In Broadcast - March 2016 - 30


30

www.inbroadcast.com | Vol: 6 - Issue 3 | March 2016

InMedia

Collaborative Workflows
Come of Age
Contributing Editor Andy Stout examines
the development of collaborative workflows
driven by major productions demanding live
and near-live throughput of material...

I

t's becoming a bit of a hoary old
cliché in the industry that the
two major global sporting events,
the Summer Olympics and the FIFA
World Cup, often represent significant
tipping points in the take up of a new
production technology.
Beijing 2008 was the HD Olympics,
South Africa 2010 was the Stereo 3D
World Cup (though that didn't end well,
over 25 matches were captured in the
format), and by the time we got to
London 2012 the growth in IPTV made
all things online and second screen the
dominant technological story from that
Games.
Rio 2016's potential technical legacy
is still shrouded in a slight cloak of
mystery, as Olympic Broadcasting
Services (OBS) traditionally plays its
cards fairly close to its chest this far
out from the tourney. It could be 4K, it
could be HDR (or a combination of the
two), though no public plans have been
announced beyond a 1080i@59.94
and 5.1 signal, or it could be a further
deepening and enhancement of
the standout innovation from Rio
2014 - live production collaborative
workflows.
Collaborative workflows have been a
feature in the industry for almost two
decades, with film leading the way
back in 1997 when both Contact and
Titanic used multiple video effects
houses in geographically disparate
locations to handle the sheer volume
of effects work needed to make their
productions viable. Since then the
likes of Avid, EditShare, Forscene,

EVS IP Director played a big role
in FIFA World Cup

SAM (nee Quantel) and Sony have
been leading the charge in both postproduction and newsroom systems,
but EVS' creation of a system that
could broadcast live football from
locations the length and breadth of
Brazil still stands out.
With connectivity powered by
multiple vendors including Amazon
Cloud, Aspera and Smartjog, all
created clips and all feeds were
passed through the company's C-Cast
before hitting central storage at the
International Broadcasting Centre
(IBC). Over 100 EVS IPDirector suites
located at the IBC were used to
manage the ingest of live incoming
feeds, as well as granting access to
the central FIFA MAX server (built
mainly from EVS XT3s) which was
specced to handle 28 ingest feeds and
store around 4,500 hours of footage
on 420TB. Thirty-six Adobe Premiere
'craft' stations, along with EVS' IPLink
plugin panel, were linked to this to
create final edits, while 50 browsers
from host broadcaster HBS running IP
Pro stations allowed the production
teams working on different packages
to provide multilateral content.
It wasn't just an effort confined to
Brazil, either. Around 75 licenses were
needed for the IBC in Rio, while close
to 100 offsite production teams had
web browse access from their own
home cities.
Up In The Cloud
While remote production is proving
to be a bit more difficult to nail down
than was once hoped, aided and
abetted by a wide scale move of many
production technologies into the
Cloud, it's exactly this sort of promise
that has got people seriously thinking
about collaborative workflows.
"I'd say that the clearly identifiable
trend in the production industry is
towards the use of common platform
and storage, whether provided in
private or commercial data centres,"
comments Trevor Francis, Director

Rio Games International Broadcasting Centre in the Olympic Park

of Production Systems, SAM. "It's a now involve multiple collaborators, so
move enabled by technology, like sharing content on a daily basis needs
that developed by SAM and driven by to happen securely without regard
the continuing need to reduce costs for facility boundaries or country
and remain competitive. It's overlaid borders," Bennett continues. "But
with the simultaneous need to deliver taking that step can be a real leap of
content via OTT, Web and TV and to faith, and being reliant on third parties
handle the exploding data demands with so called new 'Cloud' technology
imposed by UHD/4K."
can leave many an IT or production
That's not to say that there aren't manager in a cold sweat."
obstacles, but what is interesting
Bennett
contends
that
any
is that so pervasive is the Cloud development
that
involves
a
becoming that they are increasingly technology or workflow transition, is
the same ones that the industry has a collaboration between manufacturer
to cope with in other areas too. The and end user. "Any manufacturer
industry's future is increasingly tied up worth their salt must have a good grip
to the Cloud's future
on current production techniques, but
"The fundamental barriers are it's only by working with clients as real
those that are faced in other areas partners do you get a market ready
of broadcast and production, namely product."
infrastructure,
integration
and
security," comments Martin Bennett, Editors Sans Frontières
Marketing Director at EditShare. "As
Forbidden Technologies has been
it stands most countries are limited at this game for a long time with its
by their technology infrastructure Forscene editor, and has even coined
such as cost-effective high-bandwidth the term "collaboredit" (definition: to
broadband access. Without base work together to create a video edit)
changes here, then it will be cost to describe what it does at this year's
prohibitive for facilities to outsource round of tradeshows. The word might
all their storage requirements to be a bit clunky, but there's nothing
Cloud storage services for example, clunky about its technology, with a
therefore restricting how media is long list of clients and case studies for
shared. And then it's the age old its Java and app-based technology.
problem of vendor 'openness' to
One of the more recent ones
ensure new tools can integrate with showcases what is possible in the new
current platforms, so facilities can scale transcontinental and collaborative
up on current infrastructure rather age. Riverview Studios is based in
than having to completely re-tool New Jersey and working on a project
which is expensive and disruptive."
with an editor in Poland. Footage
Security is, somewhat inevitably, comes straight in to Forscene from the
an issue as well, especially given the camera on location, where the Polishrecent round of
based editor is able to
high profile leaks
pick up the content and
of both film and
start working on
TV
programming
into
the
newly
sophisticated (and
monetised) pirate
operations around
the world.
"It's a given that
media productions EditShare XStream EFS storage


http://www.inbroadcast.com http://www.rio2016.com/en/news/rio-2016-receives-keys-to-international-broadcast-centre-in-barra-olympic-park https://evs.com/en/product/ipdirector http://www.editshare.com/products/xstream

Table of Contents for the Digital Edition of In Broadcast - March 2016

In Broadcast - March 2016 - Intro
In Broadcast - March 2016 - Cover1
In Broadcast - March 2016 - Cover2
In Broadcast - March 2016 - 3
In Broadcast - March 2016 - 4
In Broadcast - March 2016 - 5
In Broadcast - March 2016 - 6
In Broadcast - March 2016 - 7
In Broadcast - March 2016 - 8
In Broadcast - March 2016 - 9
In Broadcast - March 2016 - 10
In Broadcast - March 2016 - 11
In Broadcast - March 2016 - 12
In Broadcast - March 2016 - 13
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In Broadcast - March 2016 - 15
In Broadcast - March 2016 - 16
In Broadcast - March 2016 - 17
In Broadcast - March 2016 - 18
In Broadcast - March 2016 - 19
In Broadcast - March 2016 - 20
In Broadcast - March 2016 - 21
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In Broadcast - March 2016 - 24
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In Broadcast - March 2016 - 26
In Broadcast - March 2016 - 27
In Broadcast - March 2016 - 28
In Broadcast - March 2016 - 29
In Broadcast - March 2016 - 30
In Broadcast - March 2016 - 31
In Broadcast - March 2016 - 32
In Broadcast - March 2016 - 33
In Broadcast - March 2016 - 34
In Broadcast - March 2016 - 35
In Broadcast - March 2016 - 36
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In Broadcast - March 2016 - 38
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In Broadcast - March 2016 - 41
In Broadcast - March 2016 - 42
In Broadcast - March 2016 - 43
In Broadcast - March 2016 - 44
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In Broadcast - March 2016 - 46
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In Broadcast - March 2016 - 70
In Broadcast - March 2016 - 71
In Broadcast - March 2016 - 72
In Broadcast - March 2016 - S1
In Broadcast - March 2016 - S2
In Broadcast - March 2016 - S3
In Broadcast - March 2016 - S4
In Broadcast - March 2016 - S5
In Broadcast - March 2016 - S6
In Broadcast - March 2016 - S7
In Broadcast - March 2016 - S8
In Broadcast - March 2016 - S9
In Broadcast - March 2016 - S10
In Broadcast - March 2016 - S11
In Broadcast - March 2016 - S12
In Broadcast - March 2016 - S13
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