Sports broadcasting has always been on the forefront of technology both by developing products specifically for the sporting market such as sports graphics, annotation and ball tracking and also by pressing nearly any new technology that comes along into production.
The result of this relentless thirst for technology is year-by-year better and better productions done in more innovative and often lower-cost ways.
Remote production has long been a buzz word in sports broadcasting which has taken a long time to take hold (known as REMIs in North America). This is partly because the technologies needed to do it really well and really seamlessly are only just becoming dominant and partly because sports workflows from a technology and a business needs perspective are so different from company to company that one remote production.
However there are ever stronger pushes into remote production which very much brings remote production into day-to-day use in many companies. Kiswe Mobile joins us on this webinar to explain their experience in enabling remote production.
AI is looked on as an important tool in sports broadcasting. With so much data, both visual and textual, AI will increasingly be an excellent tool to parse and interpret these large data sets. Whether this is simply to produce better stats analytics or to comb through the thousands of hours of footage looking for, and logging, interesting events between players, ball possession stats etc.
IBC brings in Jérôme Wauthoz from Tedial and production consultant Mike Ruddell to bring us their experience making the sports on our screens as great as it can be at a cost that broadcasters can afford.
Webinar date: Thursday May 30th 2019
Time: 16:00 BST / 11 am EST / 8 am PDT
Experienced advice is on hand in this webinar for those producing in HDR and UHD. Productions are always trying to raise the quality of acquisition in order to deliver better quality to the viewers, to enhance creative possibilities and to maximise financial gain by future proofing their archives. But this push always brings challenges in production and the move to UHD and HDR is no different.
HDR and UHD are not synonymous, but often do go hand-in-hand. This is partly because the move to UHD is a move to improve quality, but time and again we hear the reasons that increasing resolution in and of itself is not always an improvement. Rather the ‘better pixels’ mantra seeks to improve quality through improving the video using a combination of resolution, frame-rate, HDR and Wide Colour Gamut (WCG). So when it’s possible, HDR and WCG are often combined with UHD.
In this webinar, we hear the challenges on the way to success met by director and producer Pamela Ann Berry and The Farm Group. Register to hear them share their tips and tricks for better UHD and HDR production.
Well ahead of video, audio moved to uncompressed over IP and has been reaping the benefits ever since. With more mature workflows and, as has always been the case, a much higher quantity of feeds than video traditionally has, the solutions have a higher maturity.
Anthony from Ward-Beck Systems talks about the advantages of audio IP and the things which weren’t possible before. In a very accessible talk, you’ll hear as much about soup cans as you will about the more technical aspects, like SDP.
Whilst uncompressed audio over IP started a while ago, it doesn’t mean that it’s not still being developed – in fact it’s the interface with the video world where a lot of the focus is now with SMPTE 2110-30 and -31 determining how audio can flow alongside video and other essences. As has been seen in other talks here on The Broadcast Knowledge there’s a fair bit to know.(Here’s a full list.
To simplify this, Anthony, who is also the Vice Chair of AES Toronto, describes the work the AES is doing to certify equipment as AES 67 ‘compatible’ – and what that would actually mean.
This talk finishes with a walk-through of a real world OB deployment of AES 67 which included the simple touches as using google docs for sharing links as well as more technical techniques such as virtual sound card.
Packed full of easy-to-understand insights which are useful even to those who live for video, this IP Showcase talk is worth a look.
For many building a good network for a 2110 or other media-over-IP standards is new and a bit scary. But if there’s one person who knows how to do it, it’s Arista’s Gerard Phillips who’s here to go through the basics and build up the network needed for a large and scalable network.
Scalability is the heart of this, because life does change – your company grows, technology pushes you from SD to HD to UHD etc. So you need to build scalability in from the beginning. Getting this right comes down to choosing the right hardware and having the right architecture.
Gerard looks at switch architecture and bandwidth both in the switch and of the network cables. He then looks towards ‘hub and spoke’ Vs monolithic switch design. What are the pros and cons to each and which is right for you?
SDN – Software Defined Networking – is also a key ingredient in such a network. This is where the routing decisions of the switch infrastructure is taken out of the switches because they have automatic and blinkered algorithms and takes it to a server which has a complete overview of the whole system. For a broadcaster who deals with critical signal chains – this is usually the best approach to give determinism and safety to the network.
PTP – Precision Time Protocol – provides the foundation of the 2110 standard and is therefore very important to studio installations being used to replace black and burst. What are the best ways to distribute this and how can you deal with redundancy?
These topics and more are all covered at this IP Showcase presentation from IBC 2018.
Like all good ideas, this one is not new. Known in the US as REMIs (REmote INtegrations) and in Europe as Remote Productions, producing live events without sending people there has long been seen as something to which most broadcasters have aspired. Whilst every broadcaster regards themselves as unique, Remote Productions is one are where they are most different meaning that a remote production solution for one can be almost the opposite of what another needs. This is why it’s taken so long for winners to be seen in this space.
Here, MotoGP rights holder Dorna Sports will talk about what they’ve done and why that works for them allowing us to understand their experience in deploying remote production and the experience and benefits derived.
With the world’s largest and most advanced fibre network that is strong and reliable, Tata Communications is best placed to deliver feeds with extremely low latency, super large capacity, stable and consistent to match broadcaster’s requirements of delivering better quality feeds, with faster turnaround at lower cost, offering the potential for higher productivity for live production, in terms of both OPEX and CAPEX.
5G is the latest in a long line of mobile data protocols but comes with a key difference – that it can be used differently by businesses than consumers. In our case, this could mean a broadcaster can reserve bandwidth for remote productions (REMIs) as just one example.
This webinar looks at the real-world trials to make sense of the hype Vs reality bringing together experts on implementation and use of 5G from boundary-pushing BT Sport, the IRT research institute and ex-Nokia 4G & 5G strategist, Mario Nicolaou.
This webinar will explore a series of use cases for 5G with hands-on case studies, including:
– Enriching production and storytelling
– Revitalising newsgathering and live event coverage
– Blending broadcast and live data for mobile audiences in the European 5G-Xcast project
In a continuing series of videos which dig deeper than just saying ‘hooray, IP is great’, we look at the onerous task of actually planning and deploying a whole building’s worth of 2110. From the IPShowcase at IBC 2018, Ultich Voigt from Qvest Media explains how they helped Swiss public broadcaster SRG/SSR to build their new facility – the TPC Sports, News & Technology centre.
Ulrich looks at how functions can be centralised and/or consolidated and whilst he talks of the technology standards in use, the highlight here are the workflows achieved.
Aims of the project
Technical Goals and Standards
How they got experience in using IP ahead of the project
Testing planning & issues rectification
Deciding whether to go ‘Full IP’ and what that means
AMWA’s discovery and registration protocols IS-04 and IS-05 play a big role in making IP systems usable, allowing the system to easily identify new kit when it’s plugged in and understand its capabilities. However, deploying such systems at scale should give anyone pause for thought – how scalable are they? How does the system recover after a network outage? Clearly we wouldn’t want the system to be brought down by the administrative burden.
Rob Porter, from Sony Europe Ltd., has done the research and presents it here at the VSF’s IP Showcase at the 2018 IBC.
Rob gives a brief overview of the two specifications, describing their APIs and the open source nature of them. He then goes on to explain how he emulated this large number of devices and what he found.
Finally, Rob wraps up the session by explaining how he optimised network-loss recovery times and summarises best practices.
An increasing amount of broadcast video is travelling over the public internet which is currently enabled by SRT, Zixi and other protocols. Here, Merrick Ackermans explains the new RIST specification which aims to allow interoperable internet-based video contribution.
Speaking at the IP Showcase at IBC 2018, Merrick covers: