Hollyland, a brand centered on real-time wireless transmission and live-streaming technologies, announced a new version of live-streaming cameras to offer the experience of “Go Live with One Tap.” The VenusLiv V2 is designed for users seeking outstanding live-streaming performance but with limited professional camera experience.

It's perfect for streamers who need simple and quick setup and extended streaming sessions, ideal for influencers, MCN live sales, Twitch, Just Chatting and Music channels, or behind-the-scenes filming.

Easy for everyone, even beginners With pre-installed apps, the VenusLiv V2 camera enables one-tap streaming on popular platforms such as Twitter, Shopee, Tokopedia, Instagram, Facebook, etc. This is a big upgrade from the VenusLiv V1, a simple way to start live streaming.

The V2 has a unique feature that allows for quick image overlay. You can add different well-designed overlays and graphics to decorate your live streaming. Another prominent feature is the immediate background removal, you can switch virtual scenes for a more immersive audience experience.

Hollyland's camera line R&D Manager, Iris Chen, remarked, “We’re pleased to release the VenusLiv V2, which can rival with professional cameras on image quality but is easier to use even for ordinary users.”

Caring for details of colors and lighting Managing a professional streaming studio or scene with good lighting can be a headache for streamers who don’t have a team behind them to assist. Now, that’s a no-brainer with the VenusLiv V2.  Users can now utilize preset lighting modes (auto, 2-Point, 3-Point) to skip the lighting and setup process.

The VenusLiv V2 comes with powerful RGB curves and quick adjustment to bring more natural-looking images for human faces, objects, and backgrounds. Hollyland’s strong engineering team has done huge design works to avoid excessive filtering that can embellish the human face but diminish the original texture and hues. For example, for a live-streaming fashion show, the VenusLiv V2 can capture the true beauty of products, with detailed textures of clothing and jewelry, as if you were viewing the products with your naked eye.

Self-developed HollyOS While the VenusLiv V2 has solid hardware designs to support versatile functions, it is Hollyland’s self-owned HollyOS software that is indispensable for keeping the gadget working smoothly.  

The HollyOS provides a smooth user experience with a design of 8-core CPU, HPC GPU, ISP, and DSP processors. The system makes it easy to grasp professional camera skills, such as adjusting exposure compensation, ISO, white balance, aperture, and more. Hollyland keeps constantly upgrading the HollyOS for improved user experience.

Promising live streaming market trends Live streaming for e-commerce has become a popular trend in recent years in many countries. It allows real-time interaction between sellers and the audience while providing detailed information about products. This trend has led to a growing demand for high-quality live-streaming equipment among MCN agencies and individual streamers who aim to offer the best-quality live-streaming for their audience.

Joshua, a leading tech distributor from Malaysia is very optimistic about the demand for high-quality streaming cameras in the Malaysian market. He believes the VenusLiv V2 all-in-one camera is an ideal choice, especially for local MCN operators. This is because it requires fewer operating staff and can help save on operating costs.

LiveU, a leader in live video and remote production solutions, and Matrix Video Communications Corp. (MVCC), a Calgary-based media production and audiovisual solutions corporation, have partnered to increase the accessibility of high-quality live video technology in Canada. With a massive imprint across the country, MVCC will drive sales and marketing opportunities to promote LiveU's extensive portfolio of complete live production offerings.

[ARHT Media Announces Reseller And Integrator Agreement With Matrix Video Communications Corp – A Leading National AV Provider In Canada]

As the inventor and innovator of cellular bonding, LiveU enables live transmission and distribution from anywhere at any time for live newsgathering, sports production, and enhanced business communication across multiple locations. From point-to-point broadcasts to multi-camera live remote production, LiveU provides high-quality, reliable feeds that support ultra-low latency, giving Matrix customers best-in-class technology, workflow flexibility, and scalable IP bonded solutions.

[The Head of the Charles Regatta Makes a Successful Broadcast Return With LiveU Systems Leading the Way]

Said Mark Moore, LiveU's country manager for Canada: "MVCC's national scale and ability to stay on the cusp of technology in the broadcast and enterprise AV markets make them the perfect partner for LiveU. The partnership will allow businesses of all sizes in the greater Canada area to access LiveU's suite of products, services and solutions for their live streaming needs."

A full spectrum consultation and design services corporation, MVCC supplies training, programming, installation and maintenance to leading infrastructure all over the nation. MVCC currently has 12 offices in Canada with a highly trained staff to provide project-based services and audiovisual support to a wide variety of marketplaces.

[Carlyle to acquire live broadcasting and streaming tech outfit LiveU for over $400M, say sources]

MVCC understands that live video is a necessary part of the AV infrastructure as businesses need to communicate internally and externally during the global pandemic. The organization has been working diligently to create innovative solutions and strategies for people in offices to work efficiently and without barriers. Its operational motto, "Tech Without Borders," encompasses the company's steadfast dedication to its customers to provide white-glove service regardless of location due to the accessibility of its multiple locations.

Church on the Rock in St. Peters, MO, considers its online community a distinct campus, with distinct needs that go beyond the church’s physical space. With its emphasis on high-quality streamed services, the church places a high priority on having the right digital tools. The team there chose the Waves eMotion LV1 Live Mixer to mix and stream the church’s services

Mixer, producer, and audio consultant Yamil Martinez consulted Church on the Rock on this project. His recommendation to adopt the eMotion LV1 was based on the LV1’s ability to deliver precision sound for live events and streams: “LV1 is based on integrated Waves plug-ins, so it helps me tailor the sound to any requirement in ways that most regular consoles can’t,” he said. “Because Waves’ precision plug-ins are so accessible from within the mixer, eMotion LV1 enables us to achieve an extremely polished studio sound in a live situation. We’ve been able to accomplish processing chains that make miracles happen, especially when dealing with unwanted noise. To me, the LV1 is a chameleon-like console that I can personalize to achieve any coloring palette needed.

“Our decision to adopt the LV1 was driven, first of all, by our need to improve the church’s online experience,” Martinez continued. “Before the LV1, the church’s broadcast system was quite convoluted. It was based on a combination of groups and direct outputs from the Avid Venue D-Show console at FOH, plus a few direct analog splits that fed an analog Midas Heritage mixer. Drums were fed from a premix, as were the brass and half of the vocals. Lead vocals were received individually from a processed direct-out feed. Secondary sources, or sources that aren’t used every day, derived from a split of a split, out of the main splitter. But the biggest drawback prior to adopting the LV1 was that not all the decisions made for the FOH mix translated properly in broadcast. This was both because of the physical sound of instruments in the auditorium, and because each of the church’s mix engineers or mix volunteers had different criteria. Just imagine all the inconsistencies that the former system had. This is why our big LV1 project was born.”

One Mixer Turns to Three

“Our initial idea was to extract unprocessed individual audio channels from the FOH console to a dedicated TV mix in a single eMotion LV1 mixer, but we quickly discovered that interfacing with the existing consoles just wasn’t cost-effective, nor did it provide the flexibility needed or the necessary channel counts. Neither did we want to replace the analog splitter with another one with a third output, or to invest in connectivity for outdated consoles. These were not viable solutions,” Martinez explained.

[ Streaming Audio in Houses of Worship ]

“In the end, we simply replaced our Midas Pro digital console at monitors with an eMotion LV1 mixer and shared its inputs with broadcast. But that was just the start! Eventually, three high-end consoles got replaced with eMotion LV1 mixers: two Midas consoles, one analog and one digital, which reached their limits; and a Yamaha PM1D that was stuck in outdated technology. Those consoles had to be replaced because they couldn’t adapt to our new circumstances and needs.”

Freedom of Movement

“With the Waves eMotion LV1, we are able to have full console control from different locations at the same time,” Martinez said. “This has been absolutely crucial to the church’s TV broadcast, 2D streaming and 360° VR operations. To provide a better online experience, Church on the Rock has content variations that include online hosts who interact with the online campus community and inform them of COTR’s wide variety of activities. Those hosts move around the facilities, depending on where the activities are being held. No matter where you are within Church on the Rock’s facilities, if there is a network connection, all you have to do is assign the specific port to the proper subnet to send and receive audio.”

“One huge advantage of the Waves LV1 is that it’s based on Waves SoundGrid technology, which is an Ethernet network-based system with minimum operator interaction. It does away with all the messy networking challenges, and it eliminates the hassle out of the crew hands,” Martinez explained. “You just assign the network ports and then select, update and enable the devices, assign the clock master, and you’re done. Your network is ready. Church on the Rock already had in place a solid Ethernet network infrastructure that allowed a dedicated network for SoundGrid. This made it easy to implement SoundGrid as the central hub for all the audio connections from anywhere in the buildings. All this has been a big plus for COTR’s Creative Arts team. Now they can generate content without boundaries within the buildings, or anywhere an Ethernet cable can reach. Our network covers two physical campuses across a street, with ten audio working areas. Any corner can be a creative spot!”

Modular Setup

Martinez continued, “Our designed system consists of an audio network that covers two different buildings across a street. It includes three LV1s, one Avid VENUE D-Show, one Pro Tools HDX, two Behringer X32 mixers, one Zilia 3D ambience microphone, and 14 Waves SoundGrid devices (excluding various DAW computers), including four DSPRO StageGrid 4000 stageboxes, three DiGiGrid IOC audio interfaces, one DiGiGrid IOX high-count interface, two DiGiGrid DLI interfaces, two DN32-WSG cards for Behringer, one Waves DMI interface and one DiGiGrid D portable desktop interface. The compact DiGiGrid D interface moves all over both buildings, depending on where the TV hosts are. The latest addition to the system is a 3D immersive audio mixing system that complements a 360° video content destined to COTR VR campus. Virtual reality is the best way to remotely be part of the COTR experience.”

[ How Audio Helps Houses of Worship Regather with Confidence ]

“This setup is wonderfully modular and expandable,” Martinez said. “As your audio needs evolve, the system can grow, too. Our project is proof: we started with a single LV1 as a simple broadcast mixer, and evolved to an entire audio network that covers two multistory buildings.”

Communication

About the facility’s monitor system, Martinez said, “At Church on the Rock, we don’t have a dedicated person for monitor mixing. Each musician controls their own mix wirelessly with an iPad running the Waves MyMon personal mixing app, which ‘communicates’ with the LV1. Having the MyMon app was indispensable in the selection of the LV1. The monitor LV1 can be fully mixed and cued from the stage, FOH and broadcast positions, with the latter two having absolute control over the monitor console. The more experienced FOH and broadcast engineers can assist musicians from their own position.”

He added, “The LV1/SoundGrid system allows us to have an elaborate internal communication system through a dedicated matrixing system that receives 15 talkback/communication inputs and distributes to seven destinations throughout both buildings. Before the LV1, there was no way of getting completely rid of the sinful mono IEM mix. Now, every IEM mix is stereo. Any instrument can have its own stereo reverb without complicated routing or mixing procedures. Having the reverb as part of the channel signal flow keeps the proper relation between dry and wet at every monitor mix.”

Waves Plug-Ins

About using Waves plug-ins, Martinez said, “Church of the Rock has always invested in top-notch gear since the analog days, but the results we’ve achieved with the LV1 are unprecedented. The wide selection of plug-ins from the Waves Mercury, Abbey Road, SSL, Dugan Automixer and DTS Neural Surround bundles gives us precise solutions for every need. We use many plug-ins; however, there are what I like to call ‘MVPs’—most valuable plug-ins—that make an especially huge impact on the final result. First, the Waves Playlist Rider plug-in is great for content that alternates between music and speech and has a broad dynamic range. We don’t want people constantly adjusting their volume and getting bothered by level inconsistency. Playlist Rider stabilizes all pre-recorded material, speech microphones and broadcast master output, providing smooth transitions without distraction.”

He continued, “Another situation where Waves plug-ins are life-savers is stage mic bleed. Having many instruments and numerous vocal mics open at the same time can result in a lot of stage bleed that clutters the mix and compromises intelligibility. Waves’ Primary Source Expander (PSE) plug-in eliminates stage bleed, especially when using automatic pitch correction for broadcast. With its sidechaining capabilities, PSE can be placed after a few layers of EQ, saturation and compression and still track properly. We replaced all the filters and EQ that we used to use with the extremely flexible and low-latency F6 Floating-Band Dynamic EQ. With its different slopes, the F6 filters are more adaptable. The dynamic low- and high-shelf bands allow you to expand those frequencies as needed instead of using fixed gain, reducing bleed when a direct source is not present enough. The narrow parametric bands, with a Q of 60, make the F6 perfect for surgical needs. It’s like a crossbreed between a Swiss Army knife and a scalpel.”

He added, “When it comes to reverbs, the OneKnob Wetter and GTR Reverb plug-ins are great for mixing with simplicity and consistency. We need good-sounding, low-latency and CPU-friendly reverbs to insert on a great deal of individual channels. With these two plug-ins, we cover all our bases for channel-inserted reverbs on instruments, and even on vocals in monitoring duties. Another plug-in that deserves special mention is the eMo D5 Dynamics , which is part of the eMotion LV1’s channel strip. It’s a wonderful-sounding dynamics plug-in with extensive side chain capacity—the only plug-in inserted on every single input and output of all three LV1 consoles. It handles beautifully all the heavy lifting in terms of dynamics. The church’s latest plug-in addition has been the Waves Dugan Automixer for auto-balancing multiple talkback mics. We throw at it constantly changing combinations of 15 possible inputs, and it keeps them all totally balanced, automatically. Talkback screamers are welcome since the Dugan will take care of them—easy.”

[ The Next Wave of Virtual Events ]

“The consistently great sound quality we’ve achieved with the LV1 exceeded our expectations,” Martinez noted. “With Waves’ eMotion LV1 mixer, Waves plug-ins and Waves SoundGrid real-time processing and networking technology, we’ve been able to achieve more polished results, faster and more easily, delivering better broadcast services to Church on the Rock’s online campus community.”

More on Audio in Houses of Worship

Waves eMotion LV1 Live Mixer Enhances Michigan Church Streaming Services • In order to keep parishioners connected while in quarantine, Mount Hope Church in Lansing, MI, has been presenting its services via livestream to the community, with the help of a Waves eMotion LV1 mixer.

Streaming Audio in Houses of Worship • There's no question that the ways people come together to worship have changed dramatically this year. That has also meant a lot of changes to the way services sound—and what they may sound like in the future.

A New Way to Worship • During the pandemic, houses of worship often held virtual service, which in turn has meant an increase in requests to systems contractors and integrators to facilitate streaming services.

Getting Started in House of Worship Integration • Just Add Power’s Ed Qualls shares best practices to limit project hiccups and help integrators deliver the perfect solution for house of worship customers.

How Audio Helps Houses of Worship Regather with Confidence • The new normal has proven to be particularly challenging for church leaders who are tasked with bringing parishioners together across a variety of locations, whether in-person or attending virtually from home.

More on Livestreaming

Going Live: Planning an Engaging Livestream • Your organization has asked you to livestream an upcoming event. Now what? Industry experts provide their advice on how to plan and execute a livestream that looks great and boosts engagement.

The Next Wave of Virtual Events • When the COVID-19 pandemic sidelined live events, out-of-the-box thinkers came to the table with solutions to keep the events industry alive by connecting people virtually.

What’s Next for Streaming? • During the pandemic, streaming services kept businesses running, friends connected and entertainment rolling out to fans. Now that streaming has become indispensable, what else can it do?

Blackmagic Design has expanded its Blackmagic Web Presenter family with a 4K model.

Blackmagic Web Presenter 4K is outfitted with an upgraded Ultra HD resolution H.264 encoder for live streaming in native Ultra HD. The device features a compact design that includes a 12G-SDI input with downconverter, so customers can select to stream in 1080p HD or 2160p Ultra HD resolutions. Like previous generations of the technology, Blackmagic Web Presenter 4K simulates a USB webcam when connected to computers; and the USB webcam feature supports 1080p HD or 2160p Ultra HD resolutions.

Blackmagic Web Presenter 4K is available immediately from Blackmagic Design resellers worldwide for $695.

As a self-contained streaming solution—which includes a hardware encoder, software for connecting to streaming platforms, and network connections—it is able to stream directly via Ethernet to YouTube, Facebook, Twitter and other platforms. Setup is easy, as the Web Presenter Utility software lets customers select the streaming platform and update the streaming key.

Users need only connect an SDI video source such as a live production switcher or a camera, then connect to the internet via the built-in Ethernet connection. For redundancy, may also stream by connecting a 5G or 4G Apple or Android mobile device to use mobile data. Blackmagic Web Presenter will auto detect when a phone is connected and switch its internet connection to use it. Customers can select Ethernet or phone priority, which makes phone internet backup fully automatic.

Its built-in USB connections work like a simple webcam source, so customers can connect a computer and use any video or streaming software, or even Skype or Zoom. The software is “tricked” into thinking the web presenter is a common webcam, but it’s really a broadcast-quality SDI video source. That guarantees compatibility with any video software in full resolution 1080 HD or even 2160p Ultra HD quality, depending on the model. Web Presenter works with any video software including Zoom, Microsoft Teams, Skype, Open Broadcaster, and XSplit Broadcaster.

[ AV Mixers for Streaming Productions ] 

Blackmagic Web Presenter includes a feature-rich technical monitoring output. The graphics-based monitoring output includes a video view, audio meters with accurate ballistics, trend graphs for codec data rates and cache fill, plus a summary of the streaming settings and detailed SDI technical information. The technical monitoring output works in full 1080 HD and outputs to both SDI and HDMI. That means customers can use an SDI router for monitoring multiple units, or connect a simple HDMI TV.

The Blackmagic Web Presenter Utility software provides a single place to manage multiple web presenters and to update the settings and software. Simply plug directly into the front of the web presenter’s USB connection, or connect over Ethernet for remote configuration.

Blackmagic Web Presenter includes a 12G-SDI input with support for all HD and Ultra HD formats up to 2160p60. The included 12G-SDI loop output allows customers to loop video through more than one Web Presenter, if necessary, to stream to multiple services.

Blackmagic Web Presenter features Teranex conversion technology on the SDI input. The device takes the incoming HD or Ultra HD input signal and automatically converts it to 1080p HD or 2160p60 Ultra HD, depending on the model, which is then sent to the hardware H.264 encoder for streaming.

[ Blackmagic Design ATEM Mini Extreme Review ] 

While Blackmagic Web Presenter can send video to a wide range of streaming services, it can also be used as a private broadcast SDI video link between studios. The ATEM Streaming Bridge is a video converter that lets customers receive the H.264 stream from Blackmagic Web Presenter and then convert it back to SDI video. This means customers can send video between remote locations across their local Ethernet network, or via the internet globally. That’s all possible due to the built-in H.264 hardware codec that decodes the Web Presenter stream.

Blackmagic Web Presenter is based on the modular Teranex Mini design, allowing desktop or rack use. The device is 5.5 inches wide, which means customers can mount three in a single rack unit, which is useful when customers need to stream to multiple independent services simultaneously. Customers may also combine Blackmagic Web Presenter with other products, such as the ATEM Television Studio HD switcher, for a live production and streaming solution in a single rack unit.

[ The Latest Streaming Encoders and Processors ] 

Earlier this month, NDI announced NDI 5, the latest release in the software standard that aims to make it possible for users to connect to any device, in any location, anywhere in the world, allowing it to work with almost any video application. We caught up with company president Michael Namatinia to learn more about what he calls a “quantum leap” forward in functionality, as well as plans for future development. 

According to Namatinia, NDI 5 was in development for two years. “We really wanted to create a release that would change the way NDI is seen within the world,” he said. “We are very close to our clients. We’re lucky that we have so many end users that we could have a back and forth, and most of these features are what our end users and our SDK users have been waiting for.”

[NDI Unveils NDI Version 5]

This process yielded three chief features that set NDI 5 apart. The first is the expansion of the technology from local area networks to wide area networks. “NDI 5 breaks the limits of the local area network,” Namatinia said. “So that means that contribution can be not only within your small organization, but universities to universities, and corporations to corporations. It’s not just bringing in one guest like we’re doing here on Zoom, but it’s bringing in assets—all the assets from one area to another area to be able to combine them.”

The second chief feature is the incorporation of audio into the standard. “[Users] now have full control of the audio within the IP, which before they maybe would have to have a separate system,” Namatinia said. “Audio is kind of like this side problem in the production that you have to have separate equipment that has its own standard; it doesn’t fall into the regular standard. We’re also open to the rest of the IP audio platforms, so we can bring them in, but we can do all the work within NDI, and that’s another huge leap if you’re trying to do a production that’s always been separate.”

Third, NDI 5 can run on devices with ARM processors. “That means mobile assembly now has become a part of the assembly chain,” Namatinia said. “Suddenly devices that did not have accessibility to NDI now can become an NDI device. It brings the price from thousands or hundreds of dollars down to dollars on the development side.” Going forward, Namatinia expects to see a wave of new NDI-capable products coming out that enable more comprehensive production at a lower price.

What’s next for the standard? “We’re working on widening some of the hardware that’s available, so we’re going into the signage market,” Namatinia said. The plan is for manufacturer partners to eventually release NDI-native displays that can be connected with a single network cable.

Another future development is to make NDI run natively on mobile device browsers. “Just opening a browser and having NDI there would really simplify the workflow,” Namatinia said. “That will be another game changer in how IP video is seen and used throughout the world.”

Predicting the future of streaming today is like trying to predict the future of the internet 30 years ago. The precedent has already been set. The future is limitless.

Fact-check that. Look at what streaming has done in the past 18 months. Streaming changed the way we work by allowing industry to set up shops inside of homes. When the theaters went dark, streaming stepped in and allowed us to continue to consume entertainment. It was streaming that kept us connected to our friends and families while we were advised to avoid seeing them in person. Streaming picked up the slack left by a year spent sheltering indoors and introduced us all to new friends, opportunities, and ideas that would have been otherwise inaccessible.

So yeah, I say streaming helped save the world. And it’s just getting started.

Streaming’s adoption will continue to grow as platforms continue to stretch their service offerings. Today, one-to-many is not the only way to send a stream. This concept has already been turned inside out as platforms work harder to mimic real-life situations in the virtual space.

Now, streaming, like real life, is about give and take. It’s an interaction, not a show. Participation options like polling, Q&A, and live chats have only scratched the surface of how much reciprocal connection is possible in a livestreamed event.

Going forward, the line between presenter and viewer will be blurred such that it will be possible for an attendee to arrive as a viewer with a question and leave after hopping on stage to give an impromptu explanation of their own field of expertise. This is already happening on a particularly exclusive audio-only, partyline app inspired by the podcast, a one-to-many classic. So the stage is set for a culture of dismantling the fourth wall for the good of making space for more voices to be heard. Blurring the line between presenter and audience in this way engages and excites all participants by bringing the magic of randomness into the virtual space. Expect this culture shift to be invited to a variety of production environments from corporate to art to house of worship streams and more.

[ Going Live: Planning an Engaging Livestream ] 

As we move beyond the era of streaming as a pandemic-induced necessity, another culture shift will unfold. In the next phase, creativity in streaming will start to come from organic inspiration instead of obligation to keep viewers engaged.

Now that streaming options are considered for nearly any event in any sector, more minds will be focused on figuring out how to create engaging content to share. Right now, most event organizers are trying to make their video streams look like TV. This is good. It’s polished, but it’s just a steppingstone. The next iteration of creativity in streaming will bring viewers into experiences in ways that television cannot rival.

In the meantime, there are still basic market growth opportunities for streaming. The remote audience is here to stay, so it’s important that every business that needs to serve them is equipped with at least the minimum kit to present a solid representation of their live event.

I recently attended a poorly streamed funeral. It was an experience of heartbreak on top of heartbreak for a viewer who knows that quality streaming infrastructure can be accessible, affordable, and intuitive to operate, even for a small business. This is where we, the AV industry, can step in and help to usher streaming toward its future, while also cultivating the new client base we have been looking for. We are the gatekeepers. It is up to us to create that affordable, quality package. That’s how we get to keep on saving the world.

Rachael Harris will be part of the discussion “What’s Next for Production and Streaming” at AV³ on June 17. Click here to learn more about the AV³ virtual event.

Rachael Harris is a senior infrastructure engineer (II) at American Express. The views expressed here are her own and do not necessarily reflect the views of her employer.

More Predictions

What’s Next for Conferencing and Collaboration? • Jeremy Caldera shares his thoughts on the future of conferencing and collaboration in a post-COVID-19 world.

What’s Next for Production and Streaming? • Despite the pandemic and economic challenges of 2020, the pro AV industry embraced technology in new and valuable ways. Now that we are starting to go back to the office, schools and public places, we have to decide how we’ll use virtual tools like videoconferencing and live streaming going forward.

The What: NDI has unveiled NDI version 5, with updates that make it possible for users to connect to any device, in any location, anywhere in the world, allowing it to work with almost any video application. 

The What Else: New to the NDI Tools free download with NDI 5 is NDI Bridge. Forming a secure bridge between any NDI network regardless of location, NDI Bridge aims to redefine the concept of “remote workflows,” opening up new opportunities for live video production.

[Elevating Your Streaming Production Quality]

Also new to NDI Tools, NDI Remote allows anyone using a URL to contribute live audio and video using an internet-connected device, like a smartphone or a web browser, to another point anywhere in the world. 

The benefits of NDI’s optimized codec and transport protocols provide ease of use across existing networks. Other selected benefits of NDI 5 are:

• NDI Audio Direct: Enables integration of NDI audio into software-based audio workflows, be they across a local network, in the cloud, or hybrid
• Reliable UDP: RUDP transfer makes WAN and Wi-Fi connections more resilient with less configuration required
• Apple Support: Full support for Apple silicon systems, bringing full NDI capability to all macOS, iOS, tvOS, and iPadOS devices
• Improved Adobe Premiere and Final Cut Pro support: Adobe Premiere and After Effects plugin now features improved audio workflow. Updated plug-in allows output for Final Cut Pro with real-time audio and video frame buffer output
• Many other benefits are available, including support for genlock, selection of network adapters, and more.

In addition, the free NDI Tools download has been reimagined for NDI 5, with a new interface and guidance built in.

[The Technology Manager's Guide to Videoconferencing and Streaming]

“NDI is designed to harness the massive creative potential of software and networks, allowing anyone to work with video—and have fun doing it,” said Dr. Andrew Cross, president of Research and Development for the Vizrt Group. “All devices in the world are already connected. Now with NDI 5, you can easily build shows and share video between them, for free.”

The Bottom Line: The version 5 release of the NDI now allows users to share live, high-quality, low-latency video with anyone else in real time, using billions of devices.

The NDI 5 SDK and NDI Tools will be available for download in June. Anyone wishing to be notified once they are available can register here. 

In 2020, Latin American video production company LocalGames realized their traditional workflow for producing live broadcasts of esports tournaments was completely unworkable during COVID-19 restrictions. Gaming tournament broadcasts, which are the company’s lifeblood, would continue, but all competitions would be virtual. No spectator-packed venues, no competitors on-site, international borders closed. The company was given just over a week to adapt to that change. 

“Because all our content is on network, we require a workflow that allows us to efficiently stream video to the network,” said Bernardo Pizurnia, CEO of LocalGames. “And that’s why we chose to go with NewTek. Their products are designed with livestreaming in mind.” 

[The Technology Manager's Guide to Streaming]

To accomplish their post-pandemic goals, LocalGames purchased a TriCaster Mini 4K live production system. For LocalGames, purchasing their TriCaster was more than just a workflow efficiency decision. It also made financial sense.

“We are competing against traditional production companies with traditional workflows for these production jobs,” Pizurnia said. “With their old technology, their end product is very expensive compared to ours, and ours is much more versatile because the workflow is already designed to stream. That’s one reason we’re as successful as we are.” 

Many staff members at LocalGames came from that legacy world of broadcast production, but as Rodrigo Cotiart, broadcast engineer and chief TriCaster operator for LocalGames said, “I found the TriCaster to be very easy to learn. And I’m not the sort of person who likes to read manuals. I’m much more of a doer. That’s the way I learn. So, I just got in there, sat down at the TriCaster, and got my hands dirty. I found it to be very intuitive. That’s how I learned to record macros, create camera presets, modify the Multiview, and build buffer animations. I can’t stress enough how important it is to get your hands dirty. I still haven’t read the manual.”

Just like any other sports broadcaster, replays are an important production tool in LocalGames’ production arsenal, and the company has made use of NewTek’s 3Play to produce instant replays for their esports programs. The reliability and versatility of the 3Play was one of the reasons LocalGames felt so comfortable turning to NewTek when the pandemic hit. 

[The Ideal Streaming Setup]

“I was used to using EVS or K2 for replays back in my broadcast days,” Cotiart said. “The transition to using 3Play was extremely simple. The only thing that changed was the location of the buttons. And honestly, I find the 3Play to be much more versatile and dynamic than those other machines, and all at a much smaller price point. Our experience with the 3Play has been nothing but positive.”

LocalGames makes extensive use of NDI (Network Device Interface), a software standard developed by NewTek that enables video-compatible products to communicate, deliver, and receive high-definition video and audio over a computer network in a high-quality manner suitable for switching in a live production environment. 

“Even before we bought our first piece of NewTek gear, we were using NDI under the free protocol,” Pizurnia said. “And since we knew the power of NDI, it made sense to go with NewTek products when it was time to make upgrades."

The company also owns four NewTek Spark Plus units, which play a vital role in their redesigned productions. Spark Plus converters allow producers to capture video from digital cameras and other devices wirelessly or over an Ethernet network. The Spark unit converts HDMI or SDI video sources to NDI making it available as a video source. 

While many Spark owners use their units to integrate remote cameras anywhere on their network into a TriCaster, LocalGames found a unique way to use the versatile devices. After purchasing their TriCaster Mini 4K, the company had legacy, non-NDI equipment they needed to continue to use. Plugging that legacy equipment into a Spark device allowed LocalGames to continue to use this old equipment and still utilize all the technological advantages their TriCaster offers.

Just a few short days after their world had been turned upside down, LocalGames’ first redesigned broadcast, powered by a new TriCaster Mini 4K, went on the air.

“That first broadcast was accomplished with video boxes over a graphic background,” Cotiart said. “Then we realized we could do more, and that’s when we started adding virtual sets using NewTek’s Virtual Set Editor.’ 

That capability was easily accomplished as it’s natively built into the TriCaster. The next week, the broadcast featured its hosts sitting on a freshly designed virtual set. The clients liked what they saw and pushed LocalGames to expand their productions even more. 

“It seems strange to say this, but COVID actually made us a stronger company,” Pizurnia said. “It pushed us to find new tools, to use virtual sets, to incorporate Unreal Engine. It pushed us into the future and forced us to make the most of the latest technologies. 

“The growth of our company has been exponential. I don’t honestly know where we can get to in the future, but we are rolling at top speed and a whole new world of possibilities has opened up to us.”

Without a doubt, 2020 was a tough year for the world. We lost friends and family, we lost colleagues. We shifted our kitchens into home offices, and we became our children’s teachers. Despite these challenges, we embraced technology in new and valuable ways.

Before the term social distancing was part of our everyday nomenclature, videoconferencing and online communications were cost savings tools. Prior to the pandemic, today’s popular platforms—Zoom, Microsoft Teams and Skype—were used as ways to circumvent travel expenses and expedite planning. Today, we’re at a turning point in the pro AV industry. Videoconferencing and live streaming systems have become essential business tools.

Video production and streaming is here to stay. Embracing the future of pro AV, our industry’s experts recognize where technology has the most potential to shift businesses’ bottom lines. Sales and marketing teams can use video production software, cameras, switchers and other tools to create more engaging social media content and live streams. Videos will replace expensive, printed brochures. The worlds of engagement, education, and entertainment will interweave like never before.

Trends in Broadcasting

Of course, new technologies are also changing the pro AV landscape. NDI, or Network Device Interface, for example, is one of the most widely adopted IP technologies on the market today. A brand of the Vizrt Group, NDI SDK is a royalty-free technology that allows video and audio sources to be shared bi-directionally across a network, eliminating the need for costly direct connections, expensive cable runs, and infrastructure upgrades while turning every source into a destination instantly available anywhere on the network. Dante and Secure Reliable Transport (SRT) are also changing the landscape of IP video transport.

AV Meets IT

The key to growth in pro AV is understanding customers’ immediate needs, future goals, and how both intersect with their IT departments. As organizations continue to adapt, implementing video production and live streaming strategies will be part of the “new normal.” In the process, IT managers will have to support a wide variety of technologies in these organizations. In some cases, IT teams may need to standardize the AV equipment they’re adopting. Upgrading and even replacing equipment that doesn’t fit that standard will be necessary.

The Future Lies with Simplicity

Our industry has a unique opportunity to define the standards that support video communications and live streaming. From the classroom and the boardroom to the sanctuary, AV professionals are leading the charge that will improve communications today and into the future. Paramount among those goals will be to create easy-to-use and manage systems for the end users. Technologies that utilize artificial intelligence, wireless compatibility and touchless systems will be the norm.

While our customers are still recovering from the effects of the pandemic, our work lies in providing the most effective, scalable solutions. Pro AV professionals will integrate technologies that fit this “new normal.” From lecture capture systems to live streaming and podcasting studios, these integrations will provide a return on investment for our customers in the form of sales, engagement and public perception. This is the future of production and streaming.

Paul Richards was part of the discussion “What’s Next for Production and Streaming?” at AV³ on June 17, 2021. 

Other stories with Paul Richards, a member of SCN's 2021 class of The Nine:

• Distance and Hybrid Learning Trends in Higher Ed, March 15, 2021
• The Increased Role of PTZs, Feb. 20, 2021
• Touchless Systems: Manufacturers Discuss AV's Latest Trend, Dec. 22, 2020
• Flexibility Is Key for Tech Planning in Capture and Streaming, Aug. 20, 2020
• The PTZ Goes Remote, May 22, 2020

These days, you don't have to break the bank to create professional-looking productions. We talk to Chris Wissinger of Roland Professional A/V to learn about his ideal equipment arrangement for streaming. 

A solid streaming setup would have one or two cameras, two computers, a microphone, a small vision mixer with USB 3.0 streaming built in, and suitable lighting. “This may sound expensive and technically challenging,” Wissinger said. “I assure you it isn’t.” 

[The Technology Manager's Guide to Streaming]

Wissinger shares his advice:

Two Cameras

You will be pleased to know that you don’t have to use expensive video cameras to create a quality stream for your classes. I have used HandyCams, Go Pros, and even smartphones, and they have all performed very well. The main advantage of using two cameras is that you are able to change the view for your audience. People are used to watching TV, which continually switches between camera shots. A typical scene would be to have a close-up (personal) camera, for when you are speaking to your class, and a wider view (slightly further away) so that the audience can see more of your environment. This is more important for some classes than others.

A Microphone 

Poor audio is probably the most common downfall of beginner streamers. A clear voice that is easy to understand is key to keeping your audience engaged. I personally prefer lapel microphones, because they are very good for cutting out room noise and they deliver a consistent audio signal for your stream. They also allow you to move around without having to carry a microphone or adjust a mic on a stand.

Two Computers

You will need at least one computer to stream your content. You can use this same computer to share course content with your audience, but it is often the weakest link in an online performance. I prefer to have one laptop dedicated to streaming and a second laptop with a PowerPoint presentation, titles/logos, videos, and even music preloaded on it. This makes your presentation interesting and the transitions between information scenes seamless.

Lights

The lighting of your space is important to set the mood. This can be done with a simple overhead light and a lamp or two. The main thing is to test a few things beforehand to get it right. If you need more light you can easily purchase something suitable from the hardware store to get you started and then maybe look at other options further down the track.

A Vision Mixer

Now this is when things get interesting! A small vision mixer is the difference between an amateur-looking stream and a quality production. It’s like having a mini TV station at your fingertips. With a vision mixer, you can plug in multiple cameras, microphones, computers, laptops, smartphones, tablets, and media players (depending on the number of inputs available). They also come with great features like picture-in-picture, split screen, smooth transitions, and many other professional effects that will bring your presentation to life. Some vision mixers come with a USB 3.0 output, and that really simplifies streaming. All you need to do is take the USB output from the vision mixer and plug it straight into the USB input of your laptop or computer. You then open up the platform you want to stream on (Facebook, Zoom, etc.), and the vision mixer will come up as an optional camera source.

The collapse of the live events industry in 2020 in the wake of the COVID-19 pandemic is well documented. When event organizers realized pandemic restrictions would force them to cancel conferences, concerts, and sports for an extended period of time, out-of-the-box thinkers came to the table with solutions to keep the events industry alive by connecting people virtually.

[The Integration Guide to Streaming]

One year later, the prevalence of livestreams and webinars is leading industry leaders to retool the virtual event experience. “I think everyone is burnt out [on virtual events], which is leading to less engagement, less attendance and—eventually—little to no benefit for so many businesses needing to spread a message,” said Abby Wolfe, director of marketing and communications at Cory’s Audio Visual.

While the initial shockwaves of the pandemic led to layoffs and restructuring in event production, Wolfe noted that “audiovisual providers now have to push their capabilities and their creativity to lengths they never had to before the pandemic.” She added that event production is focused less on technology now and more on creativity and engagement.

Buzz brands like Zoom and videoconferencing stalwarts like Cisco Webex and Microsoft Teams helped get organizations over the sudden, immediate shift to distance communication beginning last March, and streaming platforms designed for live performances like StageIt struggled to keep up with newfound demand.

Like Wolfe, Wallace Johnson, principal at WLJ Consulting, said the world has outgrown those platforms and the traditional webinar format.

“Integrators who rely on in-person events for income have to evolve, much like the live events industry has had to learn new ways to communicate a message, showcase products, and deliver content that will keep attendees and customers engaged,” said Johnson. “The solution has been to provide content in a format similar to watching broadcast television versus just a presenter with slides on the screen.”

Video streaming software including Wirecast and vMix, professional lighting kits, and live production switchers like ATEM from Blackmagic Design are allowing presenters and engineers to manage and stream several simultaneous video sources in remote productions. Virtual event studios—essentially soundstages outfitted with all the production tools of an on-site event—are a way for AV integrators to get into the game.

Integrators have an opportunity to move into the virtual event space by “designing and building broadcast studios and stage environments in corporations and meeting facilities,” said Johnson. “I have seen the trend of more corporate offices looking for high-end broadcast technology for executives to conduct town halls and quarterly meetings, rather than having them conduct these meetings from their desk at home or in the office. Hotels and convention centers are looking at installing these types of rooms at their facilities to support hybrid meeting capabilities. Integrators have the opportunity, especially in hotels, to design and build a consistent model throughout a hotel chain and connect multiple locations for the ultimate hybrid meeting experience.”

[The Integration Guide to Esports]

The events industry has proven that such a format is fully scalable, with the Consumer Electronics Show—or CES, the widely influential annual exhibition produced by the Consumer Technology Association in Las Vegas—leading the way. CES went fully virtual this January. While last year it managed to draw 4,400 exhibitors and 170,000 in-person attendees across 2.9 million square feet of mostly indoor convention center space, its virtual incarnation in January 2021 lost about half of its traditional exhibitors and attendees, but made a strong showing online, where CES keynotes and panel discussion video streams received about 3 million views. Many other annual events went online in 2021, including South by Southwest (SXSW), an annual mainstay of the music, film and interactive arts industries.

“We’ve seen a tremendous growth over the past year in productions of all sizes—large conferences like CES needed live components, smaller grassroots performances needed to be streamed, and corporations required live video for internal and external communications,” said George Klippel, director of channel sales at remote production firm LiveU. “While the crews are leaner, there is money on the table to be made in this new reality.”

Broader vaccine distribution and a decreasing trend of new COVID-19 infections suggests the pandemic may be waning. In mid-March, new cases reported weekly to the Centers for Disease Control and Prevention totaled just 25 percent of the nearly 250,000 new cases reported at the peak in January, though specifics vary widely by region. As economies around the world emerge from restrictions on movement, more events are likely to adopt a hybrid format that creates shared experiences for both virtual and on-site attendees.

SXSW, whose cancellation in March 2020 was the first big domino to fall for the events industry, is one of them. The event’s chief programming officer, Hugh Forrest, recently told Austonia.com that going virtual in 2021 allowed them to increase attendance among international audiences and to land speakers such as Richard Branson. Festival organizers expect the trend of increasing virtual attendance to continue even after SXSW returns as an in-person event.

Hybrid models allow events to accommodate capacity limitations and “the varying comfort level of attendees who may not be ready to attend in person just yet,” said Klippel. “This requires all panels, fireside chats, and keynotes to be produced and streamed online. Organizers will also want to give virtual attendees incentive to spend the money on a virtual conference ticket. This type of option provides unique live moments to be captured and shared with the virtual audience. This model is definitely a viable solution for a nimble AV integrator in the long run, as they can produce in-person events and virtual events simultaneously.”

[5 Things Event Planners Wish AV Techs Really Knew]

AV integrators are well positioned to provide the products and services that enable remote productions, such as multiple systems routers, servers, switchers, and encoders, noted Klippel. Bonded cellular technology, which combines elements of legacy cellular protocols like 3G with current 4G LTE tech and Wi-Fi to create a robust uplink connection, as well as REMI (Remote Integration Models) workflows, have become commonplace in many vertical markets.

“These workflows offer multiple cellular modem-based encoders with Wi-Fi and Ethernet to give the most reliable means of transmission from any location, and come in various sizes to fit any budget, including units based on smartphones,” said Klippel. “This enables easy setups in home pop-up studios or locations without internet, or where internet is hard to come by or cost-prohibitive.”

Johnson added that the rapid development pace of technologies involved in virtual event production can be an advantage to AV integrators. “The technology around [hybrid events] has gotten a five-year acceleration in development and, quite frankly, most people [are] focused solely on the in-person experience,” he said. “Now that there is a genuine focus on making the hybrid experience better, this is the time for integrators to be conversing with customers about packing solutions to deliver a better hybrid experience.”

Wolfe summed it up best: “The pandemic has rewired brains, processes, standards, and how we all work with others. The world has changed, and we have to change with it.”

Click here to read more stories from the April 2021 issue of SCN.

The What: Magewell has launched the Ultra Encode family of universal live media encoders. Supporting multiple encoding formats—including H.264, H.265, and NDI|HX—and a wide array of delivery protocols, the new hardware offers systems integrators, video professionals, and OEM partners a flexible encoding solution for applications ranging from live streaming and remote contribution to IP-based production and AV-over-IP.

The What Else: Ultra Encode features H.264 and H.265 (HEVC) video compression for live streaming delivery, letting users choose their preferred balance between broader viewing device compatibility and higher quality/bitrate efficiency. The new encoder also supports a flexible range of streaming protocols including RTMP, RTMPS, RTSP, RTP, HLS, and SRT (Secure Reliable Transport, developed and open-sourced by Haivision). Configurable presets enable easy streaming to YouTube Live, Facebook Live, Twitch, or custom targets, with select protocols allowing simultaneous streaming to multiple destinations using independent encoding parameters for each stream.

[The Technology Manager's Guide to Videoconferencing and Streaming]

The Bottom Line: Two initial Ultra Encode models—the Ultra Encode HDMI and Ultra Encode SDI—offer a choice of HDMI 1.4a or 3G-SDI input and loop-through interfaces. Both models can encode and stream content up to 1080p60 at bitrates up to 16Mbps, while the Ultra Encode HDMI also accepts 4K HDMI inputs, down-converting them automatically to HD. Embedded audio is complemented by analog, line-level audio input and output connections. In addition to Wi-Fi, the encoder offers an RJ-45 Gigabit Ethernet port for wired networking.

The Ultra Encode HDMI and Ultra Encode SDI are slated to start shipping in early February. 

On July 30, Blackmagic Design CEO Grant Petty unveiled ATEM Mini Pro ISO, a low-cost live production switcher with a five-stream recording engine that allows all video inputs to be recorded, allowing a live production to be edited after the event.

In addition to recording up to five separate H.264 video streams in real time—a clean feed of all four inputs plus the live program—ATEM Mini Pro ISO also records all audio files, media pool graphics, and a DaVinci Resolve project file, so customers can later adjust edits, change shots, remix audio, and add color correction. The video files include metadata tags such as synced timecode and camera numbers.

ATEM Mini Pro ISO is available now from Blackmagic Design resellers worldwide for US $895.

“This new model of ATEM Mini is a true innovation in workflow. For the first time, live production has been fully integrated into a post-production editing workflow. Not only that, but with Blackmagic RAW integration, we can use the ISO files recorded in the switcher, or the files recorded in the camera,” said Petty. “That’s a RAW film workflow, a post production workflow and a live production workflow all fully integrated for the first time!"

ATEM Mini Pro ISO joins ATEM Mini and ATEM Mini Pro in Blackmagic’s line of multicamera live production switchers. ATEM Mini models make it easy to create professional multicamera productions for live streaming to YouTube and business presentations using Skype or Zoom. ATEM Mini users can switch live between four high-quality video inputs for dramatically better quality images, or connect a computer with a PowerPoint slideshow, video clips, websites, or gaming consoles. The built-in DVE allows picture-in-picture effects and transitions.

ATEM Mini switchers offer two independent 3.5mm stereo audio inputs, allowing users to connect desktop and lapel microphones. You can even connect a music player to generate introduction music after the live stream commences but before the program starts.

Related: Blackmagic ATEM Mini Switcher Powers Live Streaming Workflows for Penny Arcade, May 21, 2020

All ATEM Mini models have USB that works like a webcam so customers can use any streaming software, while the ATEM Mini Pro model adds live streaming and recording to USB disks. There’s also HDMI out for projectors. Microphone inputs allow the use of high-quality desktop and lapel mics for interviews and presentations.

ATEM Mini includes four standards-converted HDMI inputs, USB webcam out, HDMI out, Fairlight audio mixer with EQ and dynamics, DVE for picture in picture, transition effects, greenscreen chromakey, 20 stills media pool for titles, and free ATEM Software Control.

ATEM Mini Pro includes all the features found in ATEM Mini, plus direct recording of streaming data (H.264 video files with AAC audio) to USB Flash disks, stream via Ethernet to YouTube Live and more. There's also a multiview with four cameras, media, preview and program, plus status of recording, streaming and audio.

ATEM Mini Pro ISO adds recording of up to five separate H.264 video streams in real time. A DaVinci Resolve project file is also saved so you can later edit the recorded production.

Related: Blackmagic Design Announces New ATEM Advanced Panels, July 13, 2020

Each of the four HDMI inputs feature their own dedicated standards converter. That means ATEM Mini will automatically convert 1080p, 1080i, and 720p sources to the video standard of the switcher. The switcher sets its video format automatically, but the user can specify a specific video standard if required. The HDMI output is a true "aux" output so you can clean switch each HDMI input or program to this output.

To ensure maximum compatibility, ATEM Mini features a USB connection that operates as a simple webcam source. That means customers can plug in and instantly get working with any video software. The software is “tricked” into thinking the ATEM Mini is a common webcam, but it’s really a live production switcher. That guarantees full compatibility with any video software and in full resolution 1080HD quality. ATEM Mini works with software and platforms including Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more.

The built-in “media pool” allows the loading of up to 20 separate broadcast-quality RGBA graphics for titles, opening plates, and logos. Graphics can be loaded via ATEM Software Control or downloaded directly from Photoshop using the ATEM Photoshop plug-in.

Blackmagic Design ATEM Mini Pro ISO

Looking to overhaul the traditional esports tournament format, veteran live event producer and Black Stage Productions founder Steve Suarez created the cross-genre video gaming championship Ultimate Gamer. The series challenges gamers around the world to compete in first-person shooter, fighting, sports, battle royale, and multiplayer online battle arena tournaments for a chance to earn the title of “Ultimate Gamer.” For its first-ever “Valorant” LAN tournament, which took place over the course of three days this summer in Miami, Suarez live streamed all of the action to fans worldwide via social media platforms. Using an AJA Ki Pro GO multi-channel H.264 recorder/player provided by systems integrator CineSys-Oceana, his team also captured highlights footage for integration into the three-day stream. 

The ability to live stream the event was paramount to its success, allowing Ultimate Gamer to limit the number of people onsite in Miami and practice safe social distancing while still reaching its international fan community. By the event’s end, the team had streamed more than 30 hours of gaming from 10 players to Twitch, YouTube, Facebook, and Periscope. Concurrently, footage was recorded in real-time to USB drives as high-quality H.264 files using the Ki Pro GO and passed onto the editorial team intermittently throughout the event. Editorial used the files to cut replays and highlights for inclusion into the stream. All recordings were archived and will be used to create original programming that Ultimate Gamer is developing for broadcast and OTT providers. 

Related: National eSports Association’s Lori Bajorek to Keynote AV/IT Summit

Developed by CineSys-Oceana technical specialist Javier Mendez, Ultimate Gamer’s workflow included three Sony cameras for acquisition, including two on jibs and one over the shoulder, which captured footage of the players and tournament hosts on-site. Each player’s gameplay feed, whether via Sony PlayStation or Nintendo Switch, was integrated into the feed for live switching, after being converted to SDI using AJA FS-Mini Mini-Converters. A first-person view, shot via a webcam from each player’s computer, was transported via NDI for integration into the feed as well. Ki Pro GO recorded all three camera feeds and the 1080p HD gameplay feed directly from a Newtek Tricaster video production system. 

“Recording each feed directly to USB media with Ki Pro GO is so convenient,” Mendez  said. “We can quickly hand off the drives to our editors, who are mostly freelance and working off of a laptop, and they can get to work right away with high quality files in their NLE of choice, whether Adobe Premiere Pro or Apple Final Cut Pro. Within an hour we’re able to fold match replays or highlights into the stream. Being able to control and configure the device from a web browser is also huge, and with the new 10-bit support in the latest firmware release, we can be confident that every time, we’re capturing high-quality video with no risk of downtime.”

Underscoring the importance of finding new ways to connect the gaming community during a crisis like the COVID-19 pandemic, Suarez concluded, “Video gaming brings people together and often provides a much-needed distraction from the real world, and with Ki Pro GO we’re able to capture our tournaments and deliver high-quality video content to our global audience. It’s truly a reliable plug-and-play solution, so we never have to worry about technical issues, and we’ve received positive feedback from the entire production crew and editorial team.”

Want to learn more about pro AV's role in facilitating the future of esports? Don't miss the AV/IT Summit Keynote by the National eSports Association's president Lori Bajorek on Thursday, August 6. For more information, click here.

As a company specializing in staging large-scale, AV-driven special events for corporations, conferences, trade shows, concerts, and high-level training, Emergency Production (EPAV) was hard hit by the coronavirus pandemic. In early March 2020, the many video-rich stage events that EPAV was contracted to produce had either been cancelled or postponed amid concerns that having large indoor gatherings—in venues like ballrooms, convention centers, and arenas—risked spreading the virus.

While this unfortunate turn of events might have sidelined any other business, EPAV demonstrated resilience, flexibility, and resourcefulness by successfully adapting to these challenging times. In fact, this Cranston, RI-based full-service AV company has developed tenacity and a real knack for problem-solving over their many years spent producing shows that must go on no matter what.

The key to EPAV’s reinvention is Wirecast Pro from Telestream. While the company has long used this streaming production software for occasional encoding and streaming, today Wirecast is the reason they can reposition their services and keep their business moving forward during the pandemic.

In lieu of staged events, EPAV now produces and delivers engaging, broadcast-quality web video conferences, panel discussions, and other large-scale presentations on behalf of their clients. Wirecast Pro is used for the following kinds of production tasks:

• Bringing live video of presenters at remote locations into the program
• Switching multiple, remote cameras
• Mixing digital audio
• Rolling program opens, b-roll videos, and other preproduced video
• Adding lower-third supers, full-screen graphics, and fly-in title keys
• Bringing in logos and other branding elements as well as speakers’ slides
• Creating split-screens, picture-in-picture boxes and other screen layouts

The Challenge

In pivoting from major venues to online presentations, the biggest technical and logistical challenges stem from the need to produce a fairly complex, multilayered video program remotely, while directing on-camera sources at multiple locations.

Prior to the health and travel restrictions posed by COVID-19, EPAV was able to deploy video crews and stagehands to work at the arena, stadium, ballroom, or other venue where the event was taking place. When they were on site, they could manage all aspects of the event production, including:

• Wheeling in road cases of select broadcast video equipment
• Setting up and running multiple cameras
• Switching cameras for video displays
• Mic’ing presenters and checking their audio levels
• Prepping and queuing presenters waiting in the green room
• Playing out slides and other video collateral on behalf of speakers and panelists
• Controlling the quality of the staging, backdrops, lighting, and house sound
  
  

However, with this new “virtual” web production model, it’s far more difficult to ensure quality control because it’s not possible to visit each presenter’s remote location and double-check that their video production setup is good to go. And given the logistical complexity of managing a broadcast-quality video conference involving multiple sites and sources, the streaming production platform itself needs to be ready and able to deliver a rock-solid, cohesive show.

The Solution

With its robust streaming capabilities, integrated production feature set, and compelling price to performance ratio, Wirecast Pro is proving to be the ideal solution for Emergency Production. While EPAV has used Wirecast for over a decade, until now it had only been used occasionally, whenever a particular customer wanted to distribute a live video stream of an event that would be accessible by those who couldn’t attend in person.

EPAV owns two licenses of Wirecast, which is a cross-platform solution; however, they choose to run both licenses on Apple Mac Pro systems.

During production, Wirecast Pro allows intricate video shows to be built up in layers, and even sublayers, filled with a mix of video, audio, graphics, text, music, video clips, and more. And tools integrated within Wirecast software—such as digital audio mixing/monitoring and the NewBlue Titler Live Complete for designing rich, animated title designs—further enrich the look and production value of the online video presentations.

EPAV’s events typically feature subject matter experts, corporate executives, and other noteworthy people with something important to convey to an invited audience. While the structure of the streamed event is hosted and script-driven, the speakers come on to share their expertise about trends, technological advances, marketing plans, and other interesting topics. They underscore their talks by showing PowerPoint slides or sharing their computer screens.

Typically, these presenters take the stage one after another, but at other times, they may appear together as panelists. According to Chris Hubbard, his company produces online conferences where well-crafted, broadcast-quality video programs are pushed out one way to viewers, which is significantly different from the interactive group meetings that are increasingly popular on platforms like Zoom or Teams.

When EPAV video crews were able to work on site at big events, they could stage manage the featured guests and presenters in the following ways:

• Attach wireless microphones to their clothing
• Check their audio levels
• Give them last-minute stage directions
• Make sure the graphics operator backstage had their slides in good order
• Cue presenters when it’s their turn to take the stage

Since there is no green room in the remote production world, a conferencing management system built into Wirecast, called Rendezvous, fills this need. It allows people in remote locations to click on an email or text link and have their webcam or video camera instantly become a video production source available to Wirecast.

The Workflow

The biggest impact of COVID-19 on EPAV’s workflow is the need for social distancing to prevent spread of the disease. Not only are presenters in their own respective homes or offices worldwide, the EPAV crew must also keep a safe distance from each other at their Cranston, RI, offices that serve as the production control facility.

Chris Hubbard serves as the technical director from an ad-hoc video production control room set up in a conference room that is equipped with the following gear:

• A large display showing the entire Wirecast production environment, including program switching, keying, lower-thirds, music
• A smaller display with the seven Rendezvous windows
• A third display for digital audio mixing and creating New Blue Titler CG text
• A Midas M-Series digital audio mixing console that connects via USB to the Wirecast laptop. While Wirecast features 16-channel mixing and mix-minus capabilities, Midas Auto-Mix is used to automatically manage volume levels whenever multiple speakers are conversing, such as during panel or group discussions
• Several Fostex nearfield audio monitors
• Three additional MacBook Pros devoted to running full-screen and looping slideshows, sponsor logos, and more
• Video capture cards, converter cards, and other peripherals

In a nearby office, EPAV senior project manager Ross Davidson serves as the graphics operator. He uses his computer and monitor to contribute to the production, while following production cues from Hubbard. Jesse Bastos, EPAV head audio engineer, also has a workspace in Cranston for managing and QC’ing production audio. While Hubbard, Davidson, and Bastos constitute the production control crew, there’s also a “show caller” who calls in via Rendezvous from his own remote location. While his Rendezvous video is never taken live, the show caller can view all the presenters and stage manage them within this workflow.

As a Wirecast switcher function, one or more Rendezvous sources can be brought into one of show’s five video layers, which can be further broken out into sublayers. While Rendezvous callers wait to “go on” in their respective Rendezvous video windows, they must remain silent or mute their microphones so they don’t distract the live speaker; and then remember to turn their audio back on when it’s their turn to speak live.

In an effort to ensure a consistent, quality-controlled workflow, Hubbard’s team performs technical rehearsals with each of the presenters a few days prior to the web event. These rehearsals give the presenters a chance to get comfortable with Rendezvous, practice switching between their camera view and shared screen, mute and unmute their microphones, and run through their talk with their slides. It’s also an opportunity for EPAV to assess the quality and dependability of each presenter’s equipment. If there’s any concern about their setup, EPAV can rush them “care packages” with the following kinds of gear to use instead:

• Panel lights that can stand beside the desk or table
• Small LED lights that can sit on the tabletop
• A black velour fabric that can hang behind the chair to serve as a neutral background
• A broadcast-grade laptop
• HD webcam or video cameras/tripods
• USB microphone

Emergency Production | www.ep-av.com

Telestream Wirecast Pro | www.telestream.net/wirecast

Cloud-based video solution provider M2A Media’s new cloud-IP transport service, M2A CONNECT, has been adopted by global sports brand Formula 1 to acquire, process, and distribute the motorsport brand’s live content to global broadcasters and sports rights owners.

M2A CONNECT provides Formula 1 with an event-based cloud-IP transport service to manage secure entitlements of their live content. M2A Operations deliver the service using the M2A CONNECT console to monitor confidence feeds and the underlying Amazon Web Services (AWS) Elemental Media Services.

Related: What's Next for Streaming Video? 

Operating as an orchestration layer over AWS Elemental MediaConnect, AWS Elemental MediaLive, and AWS Elemental MediaPackage, M2A CONNECT offers Formula 1 a single web console and RESTful API. M2A CONNECT gives Formula 1 the capability to set up live sources, schedule events, add subscribers and entitlements, monitor live streams, create live event workflows and deliver tailored live video across multiple regions to diverse receivers.

Formula 1 has also engaged M2A Media’s 24/7 Operations service, alongside M2A CONNECT. Setting up and securing events, enabling last-minute changes and eyes-on-glass monitoring assure Formula 1 faultless end-to-end transmission and broadcast grade SLAs.

“The M2A Connect service is a step change in the evolution of Formula 1’s broadcast distribution model,” said Trevor Turner, head of media systems development at Formula 1. “M2A CONNECT will, in essence, allow F1 to service a greater number of broadcast partners in a more flexible and cost-effective way and will help us distribute a greater volume of live race content than ever before. The team at M2A understands the challenges we face as a global sports brand and has responded to these challenges with a next-generation media service that will help carry us into an IP-over-cloud-led future.”

Marina Kalkanis, CEO at M2A Media said: “We were delighted when Formula 1 came to us looking for a solution to their live video distribution challenges. Formula 1 recognizes that delivering their live video over IP in public cloud is the future, especially when targeting next generation platforms. M2A CONNECT, supported by M2A Operations’ 24/7 service and leveraging AWS Elemental Media Services, provides Formula 1 with a robust video over IP transport platform allowing them to adapt and flex as their distribution landscape evolves.”

“Formula 1 delivers the world’s most popular open wheel racing to more than 1.9 billion television and digital viewers,” said Mike Callahan, head of media solutions marketing at Amazon Web Services. “We are delighted that M2A CONNECT leverages AWS Elemental MediaConnect to add a quality-of-service layer over standard IP transport, enabling uninterrupted live video connections with built-in packet recovery and AES encryption to reliably and securely distribute Formula One’s premium live racing content to authorized distribution partners.”

The What: Renewed Vision has released an update to its flagship ProPresenter live presentation and production software. ProPresenter 7.1 adds new live streaming and recording capabilities that benefit customers immediately amid today’s restrictions on in-person gatherings while furthering Renewed Vision’s goal of expanding the software into an all-in-one live production and streaming system.

The What Else: ProPresenter 7.1 enables users to choose any one of the software’s multiple simultaneous output screens and stream it live using the RTMP protocol, record it to disk, or do both concurrently. The live stream can be output directly to a social media platform, CDN, dedicated streaming platform, or private server for audience consumption. Users can record or stream an existing, locally displayed screen or craft an additional ProPresenter screen tailored specifically for streaming with a logo bug, additional branding and more.

Version 7.1 also brings file-based recording to ProPresenter 7. The selected screen can be recorded to disk with a choice of compression formats including Apple ProRes, H.264, HEVC (H.265), and HAP, subject to codec availability on the user’s host system. The screen’s alpha channel is preserved when recording to a compatible format such as ProRes.

Related: The Technology Manager's Guide to Distance Learning and Streaming

“We had already planned to add live streaming to ProPresenter 7 at some point in the future, allowing users to easily reach online and mobile audiences without the need for a separate encoder,” said Brad Weston, president, Renewed Vision. “However, with the current state of the world making streaming more important than ever before, we adapted our roadmap to quickly help our customers meet this increasing demand. Our overarching vision is to evolve ProPresenter into an all-in-one production, presentation, and streaming studio, so rather than serving as a playout and graphics source for other production tools in the chain, it becomes the only tool that customers need. The new features in 7.1 are a significant step in that direction.”

The Bottom Line: ProPresenter’s functionality and intuitive interface allow for users to combine video, images, and text into dynamic, engaging live media experiences for worship services, concerts, conferences, sporting events, and broadcast programming. Version 7.1 augments these capabilities with live RTMP streaming for reaching audiences outside venue walls, and recording to disk for subsequent post production or distribution.

ProPresenter 7.1 is available immediately as a free upgrade for users on active ProPresenter+ software update and service plans—including all ProPresenter 7.0 users who received one year of ProPresenter+ as part of their purchase—and as a paid upgrade for users of earlier ProPresenter versions.

As schools worldwide have temporarily closed campuses in response to the COVID-19 pandemic, the demand for distance learning programming across media channels has exploded. In Korea, the local Educational Broadcasting System (EBS), responsible for delivering informative and educational content to the public, has quickly transformed into the new digital classroom, accelerating the output of its instructional programming video for K-12 students across the region. The organization is making its content accessible to local children daily from 9am-12pm on the EBS Learning YouTube Channel to give students the tools they need to remain engaged, inspired, and educated until public schooling resumes. Each live stream is powered by an AJA HELO H.264 streaming and recording device.

Related: The Technology Manager's Guide to Distance Learning and Streaming

Affiliated with the Korean Broadcasting System (KBS), EBS runs two terrestrial and four cable stations using four large studios and 16 e-learning studios. It’s used AJA HELOs to support YouTube streaming since 2019, so when the time came to upgrade its facility in early 2020, EBS’ positive experience with the unit prompted it to invest in additional HELOs. Having benefited from the device’s reliability and high-quality video, EBS expanded its HELO integration to ten of its e-learning studios to support live streaming to its website and YouTube. In each studio sits a SONY PMW-EX3 camera with a wireless micro mux connected to an AJA HELO, which is used to quickly and easily stream live camera feeds to YouTube.

“We’ve been using AJA HELO since 2019 and it’s been really helpful for our broadcasting with its excellent features and quality,” said Mr. Suk Joong Kim, head engineer, EBS. “As EBS is a public service broadcasting station, we have to be fully dedicated to produce high quality programs and we must always pay the utmost attention in selecting the device and equipment. This time, we could adopt HELO again for our facility renovation without any hesitation as HELO is the most reliable product for us. We installed 10 additional HELO units in our new e-learning studios. For the time being, EBS will strive to cover the deficiency of the school education system raised by the COVID-19, by collaborating with the main domestic portals and IPTVs. Henceforth, EBS will continue to dedicate itself to the development of public education and support lifelong education in Korea.” 

Webcomic and gaming company Penny Arcade is using a variety of Blackmagic Design products, including an ATEM Mini live production switcher, to power its live streaming workflow for several weekly online shows. The shows air live on Penny Arcade’s Twitch channel, “PennyArcade,” and are later uploaded to its YouTube channel, “pennyarcadeTV” (PATV), attracting tens of thousands of viewers.

What started as a thrice-weekly comic strip has since become one of the most popular and longest-running webcomics online, creating and distributing gaming content to millions of readers globally. Over the years, Penny Arcade has grown its business to include PAX, one of the largest gaming festivals in North America that also uses Blackmagic Design gear for live production; Child’s Play, the largest gaming charity in North America; and PATV, home to its video and media content, merchandise, podcasts, and more.

Related: NewTek Ships Latest TriCaster Mini 4K With Tools for Small Production Teams

In building out its video content, Penny Arcade wanted a more professional live streaming workflow and sleeker look for its productions. Producer Joshua Price and his team stepped in, transforming a meeting space into a production studio outfitted with a multitude of Blackmagic Design gear.

To power its live streaming workflows, Penny Arcade is using ATEM Mini and ATEM Television Studio Pro 4K switchers along with Micro Studio Camera 4K, URSA Broadcast, and URSA Mini Pro 4.6K G2 cameras.

“When I originally received the ATEM Mini, I planned on using it as supplementary or as a travel switcher to help when needed,” Price said. “Once I started using it and learned how powerful it was, especially when leveraging its ATEM Control Software, ATEM Advanced Chroma Key, and picture-in-picture functionality, I immediately put it to work in our secondary studio in my office. We run two Micro Studio Camera 4Ks and two computers as the four inputs in a sort of mirror setup on either side of my desk with one camera serving as a face cam with a green screen behind it, and the other on the opposite side capturing a couch and television set up for gaming content. Because the ATEM Mini is so small and flexible, I still bring it with me wherever I go so that I have a switcher with me at all times.”

Initially, Penny Arcade selected the ATEM Television Studio Pro 4K to switch overhead Micro Studio Camera 4Ks in the primary studio, but quickly realized that it could also replace its main camera switcher.

“Now we’re using a second ATEM Television Studio Pro 4K with the URSA Mini Pro 4.6K G2s and URSA Broadcasts, sometimes adding the Micro Studio Camera 4Ks to the mix if necessary,” Price said. “We try a lot of new things and bring in a variety of different board and tabletop games and other projects that require custom solutions to showcase them in the best possible way. Having the two switchers with full hands on control of the camera settings gives us that flexibility.

“For us, the URSA Mini Pro 4.6K G2 and URSA Broadcast cameras’ ease of use is incomparable. We can bounce from camera to camera for interactive multi camera live streams, and because their build is basically the same, we can easily swap between cameras without needing to adjust, and the images work together seamlessly. In addition, the URSA Mini Pro 4.6K G2’s large sensor allows us to get in closer and have a wider field of view in our small studio where space is premium without having to move to an ultrawide lens and deal with the inherent distortion of the image.”

Four Micro Studio Camera 4Ks are mounted in the primary studio’s ceiling, capturing overhead shots of board games, dice trays, and other top-down action. A fifth Micro Studio Camera 4K is on a monopod that can be moved around to shoot as necessary, and a few others are set up throughout to studio to capture shots from different angles.

Rounding out its camera gear is a Blackmagic Pocket Cinema Camera 4K that Penny Arcade uses to shoot advertisements, anything impromptu, and even behind-the-scenes shots. “The Pocket Cinema Camera 4K is a workhorse,” Price said. “Even though it’s small, it’s extremely powerful and the images it captures are stunning. I even take it with me when I travel to events like PAX to shoot anything quick and dirty.”

Additionally, Penny Arcade is using HyperDeck Studio Mini recorders, DeckLink 8K Pro, and DeckLink Quad HDMI Recorder capture and playback cards and a Teranex Mini SDI Distribution 12G converter. Two DeckLink 8K Pros allow Penny Arcade to bring full 4K signals into a streaming computer for easy image manipulation in the streaming software and to make corrections to framing or for digital zooms without any loss of quality. Three HyperDeck Studio Minis are used for backup recording from the main cameras when shooting multi camera content and as splitters to feed direct outs into the computer.

“Using a full Blackmagic Design workflow has really simplified our work,” Price said. “When you look at our streams, you can tell from the image quality and how smoothly they run. We are excited to continue using Blackmagic Design for future Penny Arcade projects.”

Custom Media Solutions, a live event video production company based in Cumming, GA, has provided streaming coverage of The Orange Conference, an annual event in Atlanta for Christian family ministry teams, for years. With its backstage experience, the company created an online presence for people who could not attend. When the COVID-19 pandemic forced Orange Conference 2020 to convert from a live, arena-sized event to a three-day streaming program that began on April 29, CMS relied on its HVS-2000 video switcher from FOR-A Corporation of America to deliver a high-end production to a much larger online audience.

“We automated as much as possible using the features from the switcher,” said Marc Shroyer, president of CMS. “We had a couple of still stores with user flags and a lot of lower-thirds from the ProPresenter presentation system. We used DVEs for picture-in-picture looks that we could display on the multi-view at all times, so we could decide when to use them on the fly.”

Related: NewTek Ships Latest TriCaster Mini 4K With Tools for Small Production Teams

Most of the content was prerecorded, but live hosts connected the short segments together. Orange converted its local retail store, which was temporarily closed, into three studio sets. Client cameras were used as studio cameras for the two main sets, and robotic cameras were positioned above the two sets to provide wide transition shots and a birds-eye view for the production crew. The third set, located upstairs and equipped with CMS’s Hitachi production cameras, hosted two live keynote presentations.

Due to social distancing requirements, CMS had to produce the event using less than half of its usual crew in its production trailer. The coverage required 16 inputs, 10 keyers, 11 DVEs, and at least four AUX buses. “The FOR-A was great, it always performs for us,” Shroyer said.

One challenge the production faced was integrating a Zoom-based game show into the live program. During the game, the video switcher received two separate computer feeds, so the TD had the option of taking the Zoom gallery display of the four players or the full-screen speaker display. The host interacted with all four players through a monitor on the set (populated by one of the HVS-2000 AUX buses), which showed the Zoom gallery display as a picture-in-picture inside the game graphics and allowed the players to the see the game board. To avoid audio feedback, a USB interface sent the mix/minus from the digital mixer to the participants.

The ProPresenter system was used for playback of the recorded content, and two keys were used to show the timers from the ProPresenter’s second display on the confidence monitors. A backup system rolled the videos on a slight time delay. Each of the two main sets had a confidence monitor, which received feeds from the HVS-2000’s AUX bus.

Using the HVS-2000’s internal GPI system called user flags, the AUX bus feeding the confidence monitor would switch automatically to the second display from the backup system when necessary, so the hosts and crew always knew when the recorded content would end. The user flag would also make it switch it back to the primary stage display graphics when any other source was selected.

There were two streaming feeds: the main feed provided all programming to the Orange website, while a second feed only shared the two-hour main session to Facebook Live on April 29. At one point, the production had to cut the Thursday night feed to Facebook Live because of potential music copyright issues.

In anticipation of the interruption, Shroyer created a GPI interface between the HVS-2000 and a Clear-Com intercom system to allow switcher commands to be fired from communication panels at several stations in the production truck. From his location in engineering, Shroyer switched the AUX feed with transition to a graphic (without sound) and keyed a countdown timer from the ProPresenter system using the HVS-2000’s key over AUX function to let the Facebook Live audience know when programming would resume.

“Production companies appreciate the flexibility of the HVS-2000, which went from backstage to center stage for Orange Conference 2020,” said Adam Daniul, FOR-A director of Midwest and South regional sales. “We are proud to partner with Custom Media Solutions and provide the live production equipment to help them deliver high-quality coverage for such a prominent event.”

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BU’s Learning Tech Team Discusses Their Move to Virtual Classrooms

Boston University's Linda Jerrett and Ernie Perez discuss how they handled the school's sudden shift to remote education in response to the COVID-19 crisis.

University Tech Managers Implementing Distance Learning

Managers from leading institutions break down the ways they're supporting distance learning during the pandemic. Subjects include Patty Mead of UC Berkeley, Rudy Rodriguez of Columbia University, Joe Way of University of Southern California, and more. 

Upgrading Your Live Streaming Capabilities

We cover solutions for upgrading your campus facilities for smoother streaming of live sports and events once things get back to normal. 

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Whether you are new to producing visual media or an experienced hand, there is always a constant challenge of how to best use resources to create consistent and high-quality content. Entire books have been written about the process of video production, and there is plenty of material and online resources to be found. There is also an increasing number of software applications and utilities to assist with tasks such as scheduling, scripting, production planning, and more.

Whatever an organization’s reasons are for starting up or expanding in-house broadcasts or streams—be it for C-suite communications, marketing, HR, training, customer support, or other strategic content initiatives—there are a few starting points that should be integrated into a video production workflow.

The Modern Broadcast Workflow

To create programs that cover events in real-time—and/or to be recorded for later viewing—a production system that acts as the central hub for production is critical. At the core of the production system is the ability to switch between multiple cameras in real time at the touch of a button. These are called production switchers, and there are a number of services and technologies that can be integrated into these production systems to help users of all levels improve efficiency and quality. They are no longer just for tier-1 broadcast organizations; all types and sizes of institutions are finding ways to more effectively engage with their audiences using these systems.

That said, there is still a standardized format to content. Most productions consist of a series of scripted, repeatable actions. It is often known when a specific camera gets switched to, how a graphic appears on screen, or which media clips gets played. These known events can be planned for and programmed into production systems.

A production system often includes a comprehensive macro automation system to record, store, edit, and automate favorite settings and custom command sequences. Typically, macros can be run manually on control interfaces or can be set to perform actions automatically. Macros are used to automate favorite settings, frequent actions, and complex operation sequences—all triggered with a single action. Triggering macros manually can be done with a mouse click, keyboard shortcut, control panel button, MIDI button, GPI trigger, hotspot interaction, or other compatible control method.

A macro editor is then used to adjust action and timing, to insert and delete steps, and to easily modify macro data with cut, copy, and paste commands. To account for and adjust to real-time production pacing, pauses and manual cues can be inserted to create multi-step macro command sequences. Macros can be triggered based on a particular change or event associated with audio, graphics, media playback, tally, and other specific activities.

While macros help to automate functions within the production system, it can also be useful to bring a level of automation to an entire show. There are various types of production automation software offering varying degrees of functionality and comprehensiveness. When the need arises for staff to deliver stories more autonomously—regardless of their level of technical expertise—an application can be used that works from a script in Microsoft Word with triggers for actions. Once loaded into the production system, this script easily executes the entire show. As most productions need to start with a script anyway, this can be a simple way for anyone to get programs completed.

A teleprompter system should also be set up. Teleprompter operations including stop, play, forward, reverse, jump to segment, eyeline position, and scroll script can be performed without affecting the output of the production system, even when it is automated.

Simultaneously with the teleprompter operations, the productions system selects, takes, dissolves, and wipes the input sources such as cameras. The production system can perform fades, keys, and macros. The production system is also able to start and stop video clip playback, record, and stream out.

The Software Layer

Most production requires graphics of some sort. Working in conjunction with the production system, show openings, closes, animated titles, and lower thirds can be inserted into programs. Graphics cues, speeds, and durations can all be controlled. In addition to automating systems and shows, control of productions is another area where efficiency and flexibility can be realized. Control of production operations can be extended to everyday devices to remotely access the production systems from a laptop, tablet, or smartphone.

Remote software interface applications often also include a creation tool, making it easy to create custom controls for any type of production or operator. The tool can provide the ability to define grid squares as buttons or video windows, assign macros to buttons, and create multiple tabs for different panels. 

The Network

Perhaps the greatest innovation taking place within broadcast and live streaming equipment today is the ability to move video (and audio, metadata, and other key signals like tally and pan-tilt-zoom camera controls) across a local area network in real time. Whereas typical broadcast equipment uses SDI or HDMI cables that only send one signal at a time in one direction only, emerging technologies like NDI and SMPTE 2110 can carry multiple video signals in any direction across a network, eliminating the need for long cable lengths and opening up new creative possibilities by simply plugging into an Ethernet port on the network.  

NDI is free to use, already installed in a growing number of NDI-compatible products. The likes of Sony and Panasonic are adopting the technology into their PTZ cameras. It works on 1Gb Ethernet networks, which are standard in most facilities, be it an office park, school, church or other business. SMPTE 2110, meanwhile, requires a 10Gb network and likely some extra hardware. That said, both rely on IP, an approach that many in the broadcast and AV space believe will become the future connectivity standard for video production.

These are just a few of the latest concepts being used to enable producers at all levels of experience to be able to tell their stories better with both efficiency and quality. With a little research and experimenting, all types of producers can lean into their unique brand of visual storytelling.

Matt Allard is the product marketing manager for Vizrt Group.

Every week, the 27,000-odd global employees at Uber Technologies, Inc. are invited to dial in to an all-hands meeting. Presenters include everyone from key executives to team members from the organization’s various divisions, and the event concludes with a Q&A. While these events are streamed live from the ride-sharing company’s studio at its global headquarters in San Francisco, on numerous occasions presenters are scattered across the world—just like the employees that are viewing this content each week. 

“It’s not just a single site where we’re streaming out and broadcasting from one location; we’re actually pulling in all these different streams and then rebroadcasting them around the world,” said Sean Patterson, senior AV engineer at Uber. 

[Going Live: Planning an Engaging Livestream]

To achieve all this, Uber’s AV operations and events team relies on the Zoom communications platform. Jerry Yuan, senior AV engineer at Uber, acknowledges that while Zoom is traditionally used for videoconferencing and webinars, this approach has facilitated access to live streams for employees. “This enables [employees] that already use Zoom daily to dial into an ID that we propagate every week, and watch the all-hands from their smartphones, computers, conference room, or another office event space,” he said. It also minimizes the need for on-site technicians around the world, as would be the requirement with other platforms, he added. “If we were to use a traditional live streaming platform, a tech at each individual site would have to pull up a laptop, type in the URL, and then plug the computer in with an HDMI cable, for example. But we’re lucky in that we have all these different Zoom Rooms and event spaces built out all over the world that anyone can type in the secured ID and then, without a separate computer, they can broadcast that event.”

As with any live event, good communication between the members of the production team and remote sites is critical for these large-scale broadcasts. Yuan relayed that in the past, these individuals would rely on the company’s internal chat tool—not an optimum solution because of delays between pings. To address this, the team once again turned to Zoom: “We’ve bridged our intercom system over Zoom so that any tech dialing in from a remote site can just join that secondary call and have real-time communication with everyone operating a control station in San Francisco,” he said. Not only has this improved backstage communications, it’s also helped the tech team to better interact with remote presenters.

Alvin Rovira, manager of AV operations and events at Uber, noted that another challenge he and his team faced previously was enabling a remote presenter to control the master slide deck, and thus access their own presentation notes. Their workaround: through remote management functionality, they are able to set up two “versions” of the slide deck so that a remote presenter can click through their own notes locally, while the production team advances the master deck alongside. “It gives the presenter the confidence to feel like they’re literally just clicking through their own notes, but then once they click, we’ll advance the master deck that everyone else gets to see on the call,” he said.

Confident presenters mean a better broadcast all around, and Yuan noted that he and his colleagues have been able to set presenters at ease with the implementation of a full dress rehearsal prior to the broadcast. On-site presenters arrive an hour or two before the event, giving them the opportunity to click through their slides, talk through their key points, learn where they should be standing, and even learn how to hold a microphone if they haven’t had to do so before. “All of that really streamlined the process and pretty much eliminated any of the awkward transition period from one presenter to the next,” Yuan said. And again, the bridged intercom system allows the production team at HQ to conduct remote rehearsals with other sites.

While the weekly all-hands meeting is one of the largest broadcasts handled by Uber’s AV operations and events team, Rovira noted that he and his team members are available to assist employees with small-scale meetings and presentations that require audiovisual and streaming support, and the company’s Global Service Desk Team provides support for offices outside of San Francisco. He also pointed out that his team works with employees and outsourced production companies for events taking place outside of Uber facilities, such as in hotel ballrooms. For these types of events, Rovira said that his team will partner with the organizers and the outside production crew (or on-site production crew if, say, the venue has one), and will furnish their Zoom streaming setup. They will also negotiate bandwidth allocation with the venue: “What we do now is create our own VLAN—or at least get our own network circuit—just for the streaming,” he said. “We get a hardline drop, that way our setup has a dedicated feed, [and] it’s uninhibited by people who are joining the network from their phones.” 

While not all organizations have the resources or even the requirements Uber has to scale streaming on a global level—be it within the enterprise or off site—it’s important for AV/IT departments of all sizes to invest the time in finding both a platform and vendor partner that they can work with now and in the future, Patterson said. “A smaller company might have certain needs right now, but if you are a high-growth company or if you’re planning for the next year, or the next three years or five years, make sure you’re not pigeon-holing yourself into a platform that’s not going to be able to scale up with you,” he said. Some features may not seem necessary in the present day, but “a year from now [you] might need it, or five years from now [you’re] definitely going to need it. Finding something you can leverage across all your different use cases [is] a challenge, but it’s also a huge benefit.”

Carolyn Heinze is a freelance writer/editor.

A couple minutes of buffering, a couple seconds of playback. You press pause. And wait… and wait. The video stutters along as the pixelated rollercoaster car climbs painfully up the lift hill, which in 240p, looks like a dark, steep pyramid stretching interminably into a washed-out sky. Finally, the progress bar has inched along far enough, and you watch with delight from the front seat as the coaster plunges down the near-vertical drop at blinding speed.

What’s your first memory of streaming a video? For me, it was loading the tiny, grainy onboard testing video of Millennium Force, the tallest and fastest rollercoaster in the world when it opened in 2000, on Cedar Point’s website. With a 28k dialup connection, this two-minute video took at least a dozen minutes to consume back then—but that didn’t stop me from watching it over, and over, and over, until I finally got to ride it for real the following summer. 

When I hear the word “streaming” today, that kind of experience still resonates a tiny bit in the back of my mind. Streaming was a process, a slow trickle of pixels from the worldwide web into my computer. A process that took patience, but one that was filled with endless possibilities. Sure, you could barely make out any details in the picture, and the audio was atrocious, but you could sense that it was the beginning of something big. 

Today, of course, that trickling spring has become a roaring, life-sustaining river. From entertainment to communications, we’ve grown increasingly reliant on the trusty flow of video to our screens—and conditioned to its perfection. When you press play on Netflix, you expect a flawless 4K image to fill your screen. Buffering? I’d bet that most Gen Zers, born after Millennium Force thrilled its first riders, don’t even know what that means.

This brings us to a core challenge for our industry. Everything in your consumer life just works; shouldn’t pro solutions be just as simple? In AV Technology, we take a look at ways that video communications are being elevated to meet and exceed their consumer counterparts. From livestreaming to enterprise video, industry experts weigh in on ways that AV aptitude can be applied to reach a level of quality that Magewell’s Nick Ma calls “technical invisibility,” where the experience is so natural, the user doesn’t even think about it. 

It’s been a long climb from the humble days of the early web. According to some estimates, video will soon account for almost 85 percent of all internet traffic. We’re at the top of the hill, and there’s only one way down. So put your hands up and embrace the ride.

Emerging live streaming technology and platforms are opening up new avenues for collegiate sports to reach a wider audience, and in this respect, Princeton University is ahead of the game. The video production arm of its athletics department streams home games for more than 37 sports to students, alumni, and international audiences via ESPN+, Stretch Internet, and NBC Sports Philadelphia. 

Handling up to three separate destination feeds for more than 200 events a year, each with unique delivery requirements, is a heavy load to bear, but one that Princeton assistant director of athletics for multimedia and broadcasting Cody Chrusciel and partner John Bullis manage seamlessly. The duo spent the last six months ramping up their production infrastructure ahead of the 2019/2020 season—building two new control rooms, a flypack, and on-campus studio, with AJA gear powering routing, conversion, streaming, and recording. An additional control room and studio are slated to come online in Fall 2019.

Each production varies depending upon the sport. For football and basketball games, an OB truck will typically feed 1080p and 720p camera signals over fiber through AJA FiDO Mini-Converters to SDI and into an AJA KUMO 1616 3G-SDI router and output to their replay system and switcher for videoboard shows. AJA’s standalone HELO H.264 real-time recording and streaming device receives the 1080p switched feed for streaming over RTMP for the Stretch Internet stream. 1080p and 720p feeds of the game are also fed through another KUMO 1616 router to various encoders for the ESPN+ stream, an NBC sports Philadelphia stream for select games and to laptops for the home and away team. A similar workflow is applied for other sports productions, but the main feed is taken from Princeton Athletics’ switcher output.

Between the two control rooms, studio, and flypack, Princeton has three AJA KUMO 1616 routers, two AJA HELO streaming device, and numerous AJA FiDO Mini-Converters. AJA’s web-browser UIs have made it possible to work on multiple productions simultaneously and to route sources between feeds whether ESPN+, the video boards, Stretch Internet, and more.

“KUMO has helped us network our workflow and make changes on the fly,” Chrusciel said. “With a few mouse clicks we can control all of our routers from the web UI and change how sources are routed; it’s as though we can be in multiple places at once, which is invaluable when your production team consists of two. And with HELO, rather than typing in multiple RTMP addresses as we go between sports productions, we can use the web UI to set up and test presets for all of the sports feeds we’re distributing, eliminating room for human error.”

Every recording is also archived so that footage is available to use when compiling interstitials used for future halftime shows or marketing materials, and HELO provides the duo with a simpler storage solution and tighter file sizes. “At the same time as we stream, the HELO lets us also record to an SD card, which is incredibly convenient for post,” Chrusciel said. “Most encoding and streaming devices only allow you to record at the same bitrate that you’re streaming, but HELO is unique in that we can stream at 5Mbs and record at 15Mbs, which is great for a high-quality archive, and more manageable file sizes than we’re used to. It gives us so much more flexibility.”

With AJA gear at the center of the department’s workflow, Chrusciel never worries about making changes or downtime. “The web UIs on our AJA gear make it so easy to tweak or adjust our feeds for each stream, and we know that the equipment will work every time; it’s that reliable,” he said.

With end users accessing video on more and more devices, institutions must ensure that their video stream is available on as many platforms as possible with a uniform level of quality. To attain that parity, institutions need to manage a number of variables from production to delivery.

There are several factors that influence quality. First, the level of video quality required is going to vary from device to device and between facilities. For example, there’s going to be a difference viewing video on a 55-inch display versus a mobile phone, tablet, or perhaps, even a watch. Facilities also have to consider whether they’re streaming on-demand versus live video. With on-demand streams, a little more video quality can be squeezed out. With real-time codecs and content, quality is constrained by how much bandwidth can be applied to compress the video as it’s going through a processor. That being said, latency may be more of a priority for some applications than others. For example, if you’re watching a television program, it may not matter if you receive that sitcom 5 seconds, 10 seconds, or even 20 seconds later. But in other applications, such as financial news or a military application, where video data is coming in from field ops, latency is critical. They must be able to receive video in the highest possible quality, in real time, regardless of the devices it’s being viewed on.

As the video codec field continues to evolve, and with more and more processing power available within each new generation of device, more efficient video codecs will allow facilities to achieve the quality that they need across a range of devices. Historically, the video codec market started with MPEG-1, then MPEG-2 followed by the H.264 (also known as MPEG-4 Advanced Video Coding, or AVC) standard. Now, the industry is migrating toward High Efficiency Video Coding (HEVC), also known as H.265 and MPEG-H Part 2. But even within the confines of the latest standard, there’s a wide range in terms of flexibility and quality a video codec can deliver. It all depends on how a manufacturer has designed the codec, which is why selecting the video codec that not only guarantees the highest quality but also can cover the broadest range of use cases in a facility is paramount.

By taking advantage of the more efficient video codecs, facilities will be able to achieve better quality at lower bandwidths, and be able to see equivalent video quality from device to device.

Bill Cassidy is associate VP of sales—broadcast, enterprise, and government at VITEC.

From the video production engineer to the IT specialist, everyone involved in corporate video streaming faces a number of challenges. They include dealing with the limitations of unreliable networks, RTMP, firewall traversal, content security, and interoperability with proprietary video delivery systems.

These can become especially cumbersome when trying to get high-quality video between sites or from remote locations over the public internet.

Businesses of all kinds are streaming live events, and in many cases, they require some form of contribution to allow people from different locations to join the live streams as remote presenters. The most difficult part of these live streams is often dealing with unknown networks, like those in hotels or convention centers.

Even those who are streaming via known networks have to deal with the unpredictability of those networks, which can wreak havoc on a live stream if the wrong protocols are used to account for things like packet loss, jitter, physical distance, and firewall traversal.

The reality is that everyone has to deal with the public internet at some point in order to deliver a live stream into and across the enterprise video network, thus not depending on dedicated networks. And there are various methods that people are using to try to deal with these challenges.

The Video Transport Challenge

For years, people have been working on different ways of overcoming the issue of unreliable networks in order to deliver low-latency, high-quality video. Today, there are few methods being used:

First, Segmented Streaming, a common technology that “slices” video into 3–10-second file segments. As video arrives at the destination point, the files play in order with no break. But the issue is that these segments can start to compound into delays of 30 seconds or more before they start playing at the destination.

Packet Retransmission, built on the TCP/IP protocol, which works well for instances where latency is not an issue. The amount of buffering that it causes makes it unusable for any time-sensitive applications like remote contribution.

Forward Error Correction (FEC)is often used by broadcasters. While it can be effective to recover from loss over very predictable networks, massive bandwidth overhead would be required to accommodate the extreme volatility of the public internet.

And finally, the most common, but unpopular, RTMP. Originally designed to fuel Adobe’s Flash servers and players, RTMP suffers from the impacts of TCP/IP retransmission, and is exasperated anytime the stream is transported over distance, dramatically limiting bandwidth utilization. RTMP also hasn’t scaled to meet the challenges of resolution, new encoding standards (HEVC), firewall traversal, stream security, and language and ad insertion support. In addition, CDNs like Akamai are no longer supporting RTMP.

“RTMP is used by default and not by preference,” said Sam Racine, director of sales, Americas and Asia Pacific, at Matrox. “The industry has been waiting for an open source protocol like SRT, that not only overcomes the challenges of low latency, firewall traversal, and security, but also facilitates interoperability within the video ecosystem of an organization.”

SRT as an Open Source Alternative

The SRT (Secure Reliable Transport) streaming protocol and technology stack was developed by Haivision in 2013 to deal with these very problems. In 2017, Haivision made SRT available to the world as an open source protocol on GitHub, allowing anyone to freely integrate and use SRT to improve their video solutions.

Since then, more than 140 organizations serving the streaming and broadcast communities have shown support for SRT, including global leaders such as Comcast, Brightcove, Limelight, Microsoft, Ericsson, Wowza, the European Broadcast Union (EBU), Matrox, Teradek, and many others. SRT is also supported by open-source applications like VLC, Wireshark, GStreamer, and FFmpeg. Most companies show their support by simply joining the SRT Alliance, an initiative founded by Haivision and Wowza to advance the adoption of SRT within the market.

The primary challenge that SRT solves is packet loss. SRT uses an advanced retransmission technology that minimizes latency while making sure that every packet is received at the other end. Think of it as TCP/IP-like, but designed for UDP-style, low-latency performance.

SRT is a UDP-based protocol specifically designed to deliver low latency video streams over unreliable, “dirty” networks. SRT manages security by providing for independent AES encryption, which means that stream security can be managed at the link level. Firewall traversal is managed by adding support for both sender and receiver modes (RTMP and HTTP support just a single mode) which makes delivery from outside networks to inside office networks—and beyond—much simpler, and with much less intervention from IT departments.

Whether an audio or video stream, HEVC or H.264, SRT is content agnostic. At the packet level, SRT reconstructs the data stream at the receiving end, which allows the feeds to survive packet loss, jitter, and fluctuations in network behavior, all while maintaining low latency.

Another powerful feature is SRT’s ability to report on the changes in network characteristics, such as jitter, packet loss, latency, and bandwidth. In advanced encoder implementations equipped with SRT, this capability is tied to the encoder settings allowing the encoder bitrate to fluctuate in real time to change bandwidth availability.

The Open Source Community Loves to Solve Problems

In one case, an SRT Alliance member used the SRT GitHub forum to ask a question. He was using an HEVC encoder to generate an H.264 and HEVC at the same birtrate/resolution/FPS, etc, but the timestamps of the two streams were off by about 80-120ms. He needed a way to synchronize both streams without using MPEG-TS via UDP and was wondering how SRT could help sync his streams.

After some dialogue with other developers on GitHub, he began experimenting, and within a day, he was able to send a stream over SRT from Europe to the US, where a team received the SRT signal, transmuxed it from SRT to UDP, and then sent it to four monitors at the same time in four different rooms, all of which were “perfectly in sync.”

He also noted that when using a CDN with RTMP with edge caching nodes, the latency was more than 10 seconds. But with SRT, he was able to achieve less than 1 second of latency and believes that there’s room to reduce it further.

This type of community engagement helps make SRT better faster, as more and more developers collaborate to find solutions to their unique problems.

Anyone Can Deliver Low-Latency Video Over the Public Internet

As more and more video streaming technology vendors adopt SRT, proprietary systems are becoming less and less appealing. SRT is already supported by various IP cameras, encoders, decoders, gateways, OTT platforms, and CDNs.

SRT is free and available to anyone who wishes to use it without royalties, contracts, or subscription fees. It is available on GitHub (go2sm.com/srt/) and includes source code, build tools, and sample applications. SRT is fast and easy to implement: One company completed its implementation on their encoder and decoder on the very same day that SRT was open-sourced, while a live streaming syndication company deployed SRT across their cloud platform in a single afternoon.

Those wishing to learn more can visit srtalliance.org.

Peter Maag is EVP and CMO at Haivision.