BCA Show Daily - Day 3 - 8

8

SUNTEC SINGAPORE

A part of

MARINA BAY SANDS * SUNTEC SINGAPORE

How to Get the Most Out
of Streaming Live Events
To deliver the quality entertainment experience that consumers now expect for streaming
live video across all platforms and devices, content providers must address a variety of
challenges, says Anant Khanolkar, Channel Sales, Verizon Digital Media Services...

C

ontent providers must ensure that live
streams of breaking news, sports and
entertainment are not compromised by
startup failures, buffering or poor video
quality. Viewers simply won't tolerate it.
They must bring production value up to a
standard typical of live event broadcasts and
offer greater interactivity, allowing viewers
to shape their own experiences by choosing
from additional streaming content and
varying camera angles.
All of these elements make for compelling
live streaming events, but they do require
some behind-the-scenes technical and
operational work.
For starters, streaming content must be
delivered quickly and with high quality, even
in the face of rapid and immense fluctuations
in audience. However, even when the
technology supporting live streaming can

scale to handle massive numbers of
simultaneous requests, as our Uplynk
Video Streaming service and Edgecast
Content Delivery Network do, challenges
remain.
Sending out production crews, setting
up signal acquisition, overseeing
logistics and allocating resources to
deliver a live programme with high
production value can be both expensive
and difficult. The unpredictable nature of
streaming live events can throw a few curve
balls that can diminish the viewing experience
if not handled appropriately. The team on the
ground has just one chance to get it right.
They must be ready to capture a conventional
primary feed and the interesting angles and
behind-the-scenes views that add value
and foster one-on-one engagement. At the
same time, the team must have the tools to

OTT increases the ability to cover more events

seamlessly and unobtrusively insert alternate
feeds or promotional material into live action.

Live event operations
Given these challenges, some of the world's
largest sports networks rely on partners
to manage both the on-site production
environment and their live streams,
particularly when producing numerous

Show Daily | Thursday 28 June 2018

events simultaneously. Our Live Event
Operations managed service eliminates the
need to invest in additional infrastructure and
to cart equipment from site to site, offering
both convenience and - for content producers
that are still new to live event streaming - a
low-risk way to get into the game.
To build an audience and monetise
contracts and live streaming content
effectively, content producers must do more
than simply stream live events. A compelling,
TV-like quality viewing experience can only be
created by a team that wields robust and
flexible technology, strong operational
capabilities and powerful monetisation
tools.
In this day and age, no live stream has
yet drawn as many viewers as a network
broadcast. Nevertheless, audiences for
live streaming content continue to grow.
And, when content producers use the
latest technology and tools for smooth
delivery of live streaming content that's
unavailable on broadcast television, they have
the opportunity to meet the demand for niche
content and create a valuable connection with
a new, growing community of viewers.
Visit us at booth 4B3-08 to learn more
about our fully integrated platform.
www.verizondigitalmedia.com

JX Online 3 Adopts Blackmagic
Design Workflow for Live Streaming
The live streaming team of JX Online 3 employed a number of Blackmagic
Products (Stand: 6S2-01/3) to create a workflow suitable for live streaming...

J

X Online 3 is a popular Chinese massively
multiplayer online role-playing game
developed by Seasun Games of Chinese
software giant KingSoft. Live producing
and streaming its gaming competitions and
marketing events with a workflow built around
Blackmagic Design products, these include
the ATEM Television Studio Pro HD, ATEM
Television Studio HD, HyperDeck Studio Mini,
HyperDeck Studio 12G, UltraStudio 4K and
Web Presenter.
Since its release in 2009, JX Online 3 has
become one of the most popular 3D Wuxiathemed online role-playing games in China for
its excellent design and successful marketing.
With a variety of shows to produce, the
live streaming team wanted a live production
switcher that is able to take in feeds from
computers, cameras and smartphones.
"The ATEM Television Studio HD meets our
requirements as it includes SDI connections

for broadcast cameras and HDMI connections
for computers and smartphones. Plus, it can
also connect to a professional audio mixer
via XLR balanced connections, allowing for a
better audio quality," said Song Chao, head of
the live streaming team, JX Online 3.
The live streaming team combines their
ATEM switchers with HyperDeck Studio
Mini and HyperDeck Studio 12G for
recording and replay, UltraStudio 4K for
capture and playback, and Web Presenter
for live streaming, depending on the project

Multi-layer compositions are possible with the workflow

JX Online 3 is a multiplayer online role-playing game

requirements. "These products are so
compact that you can just put them in a
backpack and take them everywhere or even
onto a plane with ease," said Song.
He
continued:
"There
are
many
combinations of these units. When live
producing a gaming competition in July,
we were asked to replay highlights. The
character generator that is used for replay
in live productions is expensive and
requires a group of people to operate. We
were short of manpower, so we designed
a very simple solution taking advantage

of the ATEM's ability to remote control
HyperDeck recorders. We sent a clean feed
of the gameplay from the ATEM to the Web
Presenter, which then sent the feed to the
HyperDeck Studio 12G for recording. When
the match ended, we had the HyperDeck
Studio 12G replay the 30-second footage
recorded before a player was killed in a
picture-in-picture style using the ATEM's DVE
and Macro features.
"In the meantime, we had the HyperDeck
Studio Mini send the fill and key signals to the
ATEM switcher to create a countdown timer
overlaid on the live video. This way, we just
made the multi-layer compositions possible,
which would have had to be produced with a
much larger and more expensive system.
"A live production usually means hours
of non-stop working of these products for
rehearsals and the shows but our Blackmagic
workflow has never let us down due to a
glitch, which is why we consider it to be our
core competence," Song said.
www.blackmagicdesign.com
http://www.verizondigitalmedia.com http://www.verizondigitalmedia.com http://www.blackmagicdesign.com http://www.blackmagicdesign.com
Table of Contents for the Digital Edition of BCA Show Daily - Day 3
