In Broadcast - January 2021 - 22

TM

22

www.inbroadcast.com | Vol: 11 - Issue 1 | January 2021

InForm

Remote Production
How to: Switchers
By Greg Huttie, Vice President, Production Switchers...
The hub for remote production
Remote production was gaining
ground even before the pandemic
hit; customers such as Star Sports in
India and SVT in Sweden successfully
transitioned
their
live
sports
productions to more centralized
models. COVID-19 has accelerated
this trend further as broadcasters
and content producers need to keep
telling the great stories that fans
expect - even in these challenging
times.

Flavors of remote
There's no one size fits all
approach for remote workflows, so
customers can choose the flavor that
best suits them. Whether it's SDI
or IP, in an outside broadcast (OB)
truck or at a remote location - the
switcher is the hub of the production
and key to building a show. The only
difference is where the equipment is
located.
The most common approach is
having the production suite and all
the equipment at a fixed centralized
facility, with the cameras the only
significant piece of equipment at
the live location. Here, the switcher
operates as usual - there's no
difference between having that
piece of equipment in an OB truck
on site, in a truck located elsewhere,
or in a studio.
The 2020 NASCAR season is a
great example of this. The two
major sports networks handling race
coverage set up their productions
in very different ways. One of
them deployed a truck at the race
location with a limited crew; the

other had just camera operators
and a small technical team at the
live venue. Technical directors
(TDs) see no noticeable difference
in how the equipment is deployed
or in the signal flow. In both cases,
the operators built their shows
and punched them live, just as
they would in a regular OB set-up.
That's the beauty of our flexible
switcher's architecture - you can set
the equipment up in almost any way
you like. With continuing restrictions
on travel and staffing numbers at
venues, more distributed production
models - where many critical
production functions happen in
multiple, separate locations - are
gaining traction. Production staff
can work from any location, making
it easier to keep them safe.
In a distributed set-up, where the
switcher engine (or frame) and the
control panel are in different places,
you need additional technology - like
a VPN network or similar - to ensure
smooth communications between
the two.

Finding flexibility
When on location or working
remotely, the switcher traditionally
lives in the creative space of live
production, so the flexibility to have
these tools located anywhere, run in
a native IP environment, or handle
4K UHD or HDR, is a big advantage.
That's exactly how we've designed
our switchers to work.
Whether a production is remote
or on location, minimal impact on a
technical director (TD) or operator's
job while they're punching a show

is critical. We've built our solutions
to ensure that the workflow remains
consistent, regardless of where the
crew is.

Open to the cloud
The transition to IP has positively
influenced the move to remote
production and Grass Valley leads the
transition to IP, including switcher
technology. The ability to bring
sources in and move signals around
purely on an IP network, with minimal
delays, is critical in any live set-up.
Helping customers tell great stories
is what we do at Grass Valley, and IP
helps production teams efficiently
deliver the huge volumes of content
that today's consumers demand. IPbased infrastructures and workflows
easily handle everything from HD to
4K UHD and HDR and open up the
way for larger formats, such as 8K.
As our customers look for even
greater agility, IP opens the doors
to more flexible, cloud-based
production. A truly distributed model,
built around virtualized workflows,
means
production
staff
can
collaborate from any location - even
their homes. Here, the processing
equipment is living off-premises,
and your control surface can float
anywhere. Again, fast communication
links are vital to access those pieces
of equipment, wherever they are.
Our GV AMPP (Agile Media
Processing Platform) software as
a service (SaaS) platform is a real
game-changer. It was built with a
cloud-native approach from the
start, unlocking the power of elastic
compute for live sports. Customers

can now transition to public, data
center, or hybrid infrastructures
more easily. We've also solved many
of the issues that can complicate
IP and cloud deployments - such as
network connectivity, timing, and
ultra-low latency.
GV AMPP brings the agility that
customers increasingly need in
live productions today, and its
unique microservices architecture
have created a real paradigm shift
in live content production. We're
constantly evolving the platform,
and we're working on the way GV
AMPP interacts with the switchers
- in effect, acting as an engine to
drive the production. There'll be
announcements around this in the
months ahead.

Easing transition
Whatever
flavor
of
remote
production our customers choose,
getting everything from a single
vendor is a good thing. In the area
of switchers alone, Grass Valley does
the whole gamut from single stream
on IP, to 12G-SDI for 4K UHD. We
also make it easy for customers to
transition to full IP 4K UHD and cloudbased production at their own pace.
Our customers tell us they need
technology partners that can stay the
course as their businesses evolve.
Grass Valley works closely with
customers to make sure our robust
product roadmap, incorporating
cloud-based technology lines up with
their future needs. We are about
helping production teams create and
deliver the best stories - wherever
they are working. 
GV switcher panel in action


http://www.inbroadcast.com https://www.grassvalley.com/products/production-switchers/production-switchers/ https://www.grassvalley.com/products/production-switchers/production-switchers/

In Broadcast - January 2021

Table of Contents for the Digital Edition of In Broadcast - January 2021

Contents
In Broadcast - January 2021 - Intro
In Broadcast - January 2021 - Cover1
In Broadcast - January 2021 - Cover2
In Broadcast - January 2021 - Contents
In Broadcast - January 2021 - 4
In Broadcast - January 2021 - 5
In Broadcast - January 2021 - 6
In Broadcast - January 2021 - 7
In Broadcast - January 2021 - 8
In Broadcast - January 2021 - 9
In Broadcast - January 2021 - 10
In Broadcast - January 2021 - 11
In Broadcast - January 2021 - 12
In Broadcast - January 2021 - 13
In Broadcast - January 2021 - 14
In Broadcast - January 2021 - 15
In Broadcast - January 2021 - 16
In Broadcast - January 2021 - 17
In Broadcast - January 2021 - 18
In Broadcast - January 2021 - 19
In Broadcast - January 2021 - 20
In Broadcast - January 2021 - 21
In Broadcast - January 2021 - 22
In Broadcast - January 2021 - 23
In Broadcast - January 2021 - 24
In Broadcast - January 2021 - 25
In Broadcast - January 2021 - 26
In Broadcast - January 2021 - 27
In Broadcast - January 2021 - 28
In Broadcast - January 2021 - 29
In Broadcast - January 2021 - 30
In Broadcast - January 2021 - 31
In Broadcast - January 2021 - 32
In Broadcast - January 2021 - 33
In Broadcast - January 2021 - 34
In Broadcast - January 2021 - 35
In Broadcast - January 2021 - 36
In Broadcast - January 2021 - 37
In Broadcast - January 2021 - 38
In Broadcast - January 2021 - 39
In Broadcast - January 2021 - 40
In Broadcast - January 2021 - 41
In Broadcast - January 2021 - 42
In Broadcast - January 2021 - 43
In Broadcast - January 2021 - 44
In Broadcast - January 2021 - 45
In Broadcast - January 2021 - 46
In Broadcast - January 2021 - 47
In Broadcast - January 2021 - 48
In Broadcast - January 2021 - 49
In Broadcast - January 2021 - 50
In Broadcast - January 2021 - 51
In Broadcast - January 2021 - 52
In Broadcast - January 2021 - 53
In Broadcast - January 2021 - 54
In Broadcast - January 2021 - 55
In Broadcast - January 2021 - Cover3
In Broadcast - January 2021 - Cover4
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