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TVBEurope Supplements
January 2017
IP Live: time to embrace the challenge Ready Today, Open for Tomorrow A simple guide to what IP could bring to you today, and tomorrow. In association with
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Supplement
In association with
Live IP: time to embrace the challenge For some broadcasters and media producers, the idea of moving to an IPbased live production environment is a scary prospect. But, argues Michael Harrit – marketing director, media solutions, Sony Professional Solutions Europe – there are so many positives with IP that now is the time to embrace that challenge
There is also the worry about the skills required
Y
concerns, over the next few pages.
to tackle production IP, the inherent security risks of everything being networked, the increased need for interoperability and the desire to ensure a smooth transition. We address these, and other
ou don’t need me to tell you this but
An IP-based infrastructure built on open
the way we produce live broadcast
standards allows a broadcaster or content
me give you some further reassurances. The
television is changing.
For those of you that are still unsure, let
creator to deploy flexible technology that can
problems we currently face when it comes to IP
On the one hand our much-loved SDI
adapt to future requirements. Once you have
will be reduced over time and it will inevitably
environments have just about reached their
installed your IP pipe you can, within reason,
become easier. The evolution of IT tells us that.
technical limits while, on the other, standard
pour anything you like down it: video, audio,
Similarly, we have seen other industries go
computer processors are now so powerful they
metadata, consumer data, anything. And unlike
through similar changes and successfully come
can perform almost all of the tasks that a live
SDI, an IP-based live production network
out on the other side.
production infrastructure requires.
does not have to be upgraded in order to
It means that the next time we, as an industry, look at a technology re-fresh for our OB trucks, studios or broadcast facilities it is unlikely that our
adapt to a new resolution or frame rate. IP is format agnostic. IP technology also enables audio and
Plus, there are lots of people ready to help, including Sony. We believe that IP is not something to be scared of but something that should be
shopping lists will include specialist SDI boxes and
video streams to become omnipresent in the
embraced. Once you’ve read the rest of this
cables. Instead it will be consumer off-the-shelf
production ecosystem. This means that where
supplement, we think you’ll agree. n
(COTS) hardware and faster Ethernet networks.
connectivity was previously point-to-point, now
In short, live production is moving to IP, and that
everything can be multiplexed which
is what this supplement is focussed on. Not on
opens up the possibility for flexible
selling Sony (although we will do a bit of that) but
workflows that can be changed and
on helping you make that move.
re-shaped in minutes.
To many, the transition to IP cannot come
Then there is remote production.
soon enough. Broadcasters today are under
With less crew on site, centralised
increasing pressure to create more and better
resource sharing, optimised utilisation
quality content with the same (and sometimes
and reduced logistics costs, remote
less) money, facilities and staff. This demand
production offers up incredible
would be almost impossible to meet in our
possibilities. It even promises to be
legacy SDI world.
better for the environment.
For me, there is a clear business case for
Despite these obvious benefits,
moving to IP and it comes down to cost
we understand that the move to
and flexibility. Thanks to the gargantuan size of
IP can be pretty scary. Not
the IT industry and its constant R&D activity, COTS
necessarily because of the
hardware evolves quicker and is cheaper than
technology change but culturally.
specialist broadcast kit.
Within media and entertainment
At the same time, Local Area Network
we have traditionally opted for
bandwidth costs come down every year and
best-of-breed. But in the IP world,
already achieve speeds faster than we actually
our time-critical content is going to
need. Plus, with IP, it is possible to reduce the
stand or fall on a homogenous bank
amount of cabling required for live production.
of computing power. This will take
But cost is just one factor.
some getting used to.
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Ready Today, Open for tomorrow Imagine what could be possible with IP.
www.pro.sony.eu/iplivetraining
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Supplement
In association with
Live IP: dispelling the myths With so many differing opinions, the move to IP-based live production has become more complicated and political than it perhaps needs to be. To counteract this, here is Sony’s myth-busting guide
Similarly, we support the fast-growing IP Live Alliance, which already brings together more than 60 leading equipment vendors and technical partners in the live production
Myth: Every vendor says they offer open standards but, in reality, they do not
One of the big challenges of moving to IP-based
space. Sony has also created the IP Live
live production is the interoperability of different
Studio in our Digital Motion Picture
systems, products and solutions. This is why
Centre Europe (DMPCE) at Pinewood
We cannot answer for other vendors but we can
Sony has taken a completely open approach
Studios in the UK.
assure you that Sony’s solution is not proprietary.
and has joined the Advanced Media Workflow
We were the first to market, yes, but that is not
Association’s Networked Media Incubator
interoperability real-life test bed for Live IP.
the same thing as being proprietary.
project and is following the AIMS (Alliance for IP
It features various partners from the IP Live
Media Solutions) roadmap. Joining AIMS allows
Alliance, including Cisco, Juniper, Imagine
end-to-end Live IP Production system that is
us to focus on, among other things, VSF TR-03
Communications, Tektronix and Leader, who
agnostic, flexible and open to any standards.
and SMPTE 2022-6 while association with the
are integrating and polishing their solutions
With the help of reprogrammable logic chipsets
Networked Media Incubator project will enable
alongside Sony’s core components.
and software upgrades, it will easily accept
us to work closely with other industry leaders
new benchmarks or methods as soon they
to promote the adoption, standardisation,
layers of interoperability as recommended by the
are standardised.
development and refinement of open protocols.
Joint Task force on Network Media (JTNM).
The truth is, Sony offers a proven and secure
At the same time, for those media companies with a business imperative to move to IP right now, we also have a ‘Ready Today’ solution. This has the Network Media Interface (NMI) at its heart and makes use of COTS hardware. The NMI is the technology that enabled Brazil’s TV Globo to have a 4K-capable IP-based truck ready for summer sports events in Rio this year.
Myth: Sony’s solutions are not interoperable with those from other vendors
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This platform serves as an intensive
In addition, Sony’s solution covers all seven
The key planes of interoperability Compression
SMPTE RDD 34 (LLVC)
Identity
NMOS, NDCP
Device Control
NDCP, AMWA NMOS
Connection Management
SIP, AMWA NMOS
Discovery & Registration
NDCP, AMWA NMOS
Essence Encapsulation
SMPTE RDD 40, VSF TR-03, SMPTE 2110
Timing
IEEE 1588, PTP, SMPTE ST 2059
Flow Control
SDN, Netconf
Flow Switching
Destination Time Switch
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January 2017 www.tvbeurope.com
Supplement Myth: IP is not secure or robust enough for the demands of live production
Fundamentals for IP Live Production’ training
We know that in a live broadcast environment
knowledge of IP in the context of live production
that’s based on well-understood, carefully
and prepare attendees for working on an IP
rehearsed procedures and processes, there are no
project. This training is available to all and provides
second chances. Production teams need a rock-
a general overview of IP for live production. It is not
solid infrastructure in which they can be confident
specific to Sony solutions.
course. Combining online learning with hands-on coaching, the goal is simple: to provide a basic
that changes can be made instantly at the touch of a button. And any new methodology needs to be at least as robust, secure and reliable as the legacy system it replaces. Conflicting with that, an IP network is by
Myth: A hybrid approach won’t reap any benefits. The move to IP is all or nothing Although a wholesale move to IP-based live
nature non-determinist, due to possible packet
production is possible, we also know that ripping
loss, packet congestions, buffer overflows or
out and replacing everything in one go is not
jittering phenomena.
practical or financially viable. Many broadcasters
That is why, to ensure professional quality of service, Sony’s IP Live Production system complies
will want to continue to use SDI alongside IP, at least in the short term.
with advanced SMPTE standards 2022-5 and 2022-7. Similarly, to protect content and provide added assurance, Sony’s IP Live Production solution features trusted security protocols such as TLS or AES encryption.
Myth: Broadcast engineers don’t have the skills to manage an IPbased live production infrastructure In reality, most broadcast engineers would have all the capabilities required to manage an IP-based
“Having Sony as a strategic partner in this project gives us confidence that it will be delivered successfully” Raymundo Barros, CTO of TV Globo, first 4K IP Truck for the 2016 Brazil summer events
live broadcast, and would be far better qualified than a pure IT engineer. However, it is true to say that where the pointto-point world of SDI provided a certain peace of
With this in mind we’re enabling broadcasters
mind, the IP live production is more complicated.
to take a hybrid approach using our NXL-318FR
Sony can help in two ways.
chassis and our NXL-IP40F boards. This technology
The first is through the Live System Manager
converts regular SDI A/V signals into IP signals and
(LSM), a software application that streamlines
vice versa. This means that broadcasters can
the set-up and operation of an IP-based live
have IP-based live production at the core, with
production workflow. Based on software-defined
legacy SDI devices at the edge. These can then
network technologies, the LSM is capable of
be replaced with network IP devices over time,
managing device connectivity, performing
ensuring a smooth transition.
maintenance analysis and achieving virtual
We even offer a starter kit for IP live. This
cross-point switching. This means, for example, that
includes two IT routers, two SDI-IP gateways, the
an operator doesn’t need to manually declare
LSM software, two years technical support and
IP addresses for connected devices. Instead, a
access to our ‘Network fundamentals for IP Live
Dynamic Host Configuration Protocol (DHCP)
Production’ professional training course.
server takes care of that. While the LSM overcomes a lot of potential IP
From end-to-end solutions and starter kits to
problems, broadcast engineers will still need to get
professional services and training, if you are
to grips with network technology fundamentals
considering moving your live production
that apply to live production including: network
infrastructure to IP, Sony can help.
protocol stack and message flow; the structure
You can get in touch with us directly here
of packets and frames; network routing and
www.pro.sony.eu/imageipworkflow or sign
switching principles; virtual networks; and
up for our latest IP Live news to hear more
multi-point and multi-casting technology.
about our offers and solutions including free online
To that end, Sony Professional Europe, working
e-learnings. To find out more about our training
with Juniper Networks, has designed the ‘Network
options visit: www.pro.sony.eu/iplivetraining n
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Why Sony? Still wondering which vendor is best positioned to help you move to live IP? Here are five great reasons to choose Sony so you can be Ready Today, Open for Tomorrow. 1. We offer flexible, interoperable solutions that are based on open standards Our large portfolio of IP-native high-end open production solutions is interoperable with a complete eco-system of systems within the IP Live Alliance. 2.We can make your life easier with the Live System Manager Simplify your migration to IP by letting the LSM do a lot of the hard work for you, from IP address setting to device configuration. 3. We deliver industry-wide, non-Sonyspecific training Our training courses do provide guidance on using Sony systems but they concentrate on IP live production in general, giving course attendees a full and honest insight into how to successfully put in place and manage IP-based workflows. 4.We have a long history of innovation We’ve been developing IP-based production technology for more than 15 years and we want to share that know-how with the industry to help it to successfully make the move to IP. 5. We’re here for the journey From initial consultancy and planning to technical implementation, operational support and training, Sony’s Professional Services division can help design and deliver a solution that complements your business goals and ensures a smooth migration to IP-based live production.
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Supplement
In association with
TV in 2020: re-imagining live production with IP
Remote, immersive, and smart: thanks to the opportunities afforded by IP-based technology, live television production could look quite different in the year 2020, suggests Nicolas Moreau, IP Live marketing manager, Sony
M
aking predictions about the future is a tricky business. Even with my many years of media and entertainment industry
experience, knowing precisely what is around the corner is almost impossible. But one thing is for sure. With SDI being phased out in favour of IP-based networks, live production will never be the same again. And this transition is just the start. Connecting all of the production pieces together using IP is the first step to achieving some new and potentially
very cool things.
Remote production Remote production is one such idea, offering the ability to produce live broadcasts away from the actual event, by sending raw camera feeds, audio and equipment control over a telecoms network to a central studio facility. Various sports broadcasters have already successfully deployed remote production set-ups and more will follow but the
‘In 2016, in a world where we expect to be able to get instant information on all viewing devices at the touch of a button, on-screen data is increasingly crucial for engaging the viewer and is vital for the production team telling the story’
opportunities go far beyond simply reducing the number of staff and the amount of equipment needed on location. Assuming the appropriate level of connectivity is
breadth of the action. This could be translated
New and different types of content
to many different live events.
Extended IP-based networks, especially fibre
present, remote production not only allows the
networks, have the potential to make it easier and
equipment operators at the event to work, as the
More data services
more affordable for niche and ad hoc events to be
name suggests, remotely from a central production
The extraction, manipulation, analysis and
covered live by broadcasters. This could widen the
gallery but it means that other members of the
distribution of data is now big business in
breadth of content that can be made available.
team could also be spread far and wide.
broadcasting but it is also crucial to the live
Again, this idea makes use of remote production
television experience. Imagine watching a live
capabilities but it relies heavily on the connectivity.
piped to wherever the production talent is in the
football or cricket match with no on-screen
With improved networks and a strong Point of
world. So, potentially, the camera team could be
information at all. No score, no clock, no match
Presence from the Internet Service Providers,
on the ground at an event in one continent, the
statistics. It would be like stepping back in time
however, we can expect to see the connectivity
graphics operator or sound mixer could be at his or
to the 1970s. In 2016, in a world where we expect to
costs decline, which will make much of this possible.
her station in another and the whole production
be able to get instant information on all viewing
could be switched from a central gallery in a third.
devices at the touch of a button, on-screen data is
Virtualisation and the cloud
increasingly crucial for engaging the viewer and is
We are already seeing an increase in the amount
vital for the production team telling the story.
of broadcast and production systems that are
Using IP networks, the raw signals could be
This in turn opens up further possibilities for other key production functions and roles to be arranged and located differently to how they are now.
Real-time IP networks give production teams the
being virtualised. Some are being deployed in the
Technically speaking it could be possible to
chance to access even more data and make it
cloud, others locally. Although the camera optics
dispatch people to the four corners of the globe
available to those viewers in real-time. Connected
will never be virtualised, once the pictures have
but still work in real time as if they were in the
to the cloud via IP, production teams could
been acquired and the signal has left the CCU,
same studio or OB truck.
theoretically pull statistics for every player that ever
everything else can be translated into software.
played the game or recall any metadata-logged
And if the functions of live production can be
election with lots of small bureaus connected to a
video clip from history to illustrate a point during
translated into software – and therefore can
large HQ in order to cover the length and
live commentary.
run on a regular PC and server – then they
I like to visualise it like the night of a political
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Supplement can be virtualised in the cloud or a data centre. Virtualisation could lead to the end of the master control room and the studio gallery as we know it. Or, perhaps more realistically, it could make them more flexible places to work. The beauty of virtualisation is that it enables instantaneous function and revision changes so workflows can be switched quickly and easily. Of course, there are still bandwidth considerations and I am certain that the RAW output from the camera censor will never go directly to the cloud. The CCU output might, though, which offers up further possibilities. But it is probably fair to suggest that the physical performance of live production in 2020 will be transformed by the move to software and virtualisation.
Virtual reality production While the underlying technology that moves signals around a TV facility has changed dramatically over the years, the tools we use to manipulate the pictures and sound haven’t. We still use knobs and dials, switches and screens. What if the production environment itself could be virtualised? What if the live studio director, technical director or the vision mixer could control the production in a virtual world through a virtual headset? If the applications are virtual, then perhaps the user experience could be virtual too? This would be immersive, not for viewer but for the content producer. IP makes this possibile.
Smart OB trucks IP has started to penetrate the OB market with the first IP-based trucks going live this year. One of the benefits of IP is that it reduces the amount of cabling required, in turn reducing the footprint of the vehicle itself. Smaller, lighter trucks are definitely a benefit - as long as the production staff have the room they require, of course. This lines-up the possibility of developing smart OB trucks. Let’s say, for example, that a big event requires more horsepower than a single IP-based truck can offer. Instead of having to find a bigger truck, two smart trucks could be combined together. Thanks to IP connectivity, and using pre-set software functions that can be recalled at the click of a mouse, they could then dovetail and act as one, sharing resources. The opportunities are limited only by the imagination. Now, I will be the first to admit that some of these things I have mentioned here will not come
‘IP may not be the solution to every broadcast problem but it certainly has the potential to provide more options when it comes to producing live TV’
There are so many more options in the brave new IP world. IP may not be the solution to every broadcast problem but it certainly has the
to pass. I have no crystal ball. But the fact that I
potential to provide more options when it comes
can even make these suggestions shows you how
to producing live TV. n
much more flexible IP is than SDI.
Find out more www.pro.sony.eu/imageipworkflow
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