NAB
The recent dramatic
acceleration in the use of remote production workflows shows no signs of
subsiding, even for the biggest live events. The BBC and ITV, for example, are
making use of a remote production workflow to switch feeds captured live in
Qatar back to the UK. They are also sharing this technology to cut costs and support
sustainability policies.
article here
As more venues have
become equipped with broadband connections, more broadcasters have adopted
remote production over IP — not only is it much less expensive, but it has
shown to have lower latency than older methods.
Here’s a primer on
the fundamentals of remote production, courtesy of Haivision.
Remote production,
sometimes referred to as the Remote Integration Model (REMI) or at-home
production, is a broadcast workflow where content is captured live at a remote
location while production is performed at a central location, either
on-premises or in the cloud. Remote production is typically used for sports or
other events, where having a full production suite on-location is not
reasonable.
Cost savings are
the principal reasons for moving to remote. “Deploying OB trucks and on-site
production equipment is an expensive proposition requiring significant
investment in logistical planning, video hardware, and support personnel,” Haivision
explains. “In addition, set up times are long, and there are many moving parts
to contend with, allocating, transporting, and setting up equipment, securing
and provisioning satellite links, as well as coordinating staff schedules,
travel, and hotel arrangements.
“By eliminating the
costly and complex coordination associated with deploying OB trucks full of
expensive equipment and on-site production teams there are substantial time and
cost-savings to be made,” Haivision says.
In short, REMI
allows broadcasters to do more with less. For example, a replay operator
on-site at a sporting event might only be utilized for three hours during a
four-day period. But if the replay operator is at home, they could be running
replays around the world — all the time.
When it comes to
live content, customers want more choice and they’re willing to pay for
it. Haivision states that this demand is not limited to just
high-profile, traditional sports leagues, but niche, minor, and second-tier
sports such as college sports, volleyball and e-sports.
Remote production
over the internet not only enables broadcasters to reach audiences with niche
content, but it also allows them to increase coverage of a major event by
permitting more feed from multiple cameras around a venue.
Options ranging
from fan-cams in the bleachers and player or bench cams to streams overlaid
with real-time stats and video with bespoke commentary give viewers more
personalized viewing options while affording video service providers greater
potential for targeted advertising. With no cost restrictions around
broadcasting time, providers have greater flexibility in building programming
around an event.
The workflow
doesn’t have to be based on a central hub. It can be decentralized into
multiple production locations while also using home-based staff, all thanks to
sending video streams over low-latency internet connections.
This can also
include bi-directional streams for live interviews with remote subjects and
talent. Executives and other staff can also access low-latency streams to
monitor live production from a laptop or mobile device using an encrypted
connection to a cloud or on-premises stream gateway.
As in-house
broadcast facilities deploy the SMPTE ST 2110 suite of video streaming
standards, Haivision predicts that entire broadcast workflows will be
IP-enabled over both public and private networks. Furthermore, remote
production workflows encompass a mix of on-premises, at-home, and cloud-based
elements for encoding, decoding, and video processing, all accessible via IP
networks. Combined with the rollout of 5G, it seems the potential for remote
production over IP is limitless.
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