Kitplus - The TV-Bay Magazine

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NEWS CAPTURE & PRODUCE by Will Strauss “ One of the many potential upsides of the television industry finally embracing IP is the opportunity that presents itself for live remote production. By that I mean having cameras, operators and little more on location and then whisking the live feeds instantly (or as near as dammit) via an IP network to a gallery, conceivably, anywhere in the world, where they can be switched. The benefits are obvious. With less movement of people and kit required - and less need for OB trucks - it could make certain types of live production more cost efficient. This, in turn, could potentially allow for coverage of niche or less-well-known events that might not be otherwise affordable using a truck. Save money AND introduce new forms of content: what’s not to like? At IBC EVS demonstrated a multi-feed live remote production – via SMPTE 2022 uncompressed video – over an IP network using Cisco’s standard IP switches and software defined networking (SDN). They weren’t the only ones. Gearhouse Broadcast showed 4K remote production by taking a 4K feed from a Hitachi SK-UHD4000 camera (plus an HD feed) in one hall and sending it via fibre to another where it was cut together using an EVS DYVI production switcher. ChyronHego’s VidiGo has even sold remote production systems to Euro Media Group. These, and other examples, show that remote production is technically feasible (even if there are some caveats as far as the number of camera feeds are concerned, but that is a conversation for another time). Sadly, as you read this, while it may be possible, remote production isn’t terribly affordable yet because the telecoms companies that operate the IP networks are charging too much for their bandwidth. That is the view of Kevin Fitzgerald, head of system and product sales at Gearhouse. He argues that the cost of taking a feed from New York to London, for example, is “astronomical.” “The business model just doesn’t work,” he says. “At the moment, it makes more sense to hire in local OB trucks, or even ship units around the world to cover events, than to put on a remote production working with the telcos. In the long-term they’re going to have to reduce the cost of supplying the bandwidth.” “ Great achievements are rarely easy, and it is surely only a matter of time before this issue is ironed out but, for now, remote production is tantalisingly out of reach for many. Fibre Argosy has designed and launched a range of multiple tactical fibre assemblies for outside broadcast and other applications where cables come in for heavy treatment on a regular basis. As tactical fibre carries multiple signals over long distances, installation on site often means dragging the cable through ducts or across open ground, and inevitably this leads to damage to the terminations and affects signal integrity. The Argosy offering protects fibres in a unique breakout that stops them from rotating under use. The entire end of the cable is protected with a captive heavy duty pulling sock. This is said to ensure that the load under deployment and recovery is transferred directly to the aramid in the tactical cable, and when laying on the floor protects against crushing of the breakout. when audio matters natural sound – in the home junger_kitplus_185x74.indd 2 06 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 106 OCTOBER 2015 28.07.15 18:04