Kinda disappointed in the PQ. I don't believe that its E* because the PQ of their pregame show was fine. Very fuzzy and pixelated at times.

as pixelated as it is, this is the best PQ I have seen from the AAC in Miami.

Whenever ABC and ESPN do games from Miami, it looks atrocious....thick muddy lines, like they were upconverting 480i.

hmmm... no pixelation here.... pq is actually very good... via comcast...

PQ looks good on Dish on the Hawaii Beam(Mpeg4). Conus Beam(Mpeg2) shows some pixelation on court level action scenes.

It doesn't seem to be a huge problem from the main, high camera. The lower cameras and replay cameras are noticeably worse.

Looks terrible on E*.

Looks terrible on E*.

Sea/Pho game looks just as bad.

Opening night games on Tuesday looked better than tonight. ESPN PQ yesterday looked the best of all three nights.

I noticed that the main camera seemed to have worse quality than the others. When the main camera panned around to follow the action, it seemed like there was more video noise. It seemed that there were at least 3 court-level cameras used for close-ups, and two of them looked very sharp, while one of them seemed kind of fuzzy.

I think the quality drops are due to individual cameras not working or transmitting as well as others are. Some cameras seem to be transmitting high quality images, while others are just so-so. Hopefully, the network or show producers notice the same thing and will fix or replace the faulty cameras.

I noticed that the main camera seemed to have worse quality than the others. When the main camera panned around to follow the action, it seemed like there was more video noise. It seemed that there were at least 3 court-level cameras used for close-ups, and two of them looked very sharp, while one of them seemed kind of fuzzy.

I think the quality drops are due to individual cameras not working or transmitting as well as others are. Some cameras seem to be transmitting high quality images, while others are just so-so. Hopefully, the network or show producers notice the same thing and will fix or replace the faulty cameras.

I highly doubt that there was anything wrong with any of the cameras. These issues are almost always a transmission issue. Also some cameras may be a specialty unit like a slo-mo unit. Differences may be noticeable between a slo-mo unit and a normal camera.

I highly doubt that there was anything wrong with any of the cameras. These issues are almost always a transmission issue. Also some cameras may be a specialty unit like a slo-mo unit. Differences may be noticeable between a slo-mo unit and a normal camera.
I remember last season, there was always one close-up camera that always gave pixellated images that were in obvious poorer quality than all of the other cameras. It could very well have been a transmission issue with poor cables or connectors, but they continued to use it through the entire season, as if they were completely unaware of it, or didn't have the money to fix the issue.

I remember last season, there was always one close-up camera that always gave pixellated images that were in obvious poorer quality than all of the other cameras. It could very well have been a transmission issue with poor cables or connectors, but they continued to use it through the entire season, as if they were completely unaware of it, or didn't have the money to fix the issue.

Transmission as in the link between remote site and studio, then from there the path to your television, through whatever provider you have. I'm a sure that the camera looks fine in the truck.

Transmission as in the link between remote site and studio, then from there the path to your television, through whatever provider you have. I'm a sure that the camera looks fine in the truck.

Yea most productions, even smaller RSNs would not take a camera on the air if it did not look good in the truck. You have to realize there are several people on a production staff (primarily the engineer in charge and the senior video technician) whose sole jobs it is to make the cameras match and look good. So basically putting a crap image out of a camera puts someone's job on the line (and since this is a largely freelance business it's in the engineer's best interest to not have this happen). Same goes with the uplink/downlink end of it. Video levels are checked and rechecked constantly and at multiple stages in the chain.

90% of the time the issues that you are seeing at home on any show are generated well after the image leaves the remote truck and often even after the image leaves the network itself. No self-respecting mobile production truck company, network, producer, director or engineers would let faulty wiring or cabling be an excuse for a poor picture even on a modest shoot.

That being said, in the old days, the networks (when there were far fewer) used to provide their own wiring and cabling in a venue for a season. This is no longer the case as most venues themselves are charged with maintaining their cables and triax which can create a large amount of inconsistency from venue to venue in terms of maintenance. It's most dramatic in collegiate athletic venues. But even if there is a bad cable discovered, usually the production will just provide their own for that particular remote.