The new year is a time to ponder the past and muse about the future. In the past, nearly each technical device needed to produce broadcast TV cost more than building a new house, was as huge as it was heavy, and made pictures nobody would accept today. About 20 years ago, many analog TV stations were launching their DTV stations. Today, US TV stations are launching ATSC 3.0. Can you imagine what TV broadcasters will be doing in 2042?
An obvious place to look is how COVID-19 has reshaped the workflows of productions across the industry. Remote working and geographically dispersed teams linked online and via cloud are now embedded.
For broadcasters to be profitable and stay ahead of the curve in this competitive market, they need to develop hybrid strategies with secure technology to accommodate remote workers without losing productivity. This was a direction the industry had been heading towards for some time, but the pandemic forced the industry’s hand at a more accelerated rate.
The Advanced Media Workflow Association (AMWA) is reporting good progress on using the Networked Media Open Specification (NMOS) protocol developed by the group to precisely identify, control and manage devices on an IP network in a highly automated way.
This is the second instalment of our extended article exploring the use of Microservices.
Computer systems are driving forward broadcast innovation and the introduction of microservices is having a major impact on the way we think about software. This not only delivers improved productivity through more efficient workflow solutions for broadcasters, but also helps vendors to work more effectively to further improve the broadcaster experience.
As company mergers, acquisitions and extensive rights management agreements have become part of the new media landscape, it has created large multi-national conglomerates that span the globe. This in turn has revealed the need for IT networking technology and complex software orchestration that tie all of the disparate locations together and increase productivity across the company.
After years of trial and error designed to reduce operating cost and (more recently) keep crews safely distanced, remote production has found its niche in live production and will remain the de facto method for producing events over a distributed network infrastructure. However, a big hurdle left to overcome for successful deployment of such networked workflows is latency. In live production, video latency refers to the amount of time it takes for a single frame of video to transfer from the camera to a processing location (on premise or in the cloud) and back to the display—wherever that display might be.