable for antennas embedded in smart mobile terminals, and it is particularly suitable as it allows both indoor&outdoor coverage of large areas with a relatively low density of transmission sites.

Terrestrial TV transmitter networks are generally planned to serve users’antennas located at 10 metres above the ground level.Network planning experiences have shown that it is necessary to increase the density of broadcast transmitters by a factor of three to four in order to serve“portable”indoor receivers not benefiting from the gain of an outdoor antenna.Also, experimentations using broadcast transmissions co-located with 3G basestations (i.e.30 W radiated at 30 m above ground level) have demonstrated that only onethird or one-fourth of the 3G base-stations have to be equipped with broadcast transmitters to replicate the 3G services coverage.

The implementation of“Mobile Broadband”systems in the“Broadcast TV”digital dividend spectrum has revealed the requirement for a frequency guard band between infrastructures involving high power/low density transmitters&low power/high density transmitters.This prevents mutual interference and guarantees the Quality of Service over the whole coverage area.

The implication of these elements to the implementation of the global model is that three different densities of transmission sites would be required to cohabit in the UHF band, without mutually interfering.It would thus be necessary to define three spectrum bands–one for each network topology-and two guard bands.Accordingly, in between the existing“Broadcast TV”&“Mobile Broadband”spectrum bands, the definition of a“Mobile Broadcast”band would permit the deployment of the global model.

If the Broadcast TV band continues to host the traditional TV services with their possible extension to 4K&8K UHD services (which will require large but stationary screens) , the Mobile Broadcast band enables the deployment of the denser terrestrial infrastructure required for the one-to-many“broadcast”component of the model.

As far as the one-to-one“broadband”component of the model is concerned, it could be based either on 3GPP-LTE or IEEE-Wi Fi technologies, which both benefit already from allocated spectrum.The generalisation of an inband MBMS mode within these systems should increase the range of the coverage areas;and moreover, the suitability of the operation of IEEE-Wi Fi within the TV white space could provide an additional (spectrum) degree of flexibility in the implementation of the global model.

In summary, the proposed global model aims at offering an efficient means to deliver every category of MultiMedia service-thus extending the range of TV services to Mobile terminals and also providing an efficient method to divert part of the traffic overloading broadband networks;traffic essentially related to Multi-Media content individually delivered over a unicast wireless link.

To reach the“Universal Coverage Grail”for every cat-egory of Multi-Media service, the cooperation of coverageis required and the Services must be formatted to be agnos-tic of the last mile (hybrid) infrastructure used to deliversuch services-anytime, anywhere, and on any devices.

From a terminal perspective, a global picture shouldbe represented as Fig.6.

7 CONCLUSIONS

The global model for the Future Of Broadcast TV studied in this document aims at proposing an overview of an end-toend architecture covering the current and future needs of the TV broadcasters.

The Smart Broadcast concept is intended to generalise the usage of hybrid platforms (i.e.in one-to-many and one-to-one modes) along the Multi-Media Value Chain.Broadcast&Broadband technologies are used to render a full range of TV services either to stationary TV sets or to mobile smart terminals, and to provide a user experience beyond the quality of service available on the Internet.

The Smart Broadcast proposal also moves from“blind”delivery to the“managed”delivery of Multi-Media content, sustained by a cooperative usage of the best wireless technologies available to reach nomadic terminals, and thus justifying the usage of the spectrum presently occupied by the broadcasters.

The model described in this study implies rethinkingthe methods used to render TV services (not the TV servic-es themselves) :the“branded Multi-Media package”mustreplace the“branded digital pipe”;the one-to-many deliv-ery method must be used as much as possible and evenbacked up by the one-to-one method;a hybrid radio ac-cess must be generalized in the terminals;and a“multi-media application”must replace the self-discovery ofbroadcast services.In summary, the global model proposed for the Future Of

Broadcast TV aims to reconcile the COPE4studios with theATAWAD5users.The model framework introduces some newcore concepts and is intended to provide a future-proof re-sponse to all the use cases identified by the FOBTV community.

注释

11.ISO/IEC 13818“MPEG-2” (1995) defined a collection of“time-stamps” (i.e.Presentation, Decoding, Programme Clock Reference) accompanying the compressed audio&video streams within the TS packets.Accordingly, any means carrying transport stream packets shall be jitter free to maintain the coherency of these time-stamps.

22.By re-using the RF channel“several”times, MIMO coding techniques increase the capacity of the channel“several”times-extending the range of trade-off between bitrate&robustness.

33.eMBMS (Evolved Multimedia Broadcast/Multicast Service) implements two one-to-many delivery methods:“Broadcast”meaning delivery by the network without management of the terminals;“Multicast”meaning management of individual information to the terminals prior delivery, and the informed terminals having then to connect to the delivered stream.

44 .COPE:Create Once, Publish Everywhere

广播电视编辑现状及未来展望的论文 篇2

关键词：广播电视编辑；全媒体；个人素养

改革开放以来，我国的广播电视事业迅速发展，广播电视编辑行业也发生了天翻地覆的变化。社会进入全媒体时代后，广播电视行业也面临着转型和挑战，且对从业人员的专业技能和综合素质提出了更高的要求。

1广播电视编辑职业的简单分析

未来电视怎么“看” 篇3

传统电视的谢幕已在我们的视野之中;同时，数字电视的从容登场正酝酿着另一场革命。

一场球赛能有多“复杂”

如果你是一位NBA球迷，得知在某个时间有一场你非常渴望欣赏到的NBA球赛。但令你大失所望的是，电视频道并没有实况转播。在传统电视时代，你只能无可奈何地作罢。

然而数字电视时代决不会听任这样的遗憾发生。你只消在网络电视网中输入如“NBA”这样的关键字，全世界关于NBA球赛的电视频道就会呈现出来。还会提供与正在播出的NBA节目有关的各种资料和背景材料的增值服务，比如本场比赛的各种统计资料、新闻的背景性档案材料等，以及为那些球队的忠实支持者而设置的“上场比赛精彩片段提要”之类，以弥补他们偶尔错过的一场比赛。另外内容还包括：当电视主屏幕正播出某场比赛时，“画中画”能显示出主客队与球星的相关主页；如果幸运的话，观众还可以通过现场记者向球星提出感兴趣的问题；当然等节目播完，你要是意犹未尽，还可以用网络电视进入聊天室高谈阔论一番；或者如果你的主队不幸输了，全天候交互式电视游戏网在等着你，你或许能在篮球游戏中拼命一搏“修正命运”；看球赛时你突然发现科比的背心和佩顿的鞋帅得要命，你只要对着它们按一下遥控器，在屏幕上就会出现它们的牌子、面料、尺寸、价格等等。

一场球赛与电视观众的关系将不再是播出和收看那么简单，数字电视将使它比现在“复杂”许多倍，让它释放更多的价值和乐趣。当然，也会创造更多的商业利润。

“二八定律”以前被认为同样适合于传播学，即80%的用户，其信息需求集中在20%的内容之中。但是，人们生活内容的丰富和信息的爆炸式增长，正在否定着这条定律。

“什么时候看、看什么”，将都由观众自己来决定，不必受制于电视台的固定节目安排。

对于提供电视节目的电视台来说，实现这一点首先需要海量存储作为基础。传统的模拟电视节目的制作与播出，基本是建立在模拟电磁技术体系基础上的。采集后的信息记录在模拟视音频磁带介质上，节目在台内的存储管理所依赖的唯一平台是人工管理的磁带库。这样的存储方式远远满足不了人们保存视音频信息的需要。中央电视台《艺术人生》栏目策划的一次电视剧《红楼梦》剧组人员20年后再聚首的节目，引起了巨大的社会反响，但是可惜20年前的一些拍摄花絮因为当时保存和管理不当，很多已经找不到了。

信息技术体系能够彻底解决这个问题。利用数字通信技术、网络技术和计算机技术，高密度、高流量的多媒体信息被转换成便于存储、复制、处理、检索、共享和呈现的格式，视音频节目将被完好地保存和管理以备各种用途的信息服务。不过，这里所说的海量存储不是指容纳无限，容量的极限仍要取决于存储介质技术的限度。

另一个关键词是“开放”。以后当我们回顾起现在我们是如何利用电视节目时，我们会感到深深的痛惜——那么多可以重复利用、可以创造巨大价值的节目，居然仅供播出一两次。在播出之后，往往就被长久地封存在了电视台的磁带库里，“自绝于观众”了。而数字电视内容资源将是真正意义上的开放性资源，“台内资源”将成为一个历史名词。在集中的、完整的、开放于社会公众的信息库中，“台内”和“台外”在任何时间地点都能从中得到所需要的内容。2003年8月，BBC宣称，该公司已启动了一个计划，该计划的目标是基于互联网和BBC的电视节目资源，打造“世界最好的电视图书馆”，该公司数十年来录制的经典电视节目将通过互联网向公众开放。BBC将该计划命名为“创新档案”。作为该计划的一部分，BBC将会把部分拥有版权的电视节目发布在该系统中，并通过有效的认证授权、许可下载机制，允许经过注册的大众用户下载收看。

关于“开放”，还有一点：如果你有足够的时间和热情，你甚至可以搞一个“小作坊”，把私人拍摄制作的内容上传，由电视台向更多的观众发布。电视台会乐于充当这个中介，因为在来自社会公众的各类视音频资源的基础上，它可以构建新的增值业务体系。在文化的意义上，电视由此成为真正的“大众”媒体，因为大众已经可以有计划地直接参与到媒体资源的建构中去表达自己，描述生活。

怎样找到一个十年前“脚印”

也许你在很多年前看过Discovery频道的一个节目，那里边讲述了一个原始森林里发现的不明脚印。十年后你成了一位中学生物教师，在备课时你突然想到多年前在Discovery里见过的那个脚印，为了让学生们知道大自然中还存在着许多未解的奥秘，你希望让他们也能瞧瞧这个好素材。

你大概不会指望在现在的网络搜索引擎里输入“脚印”二字，就能轻易把它找出来吧？

数字电视的视音频资源库提供的多媒体智能检索可以让你轻松地找到那个你想要的脚印。

传统意义上，信息是以离散的形式，如字符、数字等，存储在关系数据库或者互联网上，并以结构化查询语言（SQL）或基于URL的超链接来进行查询检索。而多媒体数据则是连续的、形式多样的、海量的信息，并且多媒体数据，如图像、视频，是弱结构的，在不同人的眼中可能有不同的理解，要把所有不同的解释都用关键字来表示显然是不可能的。另外，关键字不能有效地表示视频数据的时序特征，也不支持语义关系，所以基于内容的检索技术应运而生。

智能检索的基础是对信息的有效组织和管理。信息在进入存储网络时，会自动进入一个提取特征、知识挖掘的过程，表示信息的相关数据不是静态而是动态的，它们可以在网络的子系统中“游走”，由此诞生的就是分门别类的“知识库”。有了“知识库”，信息的传输和利用就能够最大限度地发挥效用。

在一个庞大的存储网络中，最关键的问题是，使无论什么类型的内容都能被各种应用系统有效利用。北京广播学院计算机与软件学院院长吕锐教授在谈到这点时说：这个变革将是革命性的—我们现在用的是基于关键字的检索，而以后用的是基于内容的检索，即根据内容的属性来关注我们要找的信息。“这样路由的压力就小得多，而对可用带宽的利用率就大大提高了。因为我们不再是傻乎乎地把数据搬来搬去，而是只传输那些有效的东西。”

吕锐教授举了一个例子说明一个数字电视的用户可以用智能检索来做些什么。“你期待的欧洲锦标赛就要开始了。为了让你更好地观看比赛，在这之前，所有球队和球员的相关资料，包括图片、视频、文字等等，都已通过前期技术上传到一个系统中，这个系统能够支持完全的互动。在你观看球赛的时候，你钟爱的一个球星在前场的一脚射门，令你联想起他在另一场比赛的一次射门，于是你点进互动界面，查找关于这个球星的资料，一个小窗口会弹出你想回顾的那个情景。这时，你检索的对象是‘某球星’这个‘内容’，所有关于这个‘内容’的东西你都能轻而易举地找到。而使用我们目前的检索，关于某个球星，你只能得到些零散的东西。”

智能检索的作为还不止于此。智能检索输出子系统可以对检索的结果进行播放，能够支持广电业务流程中诸如审片等工作模式，或使各类业务能够得到相应检索的视频内容处理。

目前，基于内容的多媒体信息检索的主要工作集中在识别和描述图像的颜色、纹理、形状、空间关系上，对于视频数据，还有视频分割、关键帧提取、场景变换探测以及故事情节重构等。

未来的电视台

电视台里每天出入着忙忙碌碌的记者、编导们和其他节目制作人，在未来电视台的运作状态也许不是这样—未来的信息社会，电视台扮演的将只是一个纯粹的、内容集成的角色，就是媒体企业。

电视台所要“集成”的内容来自于专门的内容提供商，节目的生产制作不再是它的职责，电视台转型为平台运营商，专门负责整合数字电视频道、综合信息处理和管理用户群。你会看到，未来数字电视用户所享有的服务来自内容提供商、媒体企业和网络运营商三方的协作。

与这个分化过程同步的是报纸、广播和电视将会融通，成为一种新的新闻机构。而这个机构所从事的业务还远不是现有报纸、广播和电视的各自业务的累加，它还经营诸多种类的“前电视产品”和“后电视产品”。这种融通的驱动在于更低的成本和更多的增值点。然而这个“合”之中又包含了“分”：一些小的、专业化的媒体会依附于大的新闻集团或节目提供商，做自己更个性、更专业的内容。

另一个上演“分”与“合”演变的角色是SP（服务提供商）。目前的SP主要在互联网上提供数据服务，也有部分流媒体服务，但是质量还不能让人满意。吕锐教授说：“今后会有相当一部分人从现在的媒体中转型去做SP，更大、更广泛意义上的SP就产生了。这样，互联网和电视的内容必定会融合。同时，这些SP会在专业上分得非常细，它可能比较小，但是它会在某一方面非常专业。”

在这些分合之变的背后是这些机构的工作中人工参与的环节减少，人工业务的比例降低。模拟电视的运作过程中，从拍摄、编辑制作到播出，各个环节均离不开人的操作。这不仅使工作效率受到限制，而且增加了由于人为操作而带来的高错误风险和低协同工作度等问题。而数字电视则将节目制作视为一个信息处理过程，人在其中的任务仅限于提供创意和决策，不再是参与各个环节。工作人员的工作将由“面向功能”转向“面向任务”。也就是说，他们所面对的将不是层次结构的功能菜单和复杂的操作控件，而是在业务流程的各个环节中流转到该使用者的各个任务，面向任务的操作接口以简要为特征，使用者能够看到的只是同自己所负责的操作有关的为数不多的控件，智能化的系统将负责更多的后端业务信息处理。各业务和管理部门的互联互通问题也将通过数字化和网络化迎刃而解。有“想法”将是对从业人员最重要的要求，而不用花费很多时间来学习怎么进行线性编辑。

由于专项业务可以在一个统一的平台上得以开展，媒体可以采用多种方式实现内容的发布，如网络、交互电视、移动通讯等，并可以实时有效地控制媒体资产的使用权限和范围、发布形式和情况。

数字电视机

一个超薄的、或大或小的显示屏（它可能有多种形态）、一条宽带、一个外接的控制和输入设备，这就是未来的数字电视的基本配置。“电视”的概念绝不再是一台孤零零地摆在柜子上的电视机了，它与人们的关系更为密切，对人们的帮助更为多样，它意味着无所不在和无所不能。可能它带给我们唯一一个稍微麻烦点儿的问题是：该把它放在书房呢，还是客厅？或者所有房间都装备上。

是的，你将很难给电脑和电视之间划出界线，因为它们差不多是同一种事物了。如吕锐教授所说的：“就开放性业务而言，互联网是最具发展潜力的网络形态。互联网是一个基于标准计算机网络通信协议体系的多媒体信息环境，基于互联网来实现数据库化的应用系统，是一套成熟的应用技术体系，这对数字广播电视内容的开放式业务系统的构建和维护是十分有利的。基于互联网和Web流媒体技术的多媒体视音频业务，必将是未来数字广播电视开放式业务的主流解决方案。”

在不久的将来，看过模拟电视的人们，出于旧有习惯可能会把新的看电视方式描绘为“在网上看电视”；而“新生代”们会觉得这种说法难以理解，因为高度整合的信息和服务早已经不是现在的电视节目这么简单了，他们习惯的就是新生事物。

模拟电视的诞生是20世纪30年代的事。在此后的几十年里，这项发明对人类文明进程产生了深远的影响。而数字电视，同样超出了纯技术的范畴，催化社会观念变革和家庭观念变革，它将毫无疑问的改变人们进行生产、流通、学习、娱乐和交流的方式。在数字电视诞生的背景下，“数字鸿沟”的消除也不再是个难解之题。

从FoBTV看未来广播电视的发展 篇4

FoBTV是全球未来广播电视研发组织, 它不是一个非常官方的政府机构, 而是一个非公司、非赢利的, 由全球广播电视公司、广播电视标准组织、研究机构、运营单位、制造企业共同建立的联合组织, 旨在创立一个全球的统一标准, 从而避免各地分据的不同标准带来的频谱资源浪费。

这次报告将围绕FoBTV组织, 来谈谈目前国际上广播电视行业的发展、目标、工作进展, 以及未来技术的一些展望, 目的是为FoBTV组织做一点宣传的同时, 让大家更加关注广播电视, 推动全球广播电视行业的发展。

1 关于FoBTV组织

2011年11月10日, 由上海数字电视国家工程研究中心牵头, 由美国ATSC、欧洲DVB、加拿大CRC中心、日本NHK、巴西TVGlobal等13家知名广播电视机构共同发起, 在上海国际会议中心举办了“FoBTV”高峰论坛, 形成了FoBTV的雏形。2012年4月17—19日, 在拉斯维加斯全美广播电视设备展期间, 实质启动了全球未来广播电视研发计划, 即FoB-TV Initiative。目前, FoBTV规模日益扩大, 参与的企业已达48家, 成员数量还在不断增长, 越来越多的知名机构、龙头企业, 如三星、LG等企业已经加入FoBTV, 据我所知, 华为也有可能会加入进来。

2 未来广播电视的发展

FoBTV的管理委员会组织了应用需求征集小组, 主要从用户、网络运营商、管理者3方面征集, 得到的应用需求将成为未来广播电视发展的重点。在征集的29个应用需求中, 有12个提到了广播和宽带业务的合作, 二者结合并共同为互联网服务已经成为一个必然的趋势;有2个提到了城乡二元结构问题, 在发展中国家, 城乡发展不平衡, 环境存在着差异, 有着不同的应用需求;有3个提到了多屏幕和多视角的应用, 在多屏幕之间进行同时切换, 标记内容, 同步和传递内容到其他设备。此外, 还有超高画质、3D音效、高清图像往便携或固定设备传输时, 需要更多的信道容量。其他一些建议包括有效利用广播网络的夜间传输、标准化应用分发程序框架以利用应用传输和执行和云传输等。

在技术方面, 高效视频编码技术还在不断发展, ITU-TISO/IEC视频编码联合合作团队正加紧为2013年的HEVC标准出台做准备, 计划该标准也能实现较AVC技术相同的节省量, 并且可实现3D视频编码;电视音频的编码技术也不容忽视, 其与媒体融合将带来巨大的影响, 如今德国弗劳恩霍夫协会在高级音频编码 (AAC) 之后又提出了新一代的高级音频编码, 利用“终极音响效果”来俘获观众;信道传输方面, 高性能的传输技术被不断引入, 如双极化MIMO技术、基于空频分组编码的高稳定性传输技术、超多层面的正交频分多路复用技术等, 一些高性能编解码技术也会引入。

FoBTV技术委员会副主席吴亦彦教授提出了一种可靠的云传输系统, 其用于地面广播或者点对点的多媒体服务, 通过牺牲有效码率并利用高强度编码的特点, 从空间、时间、频谱的角度有效地利用了资源。

针对中国国情, 上海交通大学张文军教授提出了面向中国广播市场的新一代地面数字电视演进系统Cruise计划, 该新系统具备“可管可控、关联内容、无处不在、浸润式体验、社交应用及智能终端”的技术特点, 这也是我们正在研发的项目。

很多德国、美国的专家提出了很多技术解决方案, FoBTV刚成立一个应用需求组, 进一步的业务模型、针对需求正在进行中。

未来电视作文 篇5

这就是未来的电视，它看起来像个手表，却远远超过手表的功能。

它是由按扭区、液晶屏幕、微型护眼灯一个、扬声器、耳机和太阳能电池板组成的。按纽区共有十个按纽，分别可以看电视、听音乐、与电脑辩论，或电视上网、在网上聊天;还可以玩简单的游戏等。液晶屏幕分两个：一个较大的，供看电视用;一个非常小，呈长方形，是个电子手表，而且晚上是夜光的。微型护眼灯是折叠式的，非常亮，晚上如果睡不着，你可以打开电视，再按一下位于按纽区的照明键，这时会从手腕的右侧伸出一个7厘米的护眼灯，在0。001秒的

扬声器不但能在看电视或听音乐时发出声音，而且能与你辩论……可这都是基本的功能，扬声器还有个特殊的功能，那就是它能发射超声波!当你遇到坏人或 的要挟时，赶快按下按纽区里的“护身”键，扬声器就能发出超音波，准确无误地击中目标，准确率高达100%!耳机不但能听音乐，而且还可充当无线电对讲机使用。太阳能电池板就更绝了，它竟然能吸

未来电视，如何开“讲” 篇6

名为《一人一世界》的节目。这档定位

原创个性互动演讲的节目作为央视台属重点项目

被安排在了电视竞争最激烈的每周五晚黄金时间

播出。节目第一期播出后冲上了微博综艺榜前三

名，话题转发上千万。

在《一人一世界》之前，《开讲啦》《超级

演说家》《我是演说家》《人生相对论》《我是

先生》等演说类节目均保持了不错的成绩，其中，

《开讲啦》从2012年起以周播的形式在央视综合

频道播出了3年，安徽卫视《超级演说家》和《我

是演说家》联合在一起共走过了5季。

“没有歌曲的高潮旋律，没有装置形成的情

绪兴奋，没有户外真人秀的互厮与恶搞，没有绚

丽奢侈的声光特效，因此，语言类节目是创新难

度最大的。”中国社会科学院世界传媒研究中心

秘书长冷凇表示。

这些节目在众多户外明星真人秀的包围中经

过了时间的检验，必有其独到之处，而其共有的。演

讲“形式让人不自觉联想到风靡全球的TED大会。

与此同时，我们更关心的是，未来电视，如何开讲？

生存之道

“我特别庆幸今天站在这样一个舞台上，它

汇聚了全中国最不沉默的一群人，而这个舞台最

宝贵的，恰恰是我们每次上台之前的那五个字‘你

说，我们听’。一个善意的表达空间，应该是有

一方在表达，一方在沉默地聆听，也只有在座各

位默默地聆听，才使得我们的话语，掷地有声。这，

就是可贵的沉默，沉默有千钧之力，言论才有自

由之光。”

这是10月4日，新闻专业的吕强在《我是演

说家》舞台上发表的一篇名为《可贵的沉默》的

演讲片段。这篇演讲既包含了作者对《我是演说家》

这个节目的理解，同时，又控诉了当今社会，人

们对“言论自由”之意的曲解导致的“网络暴力”“媒

介审判”等现象。节目播出之后，这篇演讲稿立

马出现在了网络上，甚至有在校学生告诉吕强，

老师在上课的时候以他这篇演讲稿为例授课了，

无独有偶，《超级演说家》第二季冠军刘媛媛的《寒

门贵子》视频也曾在微信等社交媒体上疯传。

作为《我是演说家》《超级演说家》《一人

一世界》等节目的制作方，能量影视总经理郭志成

告诉《综艺报》，公司并没有大范围在网上推广

这些视频，网友的行为源于自发。他说，演说类

节目之所以能够长青，是因为抓住了电视的本质，

电视的本质就是通过语言来表达对事物的认知。

“过去交通不发达，但现在你一定不满足于

在电视上看‘蒙娜丽莎’这幅画，你想去卢浮宫看，

那么通过电视你想看的是，人们怎么评价这幅画，

《中国好声音》也绝不是展现某首歌，而是唱完了

之后通过导师和歌者之间的询问，对话展现他们

对于音樂引发的讨论。也就是说，电视的功能早

就超越了展示这个阶段，所以我跟员工说，你们

不要把节目做成一个舞蹈的展示，一个钢琴曲的

展示，你要让观众看到的是他们喜欢的人或冲突或

趋同或多元的价值观，所以明星的价格只会更贵。

一个节目的好坏就取决于有没有结合这个本质。”

郭志成认为演说类节目长青的原因是直接以

演讲作为手段把价值观表达了出来，同时还有四

位导师通过互动呈现的价值观。即“认准本质、

选材直接”。

《超级演说家》和《我是演说家》由于服务

的平台不同，在价值观呈现，导师阵容等方面均

有所不同，北京卫视强调正能量和情怀多一些，

安徽卫视则较多强调丰满个性和人生故事。

同样作为演说节目，《开讲啦》极具标识，

如果要追溯中国演说节目的起源，这档创办于

2012年的节目应该算是国内首档，它邀请企业界，

艺术界，学术界，科技界等众多名人进行演讲并与

青年代表进行面对面交流，填充了电视荧屏的“思

想空间”。

“看一个国家的电视屏幕，就知道他的民众

的精神世界。《开讲啦>没有做‘盘古开天地’的

壮举，只不过做了一个火炬手，点燃了每个年轻

人心中那颗叫做理想的种子：《开讲啦》没有改变

电视规律，只不过搭了把手，打开了年轻人心中那

扇叫做情怀的窗。”唯众传媒创始人，总裁杨晖

的博客里有这么一段话。她坦言，做《开讲啦》的

初衷，就是想做一档有营养大家又买账的好节目，

但事实上，电视演讲节目的制作及播出需要勇气，

几乎无人相信这节目竟能点燃影响力和收视率双

响炮，“中国人没有演讲传统，更不会将‘演讲’

这样一个不讨巧的节目形态搬上电视荧屏，我呢，

和冯仑一样，不愿意走别人走过的路，不愿意看

别人看过的风景。冒险的事，我最爱干。《开讲啦》

不讨巧，凭原创，靠真诚打动观众。”

这档节目如今走过了3年，青年群体通过与

自己感兴趣的名人或者偶像对话汲取到了正能量

和价值观。这也正是该节目在先锋青少年当中备

受关注的原因。

TED“纷争”

关于演讲，网络上的先锋青年喜欢看的一

种视频叫做TED，即Technology（科技），

Entertainment（娱乐），Design（设计）三个

英语单词首字母的缩写。TED于1984年由理查

德沃曼和哈里·马克思共同创办，是一家私有非

营利性机构，TED大会则是从1990年开始，每

年在美国加州的蒙特利举办一次。2002年起，

克里斯安德森创立了种子基金会（The sapling

Foundation），并接管TED大会，每年3月，

TED大会在美国召集众多科学、设计、文学、音

乐等领域的杰出人物，分享他们关于技术，社会，

人的思考和探索。

TED大会上的每一个演讲者都只有18分钟的

时间，理查德·沃曼希望通过这样的规定，避免因

演讲时间过长显得拖沓，同时迫使演讲者更精心

地准备演讲内容，从200&年起，TED演講的视频

被上传到网上。演讲使TED从以往1000人的俱乐

部变成了一个每天10万人流量的社区。为了继续

扩大网站的影响力，TED还加入了社交网络的功能，

连接一切“有志改变世界的人”。

TED的传播内容和传播方式在全球范围内带

来了很大的影响，改变了世人对于演讲的认知，受

TED的影响，越来越多的年轻人开始改变循规蹈矩、

照本宣科的传统演讲方式，尝试更加新颖的演讲

形式。

首发于今年，《一人一世界》邀请科技的先

行者，艺术的探索者，文化的洞见者上节目进行

演讲，分享他们对于科技，人，自然，社会的思考。

他们中既有海洋科学家也有城市规划师，既包括

医疗工作者，也包括漫画师和游戏设计师。

总导演兼制片人杨晓晖表示，《一人一世界》

吸取了TED“传递有价值的观点和思想”的精神内核，

是对TED模式的电视化改造。“我们觉得中国电视

现在有一块内容是缺失的，他把一批有头脑，有远见，

对未来充满好奇的精英赶出了中国电视观众圈。因

此，这档节目是给对这个世界好奇并且有独立思考

的人看的。我们刻意规避了明星，尤其是娱乐明星，

不做大牌成功学，也不做公开课，我们只想打开一

扇窗户让大家看到世界上形形色色的可能性，节目

的口号就叫做‘遇见人生无限可能’”。

TED极其简约，演讲者有时甚至不用PPT。

在将其做成《一人一世界》这样的电视节目时，最

大的改动就是舞美和呈现方式，杨晓晖介绍，整

个舞台设计极致、简约，色调以白光、黑背景为主，

突出炫目的大屏。节目采用裸眼3D沉浸式舞美，

让大家彻底沉浸在内容和视觉感受里，同时让演讲

者和他讲的内容完美咬合、互动。同时，还要考

虑用各种电视化手段把演讲主题视觉化，第一期的

主题是动作捕捉，为使观众真切感受到这种技术，

节目组请一位京剧演员佩戴上动作捕捉的装备，

演员在做动作的时候，屏幕上的机器人便同步做

出一样的动作。现场效果让人极为震惊。

《开讲啦》《超级演说家》《我是演说家》

等节目播出后，也有不少网友问道：是不是TED

模式的电视化呈现？

对此杨晖告诉《综艺报》，“可以理解，因

为现在的年轻人正好就看到TED。我觉得TED更

小众，《开讲啦》是大众的，这是本质区别。拿

我们做的节目和TED做比较，更多是大家的习惯

性思维。二者在操作上是没有可比性的，我们既

不能借鉴TED的题材（科技、娱乐、设计等内容），

也不能借鉴它的形式，毕竟它就是一个极简单的

演讲。如果真的借鉴，只会让我们离电视观众和

收视率越来越远。我们要借鉴的其实是大量优秀

真人秀的思维，叙事结构以及电视表现形式。”

SMG节目模式研发博士后高级研发员马忠君

认为，TED本身在国外也不是电视节目，而是针

对受众进行定向传播的东西，它的特点是新知，

新锐、前沿，它其实是在讲人们在各个领域如何实

现自己的价值。国内的演讲节目在公开的频道播

出，承担的是综艺属性，因此在嘉宾，节目的调性、

话题等方面都不一样。

审美疲劳怎么破

也许正因为借鉴了TED知识性的一面，《一

人一世界》第一季被认为“高冷”。马忠君表示，“《一

人一世界》讲的是知识，而且是故宫、材料科学、

海洋科学等各个领域的知识。这种情况下，观众需

要大量的背景才可能跟这个知识对接，难接地气，

TED虽然也是各个领域的未知，但它的主题其实

是人，就会比较好操作。”他给出的建议是，“人

物要成组出现并且建立关系：演讲的内容需要是

专业背景下的人生故事。”

杨晓晖表示，《一人一世界》第二季会在坚

持极致简约和仪式感的同时，寻找更多有热度有

温度的话题，增强叙事性，加强与观众的互动性，

以更加开放的心态做节目。

对于已经播出很多季的演讲节目，乐正传媒

研发总监彭侃道出其困境。“中国人比较喜欢听故

事，演说类节目采用了比较简洁的形式，具有可

看性。但看多了之后会有一种‘千篇一律’的感觉，

甚至有的节目会走上‘成功学’误区。怎样在内容

高度和形式创新上有所突破，是亟待解决的问题。”

郭志成坦言，创新的困惑从第一季就有，因

为观众要求会越来越高。“大家会用第一季里最

优秀的几个演讲来衡量第二季所有的演讲。所以，

如果把精力放在演讲本身，那将永无止境。我们

能做的是，第一，努力缩小这种差距，请到优秀的

演讲者和大家喜欢的导师；第二，要有正常的心态，

节目都有它的生命周期，我们要做的是尽可能延

长它的生命。“对于”演说家系列“所处的生命

周期阶段，他表示不好评价。“中國的电视市场

标准混乱，不科学。”

杨晖认为，继续保持《开讲啦》独有的个性

非常重要，未来，演讲主题和嘉宾拓展是节目升

级的重点方向。嘉宾方面，《开讲啦》未来嘉宾

的规格会更高，记者采访时，她和节目组正在开

启“英国行”模式，邀请到马云、王石、姚明、

威廉王子，BBC动物节目主持人戴维，探险家贝

尔格里尔斯，以及英国顶级设计界人士，包括圣

马丁学院的院长，《哈利波特》中的演员，维珍

金融CEO等一起谈野生动物保护，商业，创业，

创意等主题。值得一提的是，威廉王子此前没有

接受过全球任何一家媒体的专访，这次接受《开

讲啦》邀约可见这档节目在全球的影响力。杨晖

表示，未来，由于嘉宾的变化，《开讲啦》主题

会更多强调创新、创业、科技感。另外，怎样让

嘉宾具有好的表现力，怎样从导演角度来增加让

大家意外的期待，还需要用真人秀的思维增加节

目的戏剧性和叙事能力。

彭侃倾向于从全球模式节目的视野为演讲节

目把脉。他介绍，英国有个节目叫《国王和皇后

的演讲》，请了六个专业的演讲培训师去六个学校，

通过演讲、辩论的方式帮助一些不善于表达的学生

扭转个性，提高语言能力，节目带有社会公益色彩，

同时将演讲节目真人秀化了。我们的演说类节目

也可以考虑走向户外，带着公益属性近距离接触

普通人的生活。同时，演讲者也大可不必局限于

成功人士，“日本有一个节目叫做《失败课程》，

演讲的内容是“我为什么会失败”，邀请的嘉宾

都是有过挫败经历的人士，比如有人做生意失败甚

至因为经济问题入过监，有人以前是很火的演艺明

星，但因为个人作风等原因事业毁于一旦。也许可

以考虑做一季‘失败课程’，会给人耳目一新之感。”

基于“互联网”的“生财之道”

近两年，产业链、IP化风靡，由《爸爸去哪儿》

《奔跑吧兄弟》等节目所衍生的商业价值空间被

无数节目放大想象。演讲类节目的开发空间大体

有出书和开发演讲APP两种渠道。

目前，《开讲啦》已经出了两套图书，销量

均达到10万册以上，开发节目的自媒体阵地也是

其未来努力的方向。

作为《超级演说家》《我是演说家》掌盘者，

郭志成正在全力开发一个名为“言值”的APP、“有

人建议用刘媛媛的稿子拍一部电影，我想如果有

靠谱的创意真可以试一下，但这还是传统的大家

能想象到的所谓IP开发。我想的是，利用这几年

积累的工作方法和对演讲类节目受众需求的认识、

对说话节目的了解，在新媒体空间内做一番事情。”

通过做演讲节目，他发现，报名演讲的人比

报名唱歌的人多多了。“也就是说善于表达的人是

一部分，想表达的人则是大部分，中国人不像外

国人一样会在礼拜天进教堂忏悔，他并不在意小

窗户那头有没有神父，但是说完就痛快了，我们

还是有一些信仰缺失带来的心理问题的，因此，“言

值”希望构建一个说话交流的平台， “节目的标准

已经混乱了，而这件事是直接面对客户的，你只

要按照客户的要求不断完善，比如拍得漂亮一点，

声音处理一下，背景是教堂还是公共汽车站都可

以自由选择。”同时，“言值”还可以撮合培训，“比

如你出1000块钱，就可以跟陈鲁豫有个小范围的

线下互动，如果你只出了50块钱，那就排队等候，

凑够1000人后我们会安排交流，说不定APP里面

又有新的网红，演说家里很多优秀人才他们也都

有粉丝”。

“言值”目前正在试运营阶段，预计年内正

式上线。郭志成介绍，这种社群式生活会是这款

广播电视编辑的现状及未来展望分析 篇7

关键词：广播电视编辑,全媒体,个人素养

改革开放以来,我国的广播电视事业迅速发展,广播电视编辑行业也发生了天翻地覆的变化。社会进入全媒体时代后,广播电视行业也面临着转型和挑战,且对从业人员的专业技能和综合素质提出了更高的要求。

1 广播电视编辑职业的简单分析

广播电视编辑是国家广电事业中非常重要的组成部分,对我国广电事业的发展做出了很大贡献。随着时代的进步,广播电视编辑的编辑素养内涵方面或多或少地存在一些问题,包括政治素养和服务观念、社会交往能力、对艺术的鉴赏能力等。政治素养和服务意识是广播电视编辑在任何时期都需要具有的品质,它是我们做好本职工作的前提和基础[1]。广播电视编辑要有比较强的观察力和判断能力,在当今信息错综复杂和真假难辨的环境下,准确地把握好正确的方向,维护党和人民的利益。为达到此目标,广播电视编辑需要利用社会提供的资源,不断提高自身的政治觉悟和专业能力,尽量多地去了解观众内心,坚守道德原则,把握好政治性,提升广播电视对国民的有利影响。通过较强的社会交往能力,可以得到更多来自社会各个方面的帮助和配合,获得更多、更准确的信息及其他方面的资源。只有拥有了相关的知识和技能,才可以在节目内容制作中加入能够满足群众审美需求的元素,提高广播电视节目的质量[2]。

2 广播电视编辑素养未来的提升方向

本文所说的提升主要包括三个方面:掌握专业规律,拓宽知识面,培养创新意识等。

2.1 掌握专业规律

在广播电视节目制作过程中,需要各个编辑来进行分工合作,因为广播电视节目是一个综合体,由声音、图像等很多元素组成。在一个节目的制作当中,首先要注意节目内容的合理编排及组合,充分尊重其他相关工作者创作的意愿,对节目的整体想象、精神、内容和指向性等方面进行准确把控。通常情况下,广播电视节目的社会导向是体现广播电视编辑政治素养、社会责任感、个人素质及个人修养等重要方面的一个内容。总的来讲,广播电视编辑个人的综合素质可以直接影响节目的质量,因此培养他们的素质和专业技能,让他们掌握相应的专业规律是十分重要的。

2.2 拓宽知识面

广播电视节目的涉及面特别广,不但要求编辑有扎实的政治方面的素养和专业知识,还需要广泛地了解其他领域的相关知识,有了强大渊博的知识储备,在具体的工作当中就较容易开展各项工作,可以在很大程度上提高作品的创作效率和质量。广播电视节目作为一种综合性比较强的艺术,它的综合性主要体现在编制节目的过程中,工作人员既要掌握剪辑编辑等方面的知识,还需要对其他领域有比较深入的了解,如美工、摄像、音响、照明和音乐。只有比较深入地了解和掌握相关知识,才能全面地综合把控节目制作[3]。如果对这些知识掌握得不够全面,在节目制作中,就很难使用统一性的思维方式和水平来完成作品,使节目的意图很难被表现出来,影响群众的观看及收听兴趣。因此,拓宽知识面是非常重要的,广播电视编辑具有广博的知识和技能可以使节目更具生命力。

2.3 培养创新意识

社会在进步,广播电视节目也要跟上时代的步伐,在全媒体时代中,互联网媒体给传统的广播电视节目带来了巨大压力。因此,广播电视节目的所有工作人员需要紧跟社会发展的步伐,培养创新意识。广播电视编辑的创新能力对节目的创新,有非常巨大的影响,节目是否有足够的创新性会直接影响观众和听众对节目的反应,也决定了一个节目的生命力。从这方面出发,要想提高广播电视编辑培养创新意识,就要提高对其新闻及社会信息的敏感度,尽最大的能力在政治环境允许的范围内进行深层次的解读,尽量去了解社会各个方面的实际情况,提高节目的实际价值。

3 结语

对广播电视编辑的素养进行大力的培养是非常有必要的,在互联网媒体的冲击之下,如果还不尽快提高个人素质提高,创新节目制作流程,那么节目的听众和观众将越来越少。如今,只有“与时俱进,开拓创新”才能加强广播电视工作者的整体水平,才能提高节目质量,更好地为人民和国家服务。

参考文献

[1]杨光.广播电视编辑研究的现状及其趋势分析[J].电子制作,2015(1).

[2]刘心迪.试论广播电视编导职业发展现状与未来展望[J].新闻研究导刊,2015(15).

广播电视主持人未来发展的方向 篇8

以往广播电视没有对受众细分, 各个城市频率、频道在节目的设置上大同小异, 很少考虑不同受众的需要, 一位主持人担任很多主持工作。但随着广播电视受众的细分, 专业频率频道占据媒介主流地位。如吉林市本地电台有九套频率, 要求主持人向“专而精”转型。在广播电视受众日益分化的今天, 节目主持人必须找到适合自己的主攻专业方向, 并在这些领域中强化专长、收集信息、充实头脑, 不断地发掘潜力, 拓展自己的发展空间, 在更广阔的领域进行专业化的信息传播, 使自身具有更为长久和活跃的生命力, 以实现传播效果的不断优化, 进而实现主持人自身的发展。

(二) 个性化生存

对主持人而言, 个性包括节目宏观风格、形式、内容的个性和微观语言、体态、视角的个性。这是主持人的固有品质, 是内在修养的外在表征, 是思维与智慧的外化和延伸, 是思想的外在包装方式。个性化是主持人自身条件与栏目、个性与受众审美有机契合后的发挥, 所表现出的智慧性和独特思维依附于人格基础。

随着广播电视传媒业“窄播化”进程的加剧, 各个频率频道节目越来越专业化, 设置的各档节目都针对不同的受众群。主持人要树立受众喜闻乐见又属于自己个人的风格和气派, 要利用打上自己个性烙印的风格和气质吸引受众的目光和注意。要追求个性, 寻找与众不同, 不能背离一定的原则, 即主持人在节目中是代表媒体发表言论, 不能为追求个性而忘记媒体工作者这个身份。主持人在追求个性的过程当中, 还要学会动脑。勤于动脑, 从直观的形象中看到事物的本质, 找出深层次有价值的东西。

(三) 娱乐化气质

娱乐化气质, 要求主持人要以快乐为主题, 增加节目的互动性, 比较注重气氛, 讲究要调动听众的情绪, 让每个人投入到节目的氛围中去。娱乐化和讲求艺术精神及品位并不总是对立的, 在娱乐化中寓于艺术精神, 寻求娱乐化与艺术精神的统一, 这是主持人培养自己娱乐化气质的原则。

娱乐化是柄双刃剑, 定位找对了, 听众就喜欢, 定位不对路, 就会被人说成做作, 哗众取宠, 甚至恶俗, 但并不能就此否定主持人培养娱乐化气质的大方向。而且也说明大家的精神需求提高了, 更需要娱乐, 因此更加关注和挑剔。娱乐化代表变革的主流方向也是目前主持人发展的主流方向, 大道无痕, 大巧不工, 主持人艺术是大众的艺术, 那么可用八个字来代表即“大俗大雅, 大雅大俗”。

(四) 品牌化发展

品牌是一个经济学名词, 用到广播电视节目主持人身上有了特定的内涵和特征。随着媒体竞争的进一步加剧, 我国媒体已经由广告竞争、发行竞争、新闻竞争、人才竞争发展到了品牌竞争阶段, 具有品牌价值的优秀主持人是各个广播电视台内最鲜活、最具个性的品牌, 不但对观众具有广泛的号召力, 而且对观众的忠诚度具有重要的影响。努力提高主持人的品牌价值, 实际就是提高广播电视媒体本身的品牌价值。

“一个具有品牌价值的主持人往往是这个栏目这个频道乃至这个台的符号和标志。如孟非、汪涵, 他们主持的节目和栏目皆因风格各异而为不同的观众喜爱和认可, 他们主持节目的不同风格就是对频道和栏目极好的包装, 这就是品牌效应, 它可增强观众对频率频道的认识、关注及喜爱程度。”电台主持人应该走品牌建设的道路。在未来的广播电视媒体行业, 塑造节目主持人的品牌是一个系统化的、科学化的过程, 需要结合主持人的外形、学识、性格、经历等等, 形成与之相对等的、相协调的风格, 成就一名具有品牌号召力的主持人需要几年甚至十几年的时间。

结论:

随着广播电视的发展, 为节目主持人提供了更为广阔的发展空间, 也对主持人驾驭专业化的节目、管理者有效管理主持人队伍提出了更高的要求。作为频道和节目的品牌, 主持人对广播电视的发展进程起着重要的作用, 而要使主持人团队能有较强大的竞争力、创新力, 就需要广播电视的管理者建立一套完善的主持人发展激励体系, 及时看到各个主持人所处的需求阶段, 不断调整对主持人激励的方式方法, 这样必将会收到事半功倍的效果。而主持人正当的需求得到满足, 亦会使主持人更加努力工作, 创造出更多的成绩, 这对于管理者和被管理者来说, 是双赢的局面。主持人自身的发展, 需要的不只是管理者的激励, 更需要主持人认识到自身的不足, 并使自己具备出色的专业素质和传播技能, 树立个人及节目的品牌, 提升节目与所在媒介的影响力, 这不仅是时代对主持人的必然要求, 也是主持人实现自身可持续发展的关键, 同时也是广播电视管理者必须考虑的问题, 并需要广播电视的管理者为主持人的发展创造更多的条件。■

参考文献

[1]董术.媒介传播的分众化趋势与主持人的可持续发展[DB/OL]http://www.blogchina.com/new/display/88008.html

未来广播电视 篇9

1 地方广播电视的未来角色定位

1.1 坚守本土市场和品牌公信力

维护区域性媒体环境可谓是地方广电传媒的立足点,其正是抓住了地方受众“身边人关心身边事”的心理,通过为地方本土优势的政治、经济、文化的挖掘,为广大地方受众提供一定范围内的生活服务资讯及时政信息等。面临新媒体的冲击和挑战,地方广电应坚持不懈地进行本土市场和品牌公信力的维护,将自身发展多年的地方美誉度和影响力辐射开来。为此,地方广播电视应进行自身节目的调整和优化,将广受欢迎或收视率高的本土节目类型做优做强。

1.2 实现新型媒体的转型和探索

传统媒体在地方广播电视的发展中占据大部分的受众份额,但在新媒体时代发展背景下,原有的忠实受众也逐渐转向了其他媒介,地方广电媒体发展可谓困难重重。首先,地方广播电视应积极适应媒体新环境,打破传统媒体的界限和约束,进行新型的复合型新媒体人才的培养。其次,在新媒体背景下,地方广播电视应积极打造新旧媒体的“生态圈”,实现以“新”带“旧”,以“旧”促“新”,较好地进行新媒体与传统媒体的融合发展。如可根据传统媒体受众所关注的新闻资讯通过进行新型网站论坛社区或公众号推送的形式,将大量的富有特色的新闻素材向传统媒体进行推送,让传统媒体读者在这样的新闻接收方式中成为“网民”,打造新型的新闻生产和传播链条。再次,笔者认为,在新媒体时代,传统地方电视新闻也可以在做强广播电视主业的同时,积极拓展新的发展渠道和媒介。如可实现与其他广电强势媒体的合作,以及拓展门户网站、发展网络广播电视等渠道进行创新发展,互为共生、兼容并蓄,实现良性竞争,这样才能在未来媒体市场中立于不败之地。

2 发展路径思考

面对网络新媒体发展的冲击和互联网媒体融合发展的机遇,地方广播电视媒体应立足于自身发展实际和地方资源优势,结合传统媒体的发展现状,积极进行开拓创新,探索出一条富有地方特色和鲜明时代气息的可持续发展路径。具体可从以下几方面入手。

2.1 充分发挥地方资源和自身优势

网络传媒集合的多样化的传播方式,为受众进行新闻信息的接收和浏览提供了更为方便和快捷的途径。但与之相比,地方广播电视也具有自身的优势是网络媒体所欠缺的,如权威性和官方性等。网络信息虽然更为多样化,但往往鱼龙混杂,真假难辨,人们在接受信息的同时也会对其莫衷一是的表述不知所措,在冗杂的新闻内容中难以对其真实性进行有效的辨别。地方广播电视可利用此发展契机,对相关的新闻事件进行权威性的报道,给予受众客观、真实的新闻信息,在提高收视覆盖范围的同时,还能在一定程度上引导正确的社会舆论走向,充分发挥官方媒体的价值和优势。

2.2 积极构建网络发展平台

新媒体时代的发展趋势已日渐明朗,在各大广播电视竞相与新媒体进行融合发展的背景下,地方广电也需要认清目前的发展形势,积极抓住此发展机遇进行与网络平台的立体化融合。在这种融合创新的发展过程中,地方广播电视不仅可以借此吸纳网络传媒的优点,与自身发展进行优势互补,将两者进行有机的融合,实现“两条腿走路”。另外,网络的优势在于信息资料的存储性,受众可根据自身的喜好进行不同时段相关内容或相近新闻的搜索查询。再者,地方广播电视在发展中也可以借助网络特有的互动平台,实现与受众的联系与交流,将受众的反馈信息进行及时的处理和改进。这样,在提高受众参与性的同时,也能实现自身媒体平台的稳定发展。

2.3 加大节目创新力度

传媒业发展的不变定律在于“内容为王”,面临新的传媒发展格局,提高自身节目的质量和收视率,对地方广播电视来说,意义重大。网络媒体虽然在当前的媒体竞争中占据优势,但不同网站对同一新闻内容的报道千篇一律,对深层次的新闻报道和新闻价值的挖掘也尚有不足。地方广播电视可通过利用自身的资源优势及人才储备进行后续报道和新闻内容的深入采访,努力打造高质量的新闻节目,通过新闻的差异化来吸引更多的受众。同时,地方广播电视进行自身节目内容的创新,也应立足地方受众的收视心理,不能简单地为了创新而创新。如近来颇受欢迎的《中国好声音》《我是歌手》等操作模式,都可以在地方广播电视中进行编排和设计。此外,进行节目创新也应坚守媒体传播的社会责任,贴合大众生活需求进行创新节目的开发,建立创新创优的公共平台,实现地方资源的优化整合。

2.4 开创多元经营模式

在当前多样化的媒体市场运营环境下,地方广播电视应积极进行创新经营路径的探索,走多元化经营发展道路。传统的广播电视发展多是依靠广告经营,业务内容单一,已难以时代发展趋势的需求。基于此,地方广电传媒应扩大自身经营领域,创新盈利模式,积极进行新市场的开拓。如一些地方广播电视为扩充自身产业实力,已逐渐开始尝试多元化发展经营。但需要注意的是,随着各媒体业务纷纷出现,地方广播电视在开拓市场的同时也应合理把握传媒经济发展规律,回归媒体的本质,避免盲目投资。要以核心资源为中心,打造良好的多元经营格局,实现地方广播电视的良性发展。

3 结论

网络新媒体发展环境下,我国地方广播电视发展面临严峻的挑战。为更好地实现自身的生存和发展,地方广播电视应重新审视自身的发展现状,对未来的发展角色进行准确的把握和定位。同时,也要在立足自身发展实际的基础上,应积极融入新媒体发展的大环境,努力开展多元发展路径和经营模式,实现地方广电传媒新时代的新跨越。

参考文献

[1]陈静.试论我国广播电视产业发展趋势[J].赤峰学院学报:汉文哲学社会科学版,2016(2):95-97.

[2]司洋,苏胜波,李宜篷.多元、拓展、融合:广播产业发展路径探析[J].中国广播,2016(2):59-64.

未来广播电视 篇10

关键词：新媒体时代,广播电视行业,发展方向

一、引言

随着科学技术的不断发展, 媒体技术日新月异, 各种新媒体如网络技术、数字技术等已经逐渐取代了诸如广播、电视这类的旧媒体技术。新媒体技术的崛起并开始为用户提供各种信息和娱乐服务, 这加剧了广播、电视这类传统媒体的衰落, 也将对传统媒体的生存与发展带来巨大的挑战。下文将对新媒体类型进行概述, 并深入探讨新媒体的产生对我国广播电视行业的影响, 广播电视未来的发展趋势以及促进未来广播电视发展的途径。

二、有关新媒体的概述

(一) 新媒体的定义

新媒体是一个与旧媒体相对应的概念, 是指在传统的广播、电视、报刊等媒体之后发展起来的一种新型的媒体形态, 新媒体主要包括数字电视、网络媒体以及手机媒体等。其实新媒体还是一个比较广泛的概念, 凡是利用网络技术、数字技术, 并通过互联网、无线通信网以及手机、电脑、数字电视等终端为客户提供各种娱乐和信息服务这样的媒体传播形态, 都能被称作新媒体。

(二) 新媒体的优势

相对旧媒体而言, 新媒体具有比较明显的优势。例如, 在相同成本下, 新媒体信息传播和更新的速度更快、新媒体包含有大量丰富的信息内容、信息传播范围也比较广、方便人们检索。这使得新媒体在现代传媒产业中占据十分重要的地位, 因此新媒体也被形象地称为“第五媒体”。

(三) 新媒体的分类

根据传输网络的不同, 可以将新媒体分为以下三类:第一类是宽带互联网类型, 这一类型主要是以视频分享网站为主。第二类是数字广播网类型, 主要是以数字广播为主。第三类是无线通信网类型, 主要是以手机传媒为主。上述的三类新媒体类型都能够使信息的传播方式更加细分化、个性化、普及化。

三、新媒体的产生对中国广播电视行业的影响

目前, 以手机和互联网媒体为主要形式的新媒体对以电视和广播为主的传统媒体的发展构成了威胁。在传媒行业的未来发展中, 如果不能处理好新旧媒体之间的关系, 任凭新媒体冲击旧媒体的发展, 这必将对传统媒体未来的发展造成沉重的打击。只有处理好二者之间的关系, 才能促进传媒行业今后的发展。

(一) 新媒体的产生加剧了媒体间的竞争

在这个信息化时代, 新媒体应运而生, 并以其独特的魅力和视角开拓着新的信息传播渠道, 这能使人们的信息需求不断得到满足, 新媒体也因此越来越吸引人们的眼球。随着新媒体竞争力的不断提高, 新媒体已经占据了原本属于传统媒体的市场经济份额, 这就更加剧了媒体间的竞争, 这些竞争不光来自经济领域, 还包括政治领域、文化领域等。由此可见, 传统媒体已经面临着强大的挑战对手, 这对中国电视行业未来的发展是极为不利的。

(二) 新媒体的兴起, 促进了电视媒体传播形式的多元化

在信息技术高速发展的今天, 我国电视节目的传播格局已经有单一的“录播”形式转变成“以直播为主, 辅之以录播”的新形式。这能够使信息的时效性和互动性增强, 让人们能够及时地收看到电视节目, 也能够快速直接地了解信息。在新媒体的影响下, 传统媒体已经逐渐地改变传播内容和传播形式, 为应对新媒体的冲击做了充足的准备。例如, 娱乐节目为广大人民群众参与娱乐活动提供了一个更为宽广的平台, 选秀节目为平凡的人民创造了实现梦想的机会, 此外, 电视媒体还开创了访谈类节目, 大型真人秀节目等多样的媒体内容传播形式。另一方面, 科学技术的不断发展、媒体人综合素质的不断提高也增强了民众对电视行业的信心。新媒体的兴起, 促进了电视媒体传播形式的多元化, 中国的电视行业将在新媒体的刺激下, 不断开辟新途径, 探索新方法, 中国的电视行业必将迎来新的春天。

(三) 在新媒体的影响下, 传统的电视媒体格局正发生着转变

传统的电视媒体主要是以向人们提供免费的电视节目为主, 但是在新媒体的影响下, 电视媒体逐渐推出了许多付费的节目, 多数用户都会因为受这些新颖的电视栏目的吸引, 而通过付费的形式抢先收看电视节目。正是因为有了新媒体的影响, 才促进我国传统的电视媒体格局的转变, 与此同时, 也引起了电视用户消费模式的变化。

(四) 新媒体促使观众的行为模式发生转变

传统的电视媒体为了应对新媒体的兴起所带来的挑战, 对传统电视做了很大的改进。例如, 传统的电视在打开之后, 屏幕上只会出现一个单一的画面, 用户只能通过遥控器才能进行前后翻页, 这样单一的形式为用户使用电视机带来了极大的不便。但是, 新媒体出现之后, 新媒体技术就被应用到传统媒体中, 在传统的电视界面上, 能够发现很多新媒体的影子, 将电脑的使用方式应用到传统的电视上, 使电视上开始出现收视指南、邮件、视频下载等菜单画面, 遥控器也具有了与电脑鼠标相似的功能, 通过遥控器从电视的初始面一页页地点进去, 就可以观看电视节目了。这种改变在一定程度上促使了观众的行为模式发生转变, 使观众可以随时随地观看电视。

四、新媒体时代下, 广播电视的发展趋势

在新媒体的影响下, 使得各种媒体之间相互融合, 这是媒体发展的必然趋势。所以, 广播电视也要抓住这一发展机遇, 力求在未来获得更大的发展空间。

(一) 将广播电视与网络相结合, 形成跨媒体的合作形式

在电视媒体的发展过程中, 必须遵循的重要规律就是“去其糟粕, 取其精华”。在新媒体时代, 传统的电视媒体就应该在保留传统内容的同时, 引进并吸收新媒体内容, 以此来为传统的媒体提供技术支持, 从而使电视的收视率得到提高。这就是由美国一所理工大学的浦尔教授提出的“媒介融合”技术。这一技术指的是在媒体传播过程中, 融合两种或两种以上的媒体技术, 以此来丰富节目的内容和形式。例如, 凤凰卫视有一档叫《网络天下》的节目就是在搜索全球各大网站和论坛信息的基础上, 通过制作动画的形式来将这些信息呈现给观众。此外, 这档节目还运用信息的筛选和主持人的现场主持这样简单的形式, 这就使节目所呈现的知识更能为观众所理解。除此之外, 电视节目中还运用到了网络和短信的互动, 让观众通过这样的方式来表达自己的见解。这样一种将传统内容与新媒体相结合的方式就是对新媒体时代广播电视发展趋势的最好诠释。

(二) 始终保持内容的主流性

在新媒体时代, 各种媒体技术不断取得发展, 观众不仅能通过电视来收看电视节目, 也可以通过互联网、手机等来观看电视节目。但是, 不管是使用哪一种渠道进行观看, 观众看中的依然是节目的内容。在新媒体的影响下, 使得信息的传播形式和内容都不断增加, 因此电视媒体必须依靠其在发展过程中所形成的强大资源和背景, 始终保持信息内容的主流性, 这与新媒体较自由和人文色彩浓重的内容相比, 还是具有比较明显的发展优势的。

(三) 致力于打造有竞争力的微电台以及音乐资讯类节目

从2010年起, 我国使用微博的人数就不断增加, 到2011年为止, 已经有3亿的网民在使用微博, 所以, 可以和微博进行合作来使广播的听众数量不断增加, 从听众感兴趣的话题入手, 以此来吸引微博听众对广播内容进行收听。例如, 可以打造有竞争力的音乐电台以及新闻资讯类节目, 通过这类节目, 观众不仅可以通过电台来听自己喜欢的歌曲, 也可以借此来了解民生动态以及交通状况, 这不但能够增加电台的收听率和知名度, 还方便了人们的生活, 使用户可以随时随地收听生活资讯。

五、如何采用新媒体技术, 促进未来广播电视的发展

为了适应新媒体时代的发展潮流, 使传统的广播电视在新媒体时代得到更好的发展, 可以从以三个方面来对广播电视进行技术改造。

(一) 加快建设广播电视的数字化播出的控制系统

采用新媒体技术, 加快建设广播电视的数字化播出的控制系统。做好控制系统的建设工作, 能够更好地保证广播电视节目在制作、播出以及监控过程的质量。此外, 这也是适应新媒体时代下对广播电视发展的需求的体现。

(二) 建设集生产、运营以及管理为一体的网络化平台

运用新媒体技术, 建设集生产、运营以及管理为一体的网络化平台, 这样一个包括计算机技术、网络技术、多媒体技术在内的平台, 更够帮助广播电视开展不同种类的业务工作, 从而促进未来广播电视的发展。

(三) 建设数字化的音频、视频卫星转播系统

建设数字化的音频、视频卫星转播系统, 可以有效地帮助广播电视开展多种形式的转播和直播工作。通过这种方式, 为观众呈现更为丰富多彩的电视节目, 只有这样, 才能使广播电视在新媒体时代下的未来竞争中占据一席之地。

六、结语

在新媒体时代下, 为了能够更好地促进广播电视的发展, 需要在适应新媒体技术发展潮流的前提下, 把传统的广播电视技术与新媒体技术相融合。在此基础上, 还要从观众的实际出发, 结合自身的特点来研究观众的需求。只有这样, 在新媒体时代, 我国的广播电视才能获得更大的发展空间。

参考文献

[1]戴世富.新媒体时代电视媒体的发展策略[J].新闻界, 2012 (04) .

[2]贾志梅.传统媒体在新媒体时代的发展与机遇[J].价值工程, 2012 (08) .