Understand how to choose the optimal remote production strategy for your workflow. Latency, circuit data capacity, and quality of service all influence the best strategy decisions when figuring out where to install cameras, production switchers, microphones and sound consoles.
Most live remote outside broadcasts are thoroughly planned by producers and directors who are often too busy to consider potential equipment problems. Technology is an engineering responsibility. Engineers must be ready for any circumstances that threaten to take the show off-script or off-air, from dead wireless mic batteries to unexpected foul weather. In live TV, anything can happen and probably will, usually at the worst possible time.
Live TV production may not be the best fit for perfectionists who can’t recognize ‘good enough’ and move on. Live TV has no patience, no second chances and can never be late. Every live shot is a first impression.
Despite Zoom fatigue, one thing that can be said for some of the more recent online industry gatherings is that they are bringing people together in a highly focused and some say more productive way. After nearly two years of such virtual conferences, organizers have learned what works for attendees and what does not. Attendees themselves have also learned what programs work best for them and what don’t.
Will AI and ML make TV engineers obsolete? Or will it give engineers more time to focus on crucial live production details and new revenue opportunities?
NDI (Network Device Interface) is a free protocol for Video over IP, developed by NewTek. The key word is “free.”
Sitting at home watching the Olympics 400m Women’s hurdles final live on NBC’s 4K HDR channel, home audiences were captivated by the sweat and effort displayed on screen with immersive sound of the runners’ feet hitting the track. Viewers thousands of miles away could be excused for thinking they had the best seat in the Japan National Stadium. The live 4K HDR broadcast of NBC’s primetime show throughout the Games were an extrasensory experience unlike any previous Olympics telecasts.
Although latency and resource coordination continue to challenge those considering cloud-based remote live production, the distributed architecture model is steadily gaining traction as a cost-effective alternate to hardware-based on-premise projects. To date this IT-centric architecture has not been deployed for high-profile productions like the Super Bowl or World Cup, but remote IP-video contribution, production and distribution has allowed second-tier sporting events to be televised globally whereas they might not be - due to cost and fully remote access - using traditional production methods.
New, in-cloud, pay-per-use business models offer new advantages to occasional REMI, field reporting, remote event production and similar content producers and distributors with a better business model to remain competitive and profitable without huge ongoing capital investments.