Venice live productions tools go to the consumer


Tim Felstead TV-Bay Magazine
Read ezine online
by Tim Felstead
Issue 98 - February 2015

The objective of most studio production is to cost effectively create live or as live television to which audiences will be drawn. During the process of creation, recording into media servers can either be a separate process used only for immediate replay, or can be part of a media workflow serving multiple target audiences in parallel. Rohde and Schwarz have invested heavily in its Venice Media Production Hub to ensure it is able to fulfil the requirements for the latter. A media production hub is a central component of media workflows, managing movements and transformations from one media type to another.

Venice is a multiple SDI input recording channel, multiple file format and video standard media server enabling workflows into post production environments, news systems and delivery systems in both linear and non-linear domains. By allowing inputs from 4K, HD and SD SDI sources to be encoded into formats such as DNxHD, Apple ProRes and AVC Ultra, to name only a few, Venice is compatible with many platforms from other vendors. Digital Production Partnership (DPP) file compatibility is already assured and other variants will be adopted quickly as new standards are created. By implementing a Linux based open architecture Venice easily adapts to the demands of IT based infrastructure. Ingesting from media formats such as Panasonics P2 and Sony's XDcam allows immediate check in to Avid ISIS and Interplay in addition to those that are recorded from linear input channels.

Recording of live signals in studio environments therefore is part of a much larger ecosystem supported by Venice based infrastructure. The Venice Play application is targeted at this environment and allows simplified and immediate play or edit while record, typical of live fast action environments such as sports or game shows with live audiences. By adding additional ingest chassis to a central storage system this multiple workflow environment can be scaled up. DVS San architectures support many 10s of channels for live SDI inputs, all of which can be immediately available for other departments in collaborative workflows. Management and workflow process control can be overseen and controlled by third party software layers because Venice and its related systems are built from the ground up as open interoperable solutions. Systems such as Strawberrytm from FlavourSys has integrated with Rohde and Schwarz systems to allow project level collaboration between audio teams, FX teams and editing teams within reliable redundant shared storage environments.

Software codecs and the ability of Venice to handle these back to back on playout timelines also offers considerable transcoding capabilities. In file ingest environments often catch servers are un-governed environments where compatibility with house formats are definitely not guaranteed. Venice offers customers solutions to this complexity by being able to transcode, transwrap and transrate a wide variety of different formats. In an environment where all these processes are occurring in parallel, using a finite resource such as media infrastructure for multiple purposes offers additional return on investment that other systems simply do not offer. Creating outputs for Over the Top (OTT) delivery, allowing forward provision to adaptive bit rate encoders and Content Delivery Networks (CDN) is an essential part of production environments; Venice is already enabled for such integration via its flexible software based FIMS architecture.

Venice fits within a mixed file and baseband environment and offers customers flexible open solution infrastructure that will fit live production and its associated processes both linear and non-linear. As the broadcast and media industry moves towards higher frame rates, newer resolutions like UHDTV and higher dynamic range, Rohde and Schwarz products offer an evolutionary path for customers looking to invest for the future.

You can discover more about these products on www.rohde-schwarz.co.uk


Tags: iss098 | studio production | live | multiple SDI input | panasonic P2 | sony XDcam | avid isis | Tim Felstead
Contributing Author Tim Felstead

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

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    TSL Products PAM1, SAM1 and PAM PiCo at IBC 2013

  • Calrec Callisto at IBC 2013

    Calrec Callisto at IBC 2013

  • Dalet at IBC 2013

    Dalet at IBC 2013

  • DPA Microphones at IBC 2013

    DPA Microphones at IBC 2013

  • Gearhouse Broadcast HD OB trailer at IBC 2013

    Gearhouse Broadcast HD OB trailer at IBC 2013

  • Glensound with the USB Commentary Mixer at IBC 2013

    Glensound with the USB Commentary Mixer at IBC 2013

  • Broadstream Solutions on the Oasys stand at IBC 2013

    Broadstream Solutions on the Oasys stand at IBC 2013

  • Oasys Chameleon at IBC 2013

    Oasys Chameleon at IBC 2013

  • Loft London Solutions with Cubix on the Oasys stand at IBC 2013

    Loft London Solutions with Cubix on the Oasys stand at IBC 2013

  • RTW at IBC 2013

    RTW at IBC 2013

  • Sound Devices PIX260i Recorder at IBC 2013

    Sound Devices PIX260i Recorder at IBC 2013

  • Thomson Broadcast at IBC 2013

    Thomson Broadcast at IBC 2013

  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • Atomos Ninja2 Recorder at IBC 2013

    Atomos Ninja2 Recorder at IBC 2013

  • Atomos Ronin at IBC 2013

    Atomos Ronin at IBC 2013

  • Atomos new Samurai Blade at IBC 2013

    Atomos new Samurai Blade at IBC 2013

  • Autocue DSLR Prompter using iPad at IBC 2013

    Autocue DSLR Prompter using iPad at IBC 2013

  • Blueshape Batteries at IBC 2013

    Blueshape Batteries at IBC 2013

  • Datacolor Spyder on the Atomos stand at IBC 2013

    Datacolor Spyder on the Atomos stand at IBC 2013

  • i-Movix Slow Motion and D-Flicker at IBC 2013

    i-Movix Slow Motion and D-Flicker at IBC 2013

  • JVC GY-HM600 series camera updates at IBC 2013

    JVC GY-HM600 series camera updates at IBC 2013

  • Marshall Monitors at IBC 2013

    Marshall Monitors at IBC 2013

  • Metus MAM and Ingest at IBC 2013

    Metus MAM and Ingest at IBC 2013

  • Polecams range of accessories and minicams at IBC 2013

    Polecams range of accessories and minicams at IBC 2013

  • Tektronix at IBC 2013

    Tektronix at IBC 2013

  • TSL Products at IBC 2013

    TSL Products at IBC 2013

  • TSL Systems at IBC 2013

    TSL Systems at IBC 2013

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Pixel Power at IBC 2013

    Pixel Power at IBC 2013

  • Albis Technologies celebrating ten years at IBC 2013

    Albis Technologies celebrating ten years at IBC 2013

  • ATEME at IBC 2013

    ATEME at IBC 2013

  • Brainstorm with Aston demonstration at IBC 2013

    Brainstorm with Aston demonstration at IBC 2013

  • Brainstorm at IBC 2013

    Brainstorm at IBC 2013

  • Bridge Technologies QoE Monitoring with Mobile Videowall Display at IBC 2013

    Bridge Technologies QoE Monitoring with Mobile Videowall Display at IBC 2013

  • Broadpeak at IBC 2013

    Broadpeak at IBC 2013

  • Cobham transmitters at IBC 2013

    Cobham transmitters at IBC 2013

  • Tony Taylor from TMD talks about LTFS at IBC 2013

    Tony Taylor from TMD talks about LTFS at IBC 2013

  • Tony Taylor from TMD talks about Mediaflex CI

    Tony Taylor from TMD talks about Mediaflex CI

  • Tony Taylor from TMD talks about Post Production

    Tony Taylor from TMD talks about Post Production

  • Multidyne SilverBack, BullDog and Spider at IBC 2013

    Multidyne SilverBack, BullDog and Spider at IBC 2013

  • NOA Audio Solutions at IBC 2013

    NOA Audio Solutions at IBC 2013

  • Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

    Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

  • Blue Lucy Media at IBC 2013

    Blue Lucy Media at IBC 2013

  • ChyronHego Paint at IBC 2013

    ChyronHego Paint at IBC 2013

  • Cinegy at IBC 2013

    Cinegy at IBC 2013

  • ChyronHego Virtual Placement at IBC 2013

    ChyronHego Virtual Placement at IBC 2013

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Global Distribution with mLogic at IBC 2013

    Global Distribution with mLogic at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Softron Media at IBC 2013

    Softron Media at IBC 2013

  • Viaccess-Orca at IBC 2013

    Viaccess-Orca at IBC 2013

  • Quantel Pablo Rio at IBC 2013

    Quantel Pablo Rio at IBC 2013

  • Quantels Stream-based Workflows at IBC 2013

    Quantels Stream-based Workflows at IBC 2013

  • Telestream with Wirecast version five at IBC 2013

    Telestream with Wirecast version five at IBC 2013

  • Telestream with Post Producer at IBC 2013

    Telestream with Post Producer at IBC 2013

  • Matrox Maevex at IBC 2013

    Matrox Maevex at IBC 2013

  • Matrox Avio at IBC 2013

    Matrox Avio at IBC 2013

  • Matrox Video with Monarch HD at IBC 2013

    Matrox Video with Monarch HD at IBC 2013

  • NuGen Audio at IBC 2013

    NuGen Audio at IBC 2013

  • Yospace: Advert Insertion at NAB 2013

    Yospace: Advert Insertion at NAB 2013

  • Cobham: Mini RF Transmitters at NAB 2013

    Cobham: Mini RF Transmitters at NAB 2013

  • Cobham: RF Transmitter at NAB 2013

    Cobham: RF Transmitter at NAB 2013

  • Autocue at BVE 2013

    Autocue at BVE 2013

  • Studio Technologies at NAB 2012

    Studio Technologies at NAB 2012

  • IMT Broadcast at NAB 2012

    IMT Broadcast at NAB 2012

  • Root6 at BVE 2012

    Root6 at BVE 2012

  • Garland Partners at BVE 2012

    Garland Partners at BVE 2012

  • Sensio at IBC2011

    Sensio at IBC2011

  • Globecast at IBC2011

    Globecast at IBC2011

  • Digital Rapids at IBC2011

    Digital Rapids at IBC2011

  • SADiE at IBC2011

    SADiE at IBC2011


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Articles
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
The Wireless Way to 4k
JP Delport DTC’s AEON group of products have been specifically designed for the 4K market. We encode with the more efficient HEVC algorithm, which means we are taking a 12G signal and compressing it to a bitrate that can be managed over an RF link. So what makes this a leading idea in the 4K revolution?
Tags: iss134 | wireless | 4k | transmission | JP Delport
Contributing Author JP Delport Click to read or download PDF