Keeping it remotely real


Reuben Such TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

Everyone wants to do more with less. Always have, although it could be argued that doing more with more is something to aspire to, not many have that luxury.

So let’s stick with the prevailing winds of doing more with less, and not just doing more, but doing it remotely, particularly in terms of production. Remote production, in particular, is getting a lot of attention in the field these days, but not so much in terms of the remote operation of fixed studios.

Among many reasons for developing our Intelligent Display System (IDS), one of the primary ones was to support the advent of self-operated news bureaus in a way that enabled non-technical users to operate multiple pieces of technology at the touch of a button.

The ability to do pieces to camera on their own is appealing to presenters, but it also gets the attention of financial controllers who can now trim costs because one or more technical operators no longer have to be on hand to set everything up.

The entire IP-enabled idea of IDS is that from a simplified control layer on an IDS touchscreen, the talent can do everything from unlock the studio door; sit on a chair or stool that has been automatically adjusted; press the “On” button and have all critical equipment in that self-operated bureau facility armed and ready to suit the established, preprogramed preferences of the talent including camera, lighting, power and many other technical parameters, but with zero technical ability.

That means there’s no need for a camera operator, lighting technician, or sound engineer.

And the beauty is that, because IDS is a fully IP-based solution, you can have a self-operated studio in Cape Town that, provided the infrastructure is set up properly, can have an operator sitting in a London control room oversee what was happening in the Cape Town studio.

The central idea is to automate as many of the technical tasks as practical or desired, which vastly streamlines and simplifies what can often be complicated setups that waste time and money.

Although this simplifies the traditional complexity of broadcast, an awful lot still needs to take place behind the scenes, but the people who use remote production facilities don’t need to know, or care, how it all works any more. All we care about is that it does what we want it to when we want it to.

However, just being able to press a button to make multiple things happen isn’t – on its own – enough. Users expect – as any of us would – the highest degree of quality and reliability.

One way to ensure that, is through the likes of our new EMU3, which is a remote-access power unit, and our new Scheduler element, which enables users to remotely schedule a certain area to power up and set up before the user even gets there, and turn off automatically at a scheduled finish time, there’s no need to ensure anyone’s around other than the talent. The talent doesn’t even have to turn the lights off.

This comprehensive technical package is, again, designed for non-technical users. If you can navigate a programme guide, you can use an IDS-equipped remote studio just as easily. IPE has taken care of all the complicated technology. All the user has to do is turn up, press a button, and do what they do best without the complication or expense of additional, perhaps specialist, technical personnel.

And that’s just what many of the world’s biggest broadcasters are doing right now. The reason you may not have heard of IDS-equipped remote studios is because they work so well. Quietly, deliberately and cost-effectively doing their job while saving time and money.

But let’s not be narrow minded and limit this remote approach to traditional broadcast operations. OTT production facilities use IDS kit too. You can have remote studios on ships, in corporate facilities, at remote weather stations, houses of worship…the list is endless. You could even have a small studio space in your home for making videos of your cats…and you could operate it remotely without a scratch.

I would be remiss if I didn’t close without mentioning that a significant portion of the industry is now moving to hosted, hybrid infrastructures where a lot of “technology” is virtualised and humming away in a data centre somewhere. IDS easily consolidates virtualised functions into multi-function touchscreens that can be located anywhere in the world. In fact, speech recognition/activation to control multiple, remote functions is probably not too far off either, but that’s for another article.

Rest assured, virtualised routing panels, comms panels or whatever is needed, can easily be incorporated into IDS touch screens. In short, IDS and IPE are well positioned to capitalise on the virtualisation of our industry, localised or remote, but all while “keeping it real”.


Tags: iss134 | remote control | IPE | IDS | Reuben Such
Contributing Author Reuben Such

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Adder ipeps at ISE 2019

    Adder ipeps at ISE 2019

  • Haivision on BroadcastShow LIVE at IBC 2013

    Haivision on BroadcastShow LIVE at IBC 2013

  • Digital Rapids at IBC2011

    Digital Rapids at IBC2011

  • The Vision Charity at BVE North 2011

    The Vision Charity at BVE North 2011


Articles
Future proofing post production storage
Josh Goldenhar Advancements in NVMe (Non-Volatile Memory Express), the storage protocol designed for flash, are revolutionising data storage. According to G2M Research, the NVMe market will grow to $60 billion by 2021, with 70 percent of all-flash arrays being based on the protocol by 2020. NVMe, acting like steroids for flash-based storage infrastructures, dynamically and dramatically accelerates data delivery.
Tags: iss135 | nvme | sas | sata | it | storage | post production | Josh Goldenhar
Contributing Author Josh Goldenhar Click to read or download PDF
Grading BBC Sounds
Simone Grattarola

The BBC has launched its new personalised music, radio and podcast app with a campaign that follows one listener’s journey from meeting Kylie Minogue in a lift to Idris Elba on a bus. 

BBC Sounds offers a single home for the BBC’s thousands of hours of audio content, including live and on-demand shows and special music mixes curated by artists.

BBC Creative, the broadcaster’s in-house creative division, took the brief to agency Riff Raff Films and Megaforce directing duo of Charles Brisgand and Raphaël Rodriguez who in turn brought on board regular collaborators Time Based Arts.

Tags: iss135 | bbc | grading | bbc sounds | davinici | resolve | blackmagic | editing | Simone Grattarola
Contributing Author Simone Grattarola Click to read or download PDF
21st Century Technology for 20th Century Content
James Hall A big challenge facing owners of legacy content is rationalising and archiving their tape and film-based media in cost effective and efficient ways, whilst also adding value. Normally the result of this is to find a low cost means of digitising the content – usually leaving them with a bunch of assets on HDD. But then what? How can content owners have their cake and eat it?
Tags: iss135 | legacy | digitising | digitizing | archive | James Hall
Contributing Author James Hall Click to read or download PDF
The making of The Heist
Tom Hutchings Shine TV has never been one to shy away from a challenge, be that in terms of using new technologies, filming ideas or overall formats: we pride ourselves on being ambitious and risk-takers.
Tags: iss135 | liveu | heist | streaming | cellular | mobile | connectivity | Tom Hutchings
Contributing Author Tom Hutchings Click to read or download PDF
Your two week editing future
Alex Macleod

So here we are - January again! Usually a good time to reflect on the year just gone by, and a good time to look forward to the coming months as the new year begins.

When I was reflecting on my 2018, and when thinking about what to write for my first article for Kit Plus - I kept coming back to one theme - organisation.

Tags: iss135 | editing | mediacity training | premiere pro | dit | Alex Macleod
Contributing Author Alex Macleod Click to read or download PDF