Kitplus - The TV-Bay Magazine

To view this page ensure that Adobe Flash Player version 11.1.0 or greater is installed.

COMMENT HOW WE GOT LIVE STREAMING TO WORK FOR US There are a number of sites that provide simple video streaming: Adobe Connect and GoToWebinar come instantly to mind. We’ve used both of them for several years. However, the limitations of both these sites is audio. If you need to mix a presenter’s microphone with computer audio – neither of these websites supports it. NOTE: We CAN mix audio when recording sessions, but not as part of a live session. There’s something about the Macintosh operating system that doesn’t allow it. EXECUTIVE SUMMARY by Larry Jordan & Megan Paulos In our live webcasts, audio and video elements are created using industry-standard production tools. The final mixed production is sent to Telestream WireCast which converts the audio and video signals for distribution on the web. The output of WireCast is sent to FrontLayer.com, which provides streaming servers and a world-wide Content Distribution Network for playback on as many computers as needed. NOTE: A NewTek Tricaster integrates a video W e originate three hours of live programming from our studios every week. In fact, everything we do is designed for live web streaming. For the last several months, we have been exploring a number of options that would enable live video streaming with live audio mixing and support an “unlimited” number of audio and video sources with a scalable architecture so that as our audience grows our stream will grow to support them. NOTE: If all you need is live audio streaming, I recommend mixlr.com. We’ve been using it for a while and it has worked flawlessly. Prior to Mixlr, we used QuickTime Broadcaster, which has since been discontinued by Apple. WHAT YOU NEED TO KNOW Live video streaming requires three discreet elements: 1. Production. Audio and video production gear generating the fi nal video feed for the web. 2. Encoding. A way to stream video to a remote streaming server 3. Streaming. A remote (outside your local fi rewall) streaming distribution server 38 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 103 JULY 2015 production switcher with encoding the stream for uploading to the web. While more expensive than the combination of a switcher and WireCast, it takes less space and provides more sophisticated graphics. PRODUCTION Our studio features four Blackmagic Design Studio Cameras, a Marshall Electronics lip-stick camera, the NewTek Skype TalkShow and two computers for playback. The audio sources are mixed using a Behringer x32 Producer audio console. The video sources are switched, and graphics added using a Blackmagic Design ATEM switcher. Audio from the Behringer goes, via XLR cables, to the ATEM switcher. Final production audio and video then travels, via HD-SDI cables, into a Blackmagic Design UltraStudio Mini Recorder. The UltraStudio connects to a Mac Mini we use for streaming via Thunderbolt. Because all the video switching and effects are done prior to the signal entering WireCast, we don’t need a very powerful system to run WireCast. The Mac Mini is more than sufficient for final formatting and streaming. NOTE: The Blackmagic cameras only shoot 1080 images, which is an unfortunate limitation of these cameras. These images are then down-converted to 720p using WireCast.