A Truly Mobile Fly On The Wall


TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

A Truly Mobile Fly on the Wall

Fly on the Wall Entertainment is responsible for over 2000 hours of programing that have aired on multiple networks. As the Executive Producers of CBS’s summer sensation Big Brother, going into its 20th season this summer, they have been the key to the growth and evolution of one of the most groundbreaking entertainment franchises ever on broadcast television. As a team, they constantly push the boundaries of unscripted television, creating programing unimagined by anyone else.

Challenging Logistics for Live Reality TV

FOTW produces TLC’s This is Life Live (Life Live), now in its second season. It’s a unique show that airs human-interest ‘reveal’ stories live, over four consecutive nights from two different US cities. As you can imagine, the need to be in two different US cities simultaneously every night, for four nights make the live broadcast incredibly logistically challenging. Season one was captured using satellite trucks with a core group of producers and production crew that would travel. For example, one truck in Seattle and the other in Minneapolis. They would wrap filming, get on a plane, and go to the next two cities where the same production was done over again but in new cities, with a new reveal—four days in row. Using new engineers, new trucks, and new crews on each of the four days while travelling was extremely difficult. After season one of Life Live, and a clear understanding of the difficulty to produce the show, FOTW needed a new solution.

“With any live unscripted production, the only way you can make it efficient is to keep production constant and remove the element of surprise and as many variables as possible. Dejero enabled us to do just that, and it translated directly into higher efficiency and cost savings,” said Jeff Anderson, executive in charge of production, FOTW.

Reliable Mobile Transmission Technology

The biggest issue FOTW had in season one was the use of traditional satellite trucks; their immobility and the infrastructure needed to operate them. For season two, FOTW used the Dejero EnGo mobile transmitter to transmit high-quality video over multiple IP networks, simplifying the show’s production cycle dramatically.

Blending up to eight network connections, the Dejero EnGo transmitter enabled FOTW to reliably broadcast live from virtually anywhere. With the need to go live in very rural areas and even inside airports where cellular bandwidth can be limited, the EnGo did not disappoint. Eliminating satellite trucks and using the compact HEVC-capable. Dejero EnGo made the on-site presence incredibly low impact and production much more efficient. Camera-mounted, vehiclemounted, or wearable, EnGo is ideal for newsgathering, sports
coverage, and live broadcasting while on location, and while in motion.

Reducing costs on crew, location tech and engineering

FOTW was able to reach a new level of flexibility during its four day back-to-back live broadcast of Life Live’s second season using Dejero’s mobile transmission technology. By removing the need to hire satellite trucks and broadcast crews at each location, FOTW saved a significant amount of time, resources, and production costs.

In addition to removing the need for satellite trucks and new crews at each location, FOTW was able to maintain staffing consistancy of engineering and technical crews. This greatly reduced any element of surprise experienced during season one of Life Live. This consistancy also increased on-site efficiency by 20% over season one, translating into zero overtime costs on crew, location tech and engineering, location fees, and also provided essential prep and rehearsal time on-site.

“You can’t ship a satellite truck, but you can ship a Dejero EnGo anywhere. A solid, versatile, dependable, and quite an amazing piece of mobile technology, the decision to use an EnGo was made for us when we tried it the first time,” added Anderson.

Experts in Unscripted Television

Fly on the Wall Entertainment believes in real people and real stories. As storytellers, they strive to help people communicate their unique voice in the world and to make their special mark. Through their shows, they’ve rekindled forgotten dreams. They’ve reunited long lost relatives. They’ve exonerated the innocent. They’ve restored hope. And, yes, they’ve given away millions of dollars. FOTW believe there is no better story than a real one. They’ve committed to taking audiences into worlds they might never see to give them a chance to be a Fly on the Wall.

“To accompany FOTW on their journeys across the US, producing unique and unscripted live reality content, is an honor,’” said Yvonne Monterroso, director of product management, Dejero. “Solving these types of live broadcast challenges is what we’re passionate about at Dejero. We’re very pleased to have made FOTW’s operations more efficient and their jobs easier on the road.”


Tags: iss137 | dejero | fotw | engo | KitPlus
Contributing Author KitPlus

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • New EnGo 260 from Dejero with industry leading RF for remote connectivity at IBC2019

    New EnGo 260 from Dejero with industry leading RF for remote connectivity at IBC2019

  • Dejero show the new generation EnGo at IBC2018

    Dejero show the new generation EnGo at IBC2018

  • HEVC Compression for EnGo from Dejero at NAB 2018

    HEVC Compression for EnGo from Dejero at NAB 2018

  • Dejero at IBC 2016

    Dejero at IBC 2016

  • Dejero at IBC 2015

    Dejero at IBC 2015

  • Dejero IronRoute for first & last mile connectivity at IBC2019

    Dejero IronRoute for first & last mile connectivity at IBC2019

  • Global content distribution from Dejero at NAB 2019

    Global content distribution from Dejero at NAB 2019

  • Dejero CuePoint return feed server at NAB 2019

    Dejero CuePoint return feed server at NAB 2019

  • Mobile Connectivity with Dejero GateWay at NAB 2018

    Mobile Connectivity with Dejero GateWay at NAB 2018

  • CellSat - the cell and Ku-band IP satellite solution from Dejero at IBC 2017

    CellSat - the cell and Ku-band IP satellite solution from Dejero at IBC 2017

  • IP Gateway from Dejero at NAB 2017

    IP Gateway from Dejero at NAB 2017

  • Dejero at NAB 2016

    Dejero at NAB 2016

  • Dejeros products at IBC 2014

    Dejeros products at IBC 2014

  • Dejero at NAB 2014

    Dejero at NAB 2014

  • Dejero on BroadcastShow LIVE at IBC 2013

    Dejero on BroadcastShow LIVE at IBC 2013

  • Dejero LIVE+ VSET at NAB 2013

    Dejero LIVE+ VSET at NAB 2013

  • Dejero + Nucomm Connect Live at NAB 2013

    Dejero + Nucomm Connect Live at NAB 2013

  • Nucomm on BroadcastShow LIVE at IBC 2013

    Nucomm on BroadcastShow LIVE at IBC 2013

  • IDX at BVE North 2011

    IDX at BVE North 2011

  • IDX at IBC2011

    IDX at IBC2011


Related Shows
  • Day 1 of BroadcastShow at IBC

    Day 1 of BroadcastShow at IBC


Articles
Original KVM or KVM over IP
Jochen Bauer Will the technology used in broadcasting solely consist of IP devices? For years, IP has been entering all areas of life. Especially control room applications as they are typically deployed in broadcasting benefit from the IP revolution in many ways. But an “IP-only broadcast world” is not yet here. Nevertheless, the trend clearly moves towards IP transmission, even though a large part of content production still uses traditional transmission paths. And therefore we continue to live in a hybrid world, using both original and IP-based technology. KVM experts Guntermann und Drunck still rely on both original KVM and KVM-over-IP™ to be able to offer their customers the best of both worlds.
Tags: iss139 | kvm | gdsys | guntermann and drunck | kvm-over-ip | Jochen Bauer
Contributing Author Jochen Bauer Click to read or download PDF
Keeping the Show on the Road
Andy McKenzie There is long-established saying in the media business that, if something goes wrong, at least nobody dies. It is almost true unless you happen to be a TV producer suffering a cardiac arrest because your primary video feed has gone blank during a high-budget programme.
Tags: iss139 | service | support | finepoint | maintenance | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
Why MADI is Still Relevant
Stephen Brownsill While the original idea for MADI was to cater to a very narrow recording studio application, the standard remains a viable go-to multichannel audio technology. Beginning as a standard in 1991, MADI was first introduced to the world as digital production was beginning to come of age. MADI was put together in 1988 by Solid State Logic, AMS-Neve, Sony (DASH) and Mitsubishi (ProDigi) as a way to transport up to 56 channels of digital audio between large-format audio consoles of the day and digital multi-channel tape machines via 75-Ohm coaxial cables. Both tape-based machines have long since disappeared from the equipment landscape.
Tags: iss139 | madi | tsl products | aes10 | aes | dolby atmos | st-2110 | sam-q | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Keeping Pace with the Content Revolution
Kevin Fitzgerald These are uniquely challenging times for broadcasters and their technical teams. Not only are they having to negotiate the move to IP-based infrastructures and the introduction of new formats and techniques such as 4K and HDR, they are also having to generate more content than ever before to support OTT and web services as well as traditional linear broadcast.
Tags: iss139 | streamstar | streaming | case 800 | ipx | ipx-3g | Kevin Fitzgerald
Contributing Author Kevin Fitzgerald Click to read or download PDF