In Broadcast - September 2019 - 61

61

www.inbroadcast.com | Vol: 9 - Issue 8 | September 2019

Press the Remote

InMedia
cont'd...

LiveU deployed during
WRC Rally Sweden

remote workflows at IBC2019. "Our
provision of connectivity from an
event back to the broadcaster is based
around both the use of traditional
fibre connectivity on an ad-hoc low
commitment basis and also the use
of evolving 5G platforms,'" explains
Chris Pearman, Remote Production
Strategy and Architecture. "We believe
these technologies will enable the
dream of full remote production as a
'pop-up- service."
Pop-up channels over satellite is
something that Globecast is keen
to promote. The French services
provider worked with Amaury Sport
Organisation to provide media
management and clipped content
sharing - supported by the company's
Digital Media Hub suite of services.
ASO events include the Tour de France
and the Dakar Rally, ASO has now
signed a multi-year agreement to use
Globecast's service to support the
company's other events.
Transmission services company
The Switch is at IBC announcing an
expansion of its service at-home
facility in Burbank, California which is
used by Major League Soccer among
others.
"The facility is designed to cope with
the growing demand for live content
production and provides a single
platform for delivering multiple live
productions, either simultaneously
or as a standalone, from any
location - the Burbank control room,

"With the capabilities of
5G, we believe that remote
production will dominate
most sports production
globally"
Ronen Artman, LiveU

the customer's control centre, or
remotely - at any time," says George
Lopez, company SVP of Operations.
"Customers have the flexibility
to remotely control cameras and
other equipment at the event site or
produce a more traditional broadcast
programme."
Sony is promoting its new strategic
partnership with Nevion following
its acquisition of a 45% stake in the
company. "There is clearly a demand
from our customers for Remote
Production," says Norbert Paquet,
Head of Product Management, Sony
Pro in Europe, "but it also goes beyond
this approach for Remote Integration,
that will enable them to not only save
on operational costs but also create
better ROI with better use of their
capex resources and dynamically
allocating
them
to
multiple
consecutive productions."
Wide Networked Audio
Live audio is following the same
trends with consoles now integral
components on wider networks with
adaptable workflows and shareable
resources using open standards. The
AES67 standard has further bolstered
device
interoperability
giving
broadcasters the confidence to move
into audio over IP.
Two mixing systems with no

physical control surface make their
European debuts at IBC. Calrec's
VP2 requires software for setup and
control and this can be accessed from
multiple locations via a Web-browser.
Wheatstone's Dimension Three is a
multi-touch mixer that interfaces to
all the major production automation
systems.
Virtual mixers are likely to play a
bigger role in production automation
workflows because they give operators
the right amount of control without the
inconveniences of a physical board.
5G Capabilities
The advent of 5G, it is believed, will
bring more capabilities to customers
such as multiple channels of audio,
multicamera productions from a
single portable transmission solution,
4K streaming, and high-quality video
return.
"With the capabilities of 5G, we
believe that remote production will
dominate most sports production
globally because of its flexibility and
cost-effectiveness and this is already
being demonstrated," says LiveU VP of
Marketing, Ronen Artman.
LiveU is debuting a cloud production
tool for adding dynamic graphics to
live streams and will be showing how
its Video Return service lets remote
crews remain aware of the programme
currently on air and even receive
teleprompt information.
Grass Valley demonstrated a
20,000km link between cameras in
Tokyo and a base station in London
earlier this year using its DirectIP
technology and is promising new
optimisation for its Live Touch replay
system on the exhibition show floor.
People are now looking beyond IP
simply as a connection tool and are
trusting in what it enables such as such
as reliable, fast SDI-level performance,
full operational transparency in IP
environments, and independent audio
and video routing.
SMPTE ST 2110-based systems are
being launched onto the market,
Grass Valley distance link
with DirectIP technology

making it possible to build a true endto-end, open standards-based mobile
production environment. That's what
Denver-based Mobile TV Group (MTVG)
is doing as it adapts its OB fleet to IP
networking, including Grass Valley
cameras. "Taking an open IP approach
also enables MTVG to seamlessly
upgrade systems, integrate new
solutions as they become available and
expand the unit as needed," explains
Hilton.
Connected Services
As home studios consolidate their
remote production operations, the
use of virtualised cloud technologies
is expected to realise further cost
savings. Providing remote video
production as a service this way would
also decrease capital expenditures.
"Remote production eliminates many
of the day-to-day distractions faced by
AV professionals by relocating them
from the chaos of the production floor
to the comfort of a well-equipped
remote studio," says Mike Sandler is
CEO at Epiphan Video.
He envisages a future where
infrastructure as a service (IaaS)
empowers individuals and companies
to build their own autonomous video
ecosystems under one umbrella.
"The IaaS approach would offer
key advantages over the status quo,"
outlines Sandler. "By minimising local
hardware and balancing CPU/GPU/TPU
processing between edge hardware
and cloud, companies could lower the
costs of capital expenditures, cloud
processing and energy usage. But
the main advantage would be a much
more convenient, centralised and
efficient production workflow."
If the cost of connectivity continues
to fall and bandwidth continues to
increase, then remote production will
become even more cost effective and
appealing, especially with new formats
designed to improve the overall
viewing experience.
It's a trend likely to continue at
pace beyond IBC and into Tokyo 2020.
Eurosport, one of the rights holders for
the Olympics, has ambitious plans to
build three permanent content hubs
in Paris, Amsterdam and London,
which will be fully operational by next
Summer.
"This is the last wave of the
industry where we will have so much
dedicated kit," argues Eurosport CTO,
Gordon Castle. "Those functions will
increasingly become software services
that we can then deploy. We have
designed these hubs to allow ourselves
to take advantage of that."


http://www.inbroadcast.com http://www.liveu.tv http://www.grassvalley.com

In Broadcast - September 2019

Table of Contents for the Digital Edition of In Broadcast - September 2019

Contents
In Broadcast - September 2019 - Intro
In Broadcast - September 2019 - Cover1
In Broadcast - September 2019 - Cover2
In Broadcast - September 2019 - Contents
In Broadcast - September 2019 - 4
In Broadcast - September 2019 - 5
In Broadcast - September 2019 - 6
In Broadcast - September 2019 - 7
In Broadcast - September 2019 - 8
In Broadcast - September 2019 - 9
In Broadcast - September 2019 - 10
In Broadcast - September 2019 - 11
In Broadcast - September 2019 - 12
In Broadcast - September 2019 - 13
In Broadcast - September 2019 - 14
In Broadcast - September 2019 - 15
In Broadcast - September 2019 - 16
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In Broadcast - September 2019 - 18
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In Broadcast - September 2019 - 20
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In Broadcast - September 2019 - 22
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In Broadcast - September 2019 - 26
In Broadcast - September 2019 - 27
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In Broadcast - September 2019 - Cover3
In Broadcast - September 2019 - Cover4
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