OBs are still outside and so are broadcasts


Mike Ransome - new TV-Bay Magazine
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With the advent of new and emerging technologies, and with the one getting the most oxygen at the moment being video over IP, a number of people are asking whether the ability to move control rather further way from an event has, or will, change the nature of OB production.

Well, yes...and no.

OB requirements always depend on what type of broadcast you're talking about. Whether it be sport, news, or live events; the technical requirements are largely a function of size and location. There are myriad variables that determine what is most appropriate for each situation in terms of technology, but the bottom line, is this - there's not currently a lot of change in OB requirements.

That's because, for major events in sport, most broadcasters still want to cover it live and, importantly, on site. Remote production over IP, which many are rightly talking about, has its place and will continue to grow but is, in my view, not quite ready yet for major events.

Notice I said "major" events. Remote production, which is already taking place, is actually an ideal production option for more niche or minority interests. Lots of such special events occur throughout the UK and Europe and I can easily see many of them increasingly being covered on a remote production basis. That approach is contingent on having the right kind of connectivity available, whether satellite or fibre. The availability of suitable fibre-based connectivity is less advanced in some areas than others, but where it is available, it's a highly compelling option.

Although remote production still has issues to be resolved, a lot of people are looking into it with great interest, predominantly as a way of reducing costs while still giving them the leverage to produce the amount of content they need to fill an increasing number of, for example, 24-hour sports channels. However, it's not quite a viable proposition for major events just yet, and here's why.

It will be quite a while before we see, for example, a major sporting event that doesn't have six or seven trucks sitting outside. Although there are obvious advantages to IP-based production, what a lot of people are forgetting is that it could in some cases come at the expense of the feel of a "live" event. Remote production, almost by the term's very definition, suggests a vague notion of detachment. There is subtle, sometimes overt emotion associated with big events and a "feel" that most viewers at home (or on a tablet or mobile these days) miss when it's not there, even if they can't quite put their finger on what's missing. It, in short, "just doesn't feel right".

Presenters, cameramen, directors and crew are professionals, but they're human beings, too. Very few are able to stay utterly detached when they are live, in the moment. It shows through in the production. The excitement, drama - the human element, if you will - at least for major events, can potentially be diminished if produced largely from afar.

Don't misunderstand. Remote production over IP has huge potential for introducing monumental changes, for the better, in terms of providing more ingenious types of coverage at a lower cost. However, from our point of view, the production approach doesn't matter all that much. Whichever avenue you choose, you need cameras, lenses, tripods, pedestals and all the rest. Your method of getting the images and audio captured by those devices back to an OB or studio is entirely up to you and your situation.

But enough of the theorising, back to the technology. We are already seeing significant advances in, and the increased deployment of, RF, in particular more Mesh products to provide what I call "smarter" coverage. By smarter I mean, with a Mesh system you can start at "A" and complete an entire production right through to "Z", as opposed to "A" to "F". Stop. Move some equipment. Then do "F" to "M". Stop. Move equipment again, and so on. New RF products can offer continual coverage and are increasingly being deployed as a technology of choice for OB productions large or small.

The only reservation I have in terms of RF and Mesh products is that the ability to transmit in 4K has yet to emerge. So far, I've not seen any product from any manufacturer that can genuinely deliver ultra-low latency 4K transmission, and I suspect it may still be some way off.

There are other ways to achieve low latency transmission, and new technologies will probably arrive before existing ones can adapt, but the bottom line is that the ability to transmit low-latency 4K has to happen. It's not there yet, but that's not to say it won't be in 12 months' time.

Modern production standards notwithstanding, in recent weeks we've nevertheless embarked on a significant investment in new stock, but much of it is a replenishment and extension of technology that our customers expect us to have on hand and for which demand, if anything, is increasing. However, we are also investing in more HD cameras because we have a huge demand for them, as well as 4K cameras and associated lenses for those who want to take it a step further.

Having said all of the above, it's fair to say there haven't been major tectonic shifts in terms of OB technology requirements in recent years, and that continues to be the case, at least in the near-term. In my view, the reason for this is two-fold, a lack of standardisation, i.e., a number of broadcast and production standards are still being worked out, particularly in terms of UHD and HDR. Although neither are particularly new anymore, both are necessary for high-end production and the relevant standards still need to be agreed and ratified. Standardisation is getting close, it's there but not quite there yet. That leads to delays in manufacturing and, hence, investment and deployment at our end. However, I've no doubt that once those standards are agreed and adopted, a whole new raft of technologies will emerge that could potentially usher in a new age of production, whether onsite or remote. But until then - and it may not be too long - we'll keep a watchful eye.

I anticipate our already busy hire desk will become even busier as broadcasters and production companies leap forward together under a common drive to see UHD and HDR finally come into its own.

We've been around since well before HD was the new black. Those blacks will be much richer on the balance sheet when UHD and HDR become mainstream, and we'll have the kit ready to support any OB with those high standards in mind.


Tags: iss123 | remote production | ob truck | presteigne | ip | Mike Ransome - new
Submitted by Mike Ransome - new Read this article in the tv-bay digital magazine
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Submitted by Mike Colyer Read this article in the tv-bay digital magazine
Somewhere down the latency river
Ben Hawker Some people have been, understandably, getting fairly excited over the prospect of being able to deploy wireless cameras to capture and transmit 4K UHD. Manufacturers and developers are closing in on the ability to deliver systems that will offer up almost endless creative options at the highest – to date – possible picture quality.
Tags: iss129 | latency | 4k | wireless | rf | presteigne | Ben Hawker
Submitted by Ben Hawker Read this article in the tv-bay digital magazine
Steadicam M-1 Volt: Tried and Tested
John E Fry Early in November some of us lucky Steadicam Operators from around the UK were invited to try out the new Tiffen M1 Volt, which is essentially an electronic motorized horizon assist unit attached to the gimbal of the latest Steadicam M1. Is it a good idea? As experienced Steadicam Operators, directors or producers, why would we be interested? Let’s investigate KitPlus fans!
Tags: iss129 | steadicam | volt | tiffen | m1 | John E Fry
Submitted by John E Fry Read this article in the tv-bay digital magazine
The Outlook for 2018
Duncan Payne January has arrived…and the New Year promises great opportunities for those prepared to seek them out, with the one certainty that change is constant.
Tags: iss129 | adamantean | finance | cvp | netflix | amazon | arri | hdr | sadie groom | rise | Duncan Payne
Submitted by Duncan Payne Read this article in the tv-bay digital magazine
State of the Nation
Dick Hobbs - new This morning I was eating my healthy muesli and idly listening to Radio 4 when someone came on who claimed to be from the Oxford University Computational Propaganda Project.
Tags: iss129 | fake news | facebook | tv globo | amagi | robot | ai | artificial intelligence | Dick Hobbs - new
Submitted by Dick Hobbs - new Read this article in the tv-bay digital magazine
A new AEON in Wireless 4k
JP Delport Whatever production companies are doing right here, right now, today, with wireless HD production tools, they want to do right here, right now, today with 4K UHD. That’s great, but common wisdom would share a host of challenges around 4k UHD, not least, the fact that 4K UHD requires 8x the processing power to transmit, then demands additional horsepower (and bandwidth) to accommodate the data and controls, wireless or otherwise, and of course, when you ramp up processing power, you ramp up heat generation, which needs to be efficiently evacuated.
Tags: iss129 | 4k | uhd | wireless | domo | JP Delport
Submitted by JP Delport Read this article in the tv-bay digital magazine
2018: A Changing of the Guard
Peter Savage 2 The guys at KitPlus asked me if I could write about what I think is going to happen in 2018 – a feel, or mood, piece of what we might see this year. I’m not sure why they asked me but perhaps it’s because I’ve been around the industry a long time. Anyway, to look forward I think sometimes it’s best to look back as history has a habit of repeating itself.
Tags: iss129 | azule | finance | Peter Savage 2
Submitted by Peter Savage 2 Read this article in the tv-bay digital magazine
Innovation in cameras moving to 4k
Tony Valentino For a number of reasons, wireless camera links needed time to migrate to 4K. However Broadcast Sports International, BSI, designs their own cameras and builds their own hardware and their transition to 4K is already complete.
Tags: iss129 | bsi | ref-cam | wireless | 4k | Tony Valentino
Submitted by Tony Valentino Read this article in the tv-bay digital magazine
Taking the lead in the HEVC and 4k revolution
Malcolm Harland There’s probably a good reason that BVE is held in late February — it offers you a few weeks to set your annual plans in place. Then, once you’ve decided on the opportunities you want to take advantage of and improvements you want to make, you have a chance to visit this massive exhibition to see the latest technological innovations that will help to bring your plans to fruition.
Tags: iss129 | garland | hevc | liveu | hc11000 | media excel | ntt | bws | lu600 | Malcolm Harland
Submitted by Malcolm Harland Read this article in the tv-bay digital magazine
Studio Invate - Case Studio
KitPlus Studio INVATE is a video company based in Bangkok, with an inventive reputation. Its public persona is everyday commercial work, such as producing highly creative videos, live broadcasts and commercials, for companies ranging from large industrial brands and retail businesses to educational institutions. But in between the studio and on-location work for clients, the company’s crew of 14 employees and a few dozen freelancers enjoy live-streaming video game tournaments.
Tags: iss129 | invate | newtek | tricaster 8000 | 3play | 4800 replay | blonde robot | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
IP for everyone and 4k everywhere - that will be 2018
John Smith -new My first prediction for the coming year is that the use of IP to move broadcast content will increase dramatically.  Ultimately, it will become the commonplace, just as the use of IP has become part of our everyday, consumer lives.  Live sports are closely linked to this growth, as conversion of broadcast signals for transportation across established telecos networks enables content to be viewed in real-time, regardless if it’s in the next room or across the globe.
Tags: iss129 | medialinks | 4k | ip | vr | ai | John Smith -new
Submitted by John Smith -new Read this article in the tv-bay digital magazine
Playing with Pink Floyd
KitPlus For the founder of London-based Hangman, James Tonkin, this has indeed been a summer to remember. After sixteen years of working in the same suites, he designed and moved his team into a new future proofed facility in Kew Gardens created specifically for the manipulation and delivery of formats in up to 8K HDR.
Tags: iss129 | hangman | james tonkin | david gilmour | pink floyd | Sony F55 | Sony A7RII | RED Dragon | URSA Mini | blackmagic | DJI Drone | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
Panasonic GH5: Tried and Tested
Tim Bearder My journey as a filmmaker began with a select number of enthusiastic BBC reporters picked out and trained in the concept of Personal Digital Production by the American Video Journalist Michael Rosenblum.
Tags: iss129 | panasonic | gh5 | dslr | senheirser avx | c200 | Tim Bearder
Submitted by Tim Bearder Read this article in the tv-bay digital magazine
Capturing the spirit of Mexico
Leonardo Dalessandri Filmmaker, director and editor, Leonardo Dalessandri first came to fame with his stunning video ‘Watchtower of Turkey,’ which with more than 200 million views, garnered the accolade of Best Vimeo Video in 2014. His vibrant images are combined with a unique editing style, incorporating slow motion, hyper lapses and invisible match cuts to produce genuinely breathtaking final results.
Tags: iss129 | watchtower of turkey | davinci resolve | blackmagic. corona | Leonardo Dalessandri
Submitted by Leonardo Dalessandri Read this article in the tv-bay digital magazine
TVFutures: Learning is the key
Abbie Neill If you asked me the question ‘where do you see yourself after you graduate’ three years ago I would have probably answered  ‘in a lot of debt, but if you don't think about it, it doesn't exist because three years is a long time right ?’. WRONG! These three years studying Television and Broadcasting at the University of Portsmouth have been the quickest three years of my life. Back when I started I didn't really have any idea what I wanted to specialise in and the dreaded four letter word AVID used to be my biggest enemy. However I persevered through the 3792871 hours of lectures learning how to use the software, how it functions, neither did I think I'd be a one woman match of the day by graduation'.
Tags: iss129 | ccitv | portsmouth | university | avid | Abbie Neill
Submitted by Abbie Neill Read this article in the tv-bay digital magazine
Empowering connectivity choice in the field
Yvonne Monterroso Reliability, flexibility and ease of use are the key requirements when covering the news and live events, especially when the location could be anywhere. Connectivity is one of the biggest concerns in the field when the pressure is on to capture a key event – if you cannot establish a reliable transmission path to send your video back to the broadcast studio, there is no story.
Tags: iss129 | dejero | satellite | streaming | ku-band | cloud | Yvonne Monterroso
Submitted by Yvonne Monterroso Read this article in the tv-bay digital magazine
Class: Do we still need standards
Bruce Devlin - new On the 1st January 2018, I officially took on the post of SMPTE Standards Vice President. The role has responsibility for all of SMPTE’s standardisation activities and it fills me with equal measures of excitement and terror.
Tags: iss129 | smpte | st2110 | dpp | Bruce Devlin - new
Submitted by Bruce Devlin - new Read this article in the tv-bay digital magazine
Canon C200: Tried and Tested
Ben Sherriff There are many reviews about this camera online and a heap of incredibly detailed comparison and behind the scenes footage that will really give you a full insight into what it can do. So first a disclaimer - this review is less detailed and based on my personal reading of what this camera means for Canon and all other camera manufacturers and us – the users of these technologies. So, what’s all the fuss about?
Tags: iss129 | spellbinder | canon | c200 | c100mkii | c300 | red | alexa | asx-r7 | Ben Sherriff
Submitted by Ben Sherriff Read this article in the tv-bay digital magazine
A Pandoras Box to empower the filmmaker
KitPlus The setting was Celebro Studios London, home to their fully 4k television studios, where journalists and industry commentators gathered late last November to witness the launch of the revolutionary Rotolight Anova PRO 2. This was no ordinary unveiling though, the launch was streamed live on Facebook and YouTube and hosted by award winning news anchor man Martin Stanford with Wesley Dodd, CEO of Celebro Media Group and Rotolight MD Rod Gammons in the studio.
Tags: iss129 | rotolight | celebro | anova pro 2 | led | lighting | wesley dodd | rod gammons | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
Epictech makes headway: A case study
Daniel Harker Barnes Founded in January 2014, EpicTech Media have been providing high end video production to companies and musicians across the U.K. for over three and a half years. When approached earlier this year by the band Bodkin Lane, we relished the challenge of producing a video of their charity concert, in aid of Headway (www.headway.org.uk), despite the challenging size of the venue. 
Tags: iss129 | polecam | epictech media | ptz | povcam | Daniel Harker Barnes
Submitted by Daniel Harker Barnes Read this article in the tv-bay digital magazine
Speed in a Changing Media Landscape
Mike Nash We are living in the video era - the staggering statistics on video growth make that abundantly clear. According to Cisco’s Visual Networking Index: Forecast and Methodology 2016–2021, video will make up 82 percent of all consumer internet traffic by 2021, an increase from 73 percent in 2016. To put this in perspective, “it would take an individual more than five million years to watch the amount of video that will be crossing global IP networks each month in 2021.”
Tags: iss129 | hulu | amazon | netflix | signiant | svod | Mike Nash
Submitted by Mike Nash Read this article in the tv-bay digital magazine
AoIP in the intercom world
John Sparrow Everyones talking about using AoIP (Audio over IP) in the broadcast world, but what does it mean to the operators actually making the production - the intercom users? And after years of interoperability taking the lowest common format of analogue tie-lines (also known as 4-wires), has intercom today already moved into the digital world by sharing digital audio resources with other types of hardware?
Tags: iss128 | clearcom | clear-com | dante | aes67 | beltpack | isdn | John Sparrow
Submitted by John Sparrow Read this article in the tv-bay digital magazine
Marjan Television Network - a case study
Ian Muir Internet and Satellite content distribution now allows production companies and broadcasters to send targeted TV programmes and video to widely dispersed audiences all over world, whilst located where theres easy access to the technology, equipment and expertise to produce top quality programmes.
Tags: iss128 | ac ent | lighting | chroma-q | space force | fresnel | quasar | q-led | lumipix | stark400 | Ian Muir
Submitted by Ian Muir Read this article in the tv-bay digital magazine
Managing Talent
Nicole Inanc Presenting for television is a talent that is critically competitive. Budding presenters around the world produce showreels, attend acting schools and fight to be the next Ant and Dec¦ but what is it exactly that makes a successful television presenter? As a wannabe TV presenter myself, I wanted to explore the exact process talent managers follow when finding the next big thing and whether I have exactly what it takes.
Tags: iss128 | portsmouth university | education | bsc | ccitv | Nicole Inanc
Submitted by Nicole Inanc Read this article in the tv-bay digital magazine
Supporting broadcast quality control
Alan Wheable With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.
Tags: iss128 | omnitek | wcg | hdr | test and measurement | smpte 2110 | smpte 2022-6 | Alan Wheable
Submitted by Alan Wheable Read this article in the tv-bay digital magazine
There is no where to hide from cybercrime
Mark Harrison The media sector is an attractive target for cyber attacks of all kinds from malicious individuals who enjoy disrupting high profile shows, to organised criminals who are attracted by the value of content, to nation states aware that media is a way of conveying or distorting messages.
Tags: iss128 | dpp | cybercrime | microsoft | azure | tinopolis | security | Mark Harrison
Submitted by Mark Harrison Read this article in the tv-bay digital magazine
The dangers of live streaming without a license
Joseph Adamson The entertainment industry is visual and sound driven. Without these two elements there would be no such a thing as entertainment. Its obvious that there are people who create sound/s and visuals. Copyright laws were created to protect the industry and these artists. Many organisations have been created to look after musician, writers, poets and filmmakers. For example there are a number of bodies especially the MCPS [Mechanical-Copyright Protection Society], which is responsible for collecting royalties and licensing of music on behalf of musicians and music producers.
Tags: iss128 | ail | youtube | streaming | license | Joseph Adamson
Submitted by Joseph Adamson Read this article in the tv-bay digital magazine
The Transition to a full end to end IP video solution
Brian Olson Most video professionals will agree that the future is IP. The question is, when and how do they make this transition? With manufacturers just introducing new IP products, many people are observing and waiting. However, the reality is that the move to IP is already rapidly taking place and is more transformational than the move from analogue to digital, SD to HD, or HD to UHD/HDR. IP will change the way that people interact with video, making it more flexible, more accessible, more scalable and will provide more opportunities for content delivery
Tags: iss128 | newtek | ptz | ip | uhd | streamstar | xsplit | vmix | ndi | Brian Olson
Submitted by Brian Olson Read this article in the tv-bay digital magazine
Growing a news agency from the inside out
Lorna Garrett Growing a new media outlet in todays highly competitive market requires taking a strong look at the new ways media is being consumed. Many of the most successful recent startups are community focused, often finding a niche market that wants to be engaged in a way they perceive themselves. Al-Araby TV is a London-based news and current affairs satellite channel that has set out to do just that for Arab citizens.
Tags: iss128 | gpl | garland | al-araby | teracue | x-player | amino | aminet | icue | Lorna Garrett
Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
State of the Nation - Telling Imaginary Stories
Dick Hobbs - new In mid-October, Nokia issued a press release from its headquarters in Finland, announcing a refocusing of its business, with a growing emphasis on digital health. Read on a few paragraphs, though, and you find this statement....
Tags: iss128 | samsung | ozo | vr | nokia | ibc | david attenborough | Dick Hobbs - new
Submitted by Dick Hobbs - new Read this article in the tv-bay digital magazine
Reunion on Kingsman ensures efficient workflow for sequel
KitPlus Both on and off camera, there are some collaborations that are built to last. Armed with the success of their work on the first film adaptation of the Kingsman comic book (Kingsman: The Secret Service), director Matthew Vaughan reunited with cinematographer George Richmond, DIT Joshua Callis-Smith and colorist Rob Pizzey, to deliver Kingsman: The Golden Circle, the upcoming second installment in the spy comedy series.
Tags: iss128 | kingsman | blackmagic | goldcrest | davinci | arri | dit | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
When a lens is more than just a lens
KitPlus Matching shots between different cameras can be tricky at the best of times. But how do you match lens characteristics between a live action shoot and a CGI composition? The CP.3 XD lenses from Zeiss offer an efficient solution to this with their frame accurate meta-data.
Tags: iss128 | zeiss | lenses | lens | prime | cp.3 | cgi | vfx | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
How the Cloud can be enabled as traditional broadcast workflows evolve
David Schleifer The Cloud itself is fairly simple, but for broadcasters it can be difficult to leverage. It isnt technically complex but broadcast still overlaps requirements that need real time, high resolution and quick turnaround solutions. Plus, this is coupled with the need to connect with dispersed geographic locations, reduce costs and access multi-format assets. As a result, broadcasters have moved away from asking the basic question what can I do in the cloud? to trialling projects and implementations are now underway or under evaluation.
Tags: iss128 | ott | primestream | David Schleifer
Submitted by David Schleifer Read this article in the tv-bay digital magazine
IP Prompting
Jon Hilton# The potential nirvana of interoperable IT, Telecommunications and Broadcast convergent technology definitely felt a lot closer at this years IBC with the launch of many, many broadcast IP ready devices, workflow and solutions. While the big ticket camera and live production infrastructures dominated the headlines there were a number of smaller but equally important IP workflows that were launched which are fundamental to successful, professional TV production and this includes the often forgotten world of TV Prompting
Tags: iss128 | portaprompt | ip | prompting | ippg | windigi | Jon Hilton#
Submitted by Jon Hilton# Read this article in the tv-bay digital magazine
Leveraging licensed broadcast spectrum assets
John Payne There are several different approaches to transmitting live and file-based content from the field to the studio. Traditional microwave Electronic News Gathering (ENG) provides high bandwidth, high-quality transmission with low latency. Using the secure, dedicated BAS spectrum keeps control in a broadcasters hands. The past few years have seen a shift in video technology toward acceptance, and adoption of IP-based links into ENG workflows.
Tags: iss128 | eng | bas | imt | vislink | imt-vislink | John Payne
Submitted by John Payne Read this article in the tv-bay digital magazine