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.
A number of new production facilities are now being designed and built around the ST 2110 standard for video over IP, but the cost has been prohibitive for many others. The engineers at Diversified Systems Inc. (DSI), a veteran systems integrator, were challenged by this when it came to a recent project to add cameras to the recording studios of New York City’s renown Power Station.
Our first Essential Insights is a set of three video episodes in which we discuss transitioning to IP with industry experts. We explore the fundamental challenges during the planning stage. The decisions that need to be made, and the long-term thinking needed to maintain flexibility, scalability and resilience.
IP networks are delivering outstanding success for broadcasters, both in terms of scalable functionality and flexibility. And the recent NMOS suite of specifications is improving integration and control, with IS-06 and IS-07 accelerating the process.
SDI and IP differ fundamentally in their approach to data transport as SDI is circuit switched and IP is packet switched. This provides interesting challenges for us as we start to consider what it means to route IP signals.
Our first Essential Insights is a set of three video episodes in which we discuss transitioning to IP with industry experts. We explore the fundamental challenges during the planning stage. The decisions that need to be made, and the long-term thinking needed to maintain flexibility, scalability and resilience.
The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of the HAS, that should be enough.
Television production these days is tricky enough without adding virtual elements like augmented reality (AR) graphics, but that’s exactly what Taipei-based production company Getop did for the live telecast of the 2020 Golden Melody Awards (GMA). The highly rated annual televised awards ceremony - considered the “Asian Grammys” by many - celebrates top musical talent from across southeast Asia.