Craig Wilson

If you running a Vizrt Vectar or #Tricaster Now at Amazon Web Services (AWS) and looking for an audio panel to control the audio mixer of your Vectar? I've got something for you! We have developed a small plugin to easily control the audio mixer of the Tricaster with the MakePro X panel. We currently support Volume, Mute and Solo. But of course we can implement even more functions on request. We can also control multiple Tricaster instances in parallel with the same panel! LOGIC media solutions GmbH #cloudsystemintegration

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https://lnkd.in/dtJPaEb2 With network upfronts coming next week I thought I would share a post from my blog “Revenge of the Masked Scheduler” which takes you behind the scenes to the room where it happens….the scheduling room. Different world now. maskedscheduler.com

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Excellent commentary from Roger C. Lanctot in Radio World about the huge opportunity large screens in the vehicle offer radio. Roger noted that, "the task for the broadcast industry is to give carmakers the tools to deliver the radio industry into a future defined by visually enhanced in-car listening with interactive and geographically tagged advertising experiences." This is something that Xperi Inc. technologies can help broadcasters do, including "enabling a new world of once-unimagined advertising attribution" by localizing anonymized listening data by geography and daypart. Read more here: https://lnkd.in/e54b-RRs #Xperi #DTS #radio #DTSAutoStage #broadcast #RadioBroadcasting #automotive #connectedcars #cars #automotivetechnology #automotiveindustry DTS, Inc. 

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Starting to get real.

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If you have a Schoeps Mikrofone CMIT 5, check out our latest video showing how to set it up on the Radius windshields RAD-2 mount. Even though the CMIT is a bit longer than some of the short preamp shotgun mics, it's still very lightweight. So there are options when just using a foam gag to have the soft firmness RAD hoops which provide great isolation when booming indoors (or calm wind outdoors). Shoutout to Ken Strain for testing out a variety of setups with the RAD mounts last year and giving us the tip on spreading out the soft firmness hoops to provide a little more support without having to stiffen up the isolation. https://lnkd.in/g7UG6DX4

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My contribution to the latest Broadcast Tech magazine on their article "How to cope with a break in the cloud" is out now. Things break. Sometimes without obvious reason. It's how you recover that matters. Your strategy has to be right. "The Cloud" has delivered so many opportunities in M+E over the past decade but remembering what the cloud actually is, has to be at the forefront of your mind when relying on it in within your business. #cloudstrategy #breakinthecloud #resilience

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This is an insightful post In todays high traffic broadcast networks Wire Shark is on of my indispensable tools

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Paris 2024 will be the first edition of the Games to trial an AI-powered end-to-end 8K livestreaming system from OBS into an 8K HDR, 60-frames-per-second (FPS) stream in milliseconds to CTV devices around the world #Paris24

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Example D2X OFDMA Multicast Broadcast D2X Virtual Frame 1000ms. Each Virtual Frame Consists of (N) Virtual Sub-Frames. Each Virtual Sub-Frame consists of (N) Virtual Spectrum Slices. A OFDMA Resource Unit (RU) Size = (24) Sub-Carriers. D2X Virtual Slices are (N) x RU. This is used to schedule OFDM resources (8) Virtual slices shown. With D2X Multicast Broadcast (One-to-Many) this OFDMA approach is new and very Flexible. https://lnkd.in/epjUJKRJ

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In 2024, one of the standout discussions revolved around the evolution of remote production and integrating private 5G networks to bolster connectivity. Read more 👉 https://lttr.ai/ASRJd #5G #Celona #Haivision #VidOvation

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TDious Experiences volume II: The Remote Broadcast Production Technical Director [Mobile Unit Setup Part 2b - Transmission, Feeds, Switcher Mapping & Keyer Layering] At about this point in the setup I huddle with the EIC to discuss outbound feeds. From transmission to emergency failsafe scenarios, we discus it all. We identify router outputs to accommodate all video feeds that I will need to manage: from booth monitors and talent positions, to any screens or house courtesy feeds, these destinations are all ultimately fed by router outputs. Even though those router destinations will all live on my TD router panel, I utilize switcher auxes to feed certain router points. Switcher auxes offer the quick access to some feeds and are easily controlled by switcher macros, bus links or E-Mems with the safety of having that ultimate router layer in case of emergency. Booth desk monitors that may be visible in an on-camera are all fed upstream by switcher auxes so that I can flip them to a nice show logo or something other than the inherent camera feedback you would otherwise see. The same goes for screens feeds, or other house courtesy feeds: during rehearsals and commercials those are always setup to go to a wide beauty. Protecting our talent and ensuring that the house is protected from anything we may show in commercial is critical. Switcher Auxes feeding those router outputs allows quick and easy control of those feeds. Now that the monitor wall is routed and all of its sources have been named in the UMD (under monitor display) and now that the EIC, Video distribution team and I have a plan for where everything is leaving the truck and landing within the venue, I actually begin my source patching, mapping and keyer assigning process. One thing to remember when mapping your panel: M/E3A doesn’t need to be mapped into M/E3A. Likewise, M/E2A should never be mapped into M/E2A. There are only two places where all of the M/Es you’re using should be mapped: PGM and to the AUX Bus. Be smart about your mapping and don’t waste space on things you not only don’t need, but that could get you in real trouble. […concluded in Part 2c…]

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An interesting article from IBC about the IT / Broadcast engineer background in our industry. We all know that "broadcast engineer" meant something quite specialised, but that has become less obvious with the adoption of large, cloud-based systems and broadcast/IP standards like SMPTE2110. However, while a CAR now looks more like a NOC, the very specific demands of delivering extremely high quality video and audio to millions are still present. So it's never as simple as IT vs. Broadcast: it's a blend. Good engineers are good engineers. They are, and always have been, the life blood of our industry. #broadcasting #SMPTE2110 https://lnkd.in/ezrah77a

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Need help sorting out ST2110? Check out our latest blog post.

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The Semicolon Saga: Navigating Standards and Real-World Implementations in Broadcast Engineering 🚨 In broadcast engineering, even the tiniest details can cause massive headaches. Recently, I found myself deep in the weeds of one such issue: a missing semicolon in an SDP file from Ross Video's Ultrix platform caused a Blackmagic Design receiver 🎥 to misinterpret a 1080i50 stream as 1080p25, leading to a cropped and incorrect display. Not cool. After some serious troubleshooting 🛠️, I discovered that simply adding a semicolon at the end of the a=fmtp line in the SDP magically fixed everything. But hold up—it wasn’t just a quick fix; it sparked a deeper discussion about standards like SMPTE ST 2110 and our old friend, RFC 4566 📜. Curious to see how others handle this, I did a little digging 🕵️‍♂️. What did I find? A mixed bag of SDP examples from all over the internet—some with the semicolon, some without... Whether it's examples from brands like RIEDEL Communications 🎯 or various open-source implementations (GitHub projects & cie..), there seems to be no consistent approach. This inconsistency only highlights the grey area we're navigating when it comes to these standards. When I reached out to the pros at Ross Video, they confirmed that RFC 4566 requires semicolons to separate parameters, not necessarily end a line. But, and here’s the kicker, examples in different parts of the standard are inconsistent 🤷‍♂️—one shows a semicolon at the end, another doesn’t. This ambiguity leaves us in a tricky spot where device behavior can differ based on interpretation. Ross Video’s team acknowledged the dilemma: adding the semicolon might solve the problem with Blackmagic Design, but it could also break other workflows where the semicolon isn’t expected ⚖️. This is the balancing act we face in our industry—ensuring that standards are followed while being flexible enough to handle variations. This journey highlights the importance of open communication 🗣️ between engineers, manufacturers, and standards bodies to prevent minor inconsistencies from causing major issues. It also underscores the need for device flexibility to ensure smooth interoperability across the board. In the end, this experience is a powerful reminder that in our field, every character matters—sometimes even a single semicolon can make all the difference 💪. Hope all these industry players can find a common path forward... 🙂 But for now, it's on to the next big challenge: the Belgian local elections! 🇧🇪 At notélé, we're pushing the boundaries with a cutting-edge project fully based on ST 2110 for our debates and election night coverage. Exciting times ahead as we use and abuse this powerful standard to deliver top-notch broadcast experiences! #BroadcastEngineering #ST2110 #SMPTE2110 #SDP #RossVideo #BlackmagicDesign #RFC4566 #Interoperability #PrecisionMatters #EngineeringLife David Ross Blackmagic Design David MOSCA Robert Vander Meulen DigiNet

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Everywhere the broadcast landscape is shifting inexorably from linear to digital and with it the nature of the distribution infrastructure from over the air to internet. But the UK is a beacon in continuing to want to enshrine universal access to public broadcast channels from the BBC, ITV and others. The report points out that even though Digital Terrestrial and satellite delivered households are declining, the resilience of live TV as a shared cultural experience for key moments such as cultural and sporting events has not gone away. While every household in the UK has the right to ‘decent affordable’ internet connection of at least 10 Mbit/s this would be put under strain if there were a sudden switchover to IP. Without greater advances in compression, superfast broadband speed (30 Mbit/s) is more likely to provide a reliable viewing experience but that will cost capital investment. Ofcom point out that if investment or technology advance is not forthcoming then broadband speeds would not be sufficient for a reliable IPTV viewing experience making any imminent abandonment of DTT unlikely. So how the country transitions to a future of increased reliance on broadband networks for video streaming while ensuring availability for all will be a complex decision – and one where technical considerations will likely not be the only factors at play. #DTT #NextGenTV #IPStreaming #Freeview #Freesat https://lnkd.in/e3Gr4swP

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What is This? New Broadcast 2 Everything (B2X) Multicast Broadcast Standard Now being Developed is shown below on Top https://lnkd.in/e7dWxqyR is shown with Spectrum Abstraction Model used by B2X Scheduler to Enable OFDMA and (64) Service Categories (Use Cases) for APP driven Services. With Quick efficient Synchronization and Service discovery physical layer using Bootstrap (Zadoff Chu + PN) Sequences. Focused on IMT and Broadcast Bands. B2X is Disaggregated CU/DU in Cloud edge and aligned O-RAN principles with Intelligent Shared (RU) RAN Topology. The bottom is shown ATSC 3.0 Bootstrap (Zadoff Chu + PN) as used today in all ATSC 3.0 Television Receivers. B2X uses ATSC 3.0 Layer 1 and Layer 2 as a Baseline to create B2X. B2X Layer 1 Layer 2 can be used Standalone in spectrum or Co-exist with ATSC 3.0 services in same Spectrum in future is design goals. #B2X #ATSC #Spectrum #Innovation #Multicast #Broadcast #5GNR

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If you are into the #QSYS #Visionsuite, read this article!

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Below is D2X which uses ATSC 3.0 A/322 Standard as a Baseline. https://lnkd.in/epdHu4C “The purpose of the ATSC 3.0 physical layer is to offer a wide range of tools for broadcasters to choose the operating mode(s) that best fits their needs and targeted devices. This toolbox of technology is expected to grow over time and the ability to upgrade or swap out new technology is enabled with the extensive and extensible signaling in the Preamble. Broadcasters will have the ability to try new technologies out without breaking an existing service. The bootstrap, as described in A/321, allows emitted Frames to be different, including non-ATSC related signals. The time of the next similar frame is signaled so that the existing service can continue.” The D2X physical layer protocol shown below is intended for battery powered receivers (UE) including reduced capability IoT and wearables. D2X is harmonized for future interworking 5G NR (MBS) RAN layer 2 Cloud (datacenter) with 5G PDCP (Packet Data Convergence Protocol). D2X is built on foundation of OFDMA with (24) sub-carriers defined as (1) physical resource block (PRB) in frequency and (N) PRB determines bandwidth of physical layer resources. The use LDPC with Non-uniform constellations with LDPC FEC frame length 16200 bits and 12 code rates. D2X supports SFN topologies with (5, 10, 15, 20, 25) km Inter-Site Distance (ISD). Channel estimation using 10 scattered pilot patterns along with continual pilot patterns. Three IFFT sizes (2K, 4K and 8K) supports various bandwidths (5, 6, 7, 8, 10, 12, 14, 15, 16, 18, 20, 21, 24) MHz RF carriers. The D2X receivers (UE) adapt and use (512, 1024, 2K, 4K, 8K) FFT depending on bandwidth (number of PRB) and for battery savings. The Doppler support selected from 300 km/h to 600 km/h using 1000 MHz RF carrier frequency as reference. https://lnkd.in/e8Q8zcU4 #D2X #ATSC3 #ORAN #5GNR #Interwork

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