This is the first in a three-part series of articles to help engineers and technical managers better understand the IP network, which has become the core technology in the broadcast center.
While cloud computing isn’t new, only recently has it begun to play a critical role in the video workflow process as broadcasters seek new ways to reduce the costs of their video processing and quality control (QC) needs. The immediately available processing infrastructure of the cloud is naturally appealing to broadcasters as it eliminates the need to actually purchase and deploy costly equipment, which reduces their capital costs.
Broadcasters are increasingly migrating to IP based data networks for video distribution to cut costs and reach new audiences, but some are then finding it difficult to negotiate rigorous SLAs (Service Level Agreements) that underpin performance, robustness and availability. Part of the problem is that Telcos and others providing the IP transport services are themselves not fully up to steam with the more stringent requirements broadcasters have over QoS and reliability.
When the MPEG LA licensing organization, released its final Patent Portfolio License fee structure for High Efficiency Video Coding (“HEVC License”) for using the technology behind the latest generation compression scheme, many in the industry were quite prepared and are now saying all is well…. although it took longer than many had hoped to solve.
The broadcast industry is characterised by a desire to increase efficiencies while remaining as cost-effective as possible. This is especially important considering the prevalence of the multi-platform content delivery environment. Here, the two most crucial drivers for broadcasters and content owners are quality and cost-effectiveness. Broadcasters are striving to balance these needs while still meeting the exacting requirements of their viewers. Audiences now want to watch what they want, when they want and on whichever device they choose – be it a mobile phone, laptop, tablet or television. This appetite is driving the change in the industry but technology is struggling to keep up with this rate of evolution, especially as there is still dependence on the use of proprietary hardware.
In recent years, major events such as the Arab Spring and the 2004 Indian Ocean earthquake have brought the role of citizen journalists into global prominence. As mainstream news outlets adapt to this emerging trend, professional journalists and average citizens alike can explore the use of satellite technology as a key enabler to delivering news from anywhere in the world.
Content owners have traditionally archived material as a resource worth keeping in perpetuity, but this simplistic approach is no longer fit for purpose. Invariably though, detailed knowledge about the content is unavailable or it is in a state where it cannot be easily unlocked. If assets are stored on disparate hard discs, siloed servers or on shelves as tape, there will be considerable wasted time, effort and cost in locating, retrieving and collaborating on content creation and onward distribution. Time to air is impacted and the archive is effectively devalued. An archive system used solely for preservation or for legal compliance realises very little of its true value and barely justifies the ongoing cost of acquisition, documentation and maintenance. Only by reimagining the archive as a unified repository of assets, which are integral to production, content preparation and content delivery workflows, can its value be transformed.
As broadcasters moved from analog to digital, new doors opened to automating processes—and important to the front office—the possibility of lowering staff costs. Above, Ross Overdrive can enable live production and playout to be managed with a minimal staff.
