Arnaud Cresp’s Post

TDious Experiences volume II: The Remote Broadcast Production Technical Director [Mobile Unit Setup Part 2a - Routers, Managing Feeds & Switcher Setup Tips] Since the advent of the GVG 3000 Production Switcher in the mid-90s I have been enthralled by the way different TDs map sources to their panel. Unlike studio environments where multiple TDs may share the same panel setup, the mapping and philosophies among remote sports & entertainment TDs can vary greatly. It all comes down to accommodating for all of the show’s visual sources while maintaining a certain level of personal comfort. We ask ourselves, in 1/100th of a second, where does my mind instinctively want the hand to land for “that source” on this show? As with any form of human reaction, this is a product of repetition commonly referred to as “Muscle Memory.” For shows with more than 10 cameras or so, I often use an Excel or Google Sheet to pre-plan my base panel mapping in my home office or on a flight prior to setup. This saves a ton of time, especially if it’s an abbreviated setup. With very few exceptions (specifically with regard to Golf coverage), my button mapping is relatively consistent across every show I do. For example, button 1 on the unshifted side of the panel is ALWAYS Camera 1. ALWAYS. [Now this is where *you* say, “But JoHo! You just said I should map for my comfort!”] Correct. But if you have the ambition to ultimately work on the “BIG SHOWS,” remember that consistency [i.e. muscle memory] is key. GET comfortable with Camera 1 on Button 1 NOW! When I am finally able to sit down at the switcher, the very first thing I typically do is verify that all of the switcher’s OUTPUTS are where the EIC expects them to land. It goes without saying that poking around in the Engineering Menu of any switcher is fraught with peril. ***It is not for those who don’t 100% know what they’re doing.*** Any changes, no matter how minor, that aren’t documented and approved will cause major issues downstream. Next I move over to Source Definition to verify that all keyable sources (Fonts, Bugs, Telestrators, the SpotBox, etc.) are all paired with their appropriate key channels and that sources not needing a key channel aren’t erroneously assigned one. Likewise, be sure of the key type. Even if I know I’m going to have key sources that are pre composited (as opposed to overpainted fills) I will leave “Shaped Key” disabled in the ENG menu and mange that function at the keyer level. [continued in Part 2b…]

https://lnkd.in/gFiRDE_k A grasp of digital audio starts with understanding analog principles By Jason Eusebio Audio and radio technology continues to evolve at an astonishing rate, leaving technicians and engineers to adapt to new equipment and attempt to retrofit legacy equipment for modern applications. As audio transitions from physical cable runs to audio over IP, analog equipment moves toward obsolescence. However, AoIP networks still require physical infrastructure and incorporate analog principles. I realized that as an aspiring broadcast engineer, I would need to develop a better understanding of how AoIP systems are built and deployed.  With help and equipment donated by Telos Alliance and the Salem Radio Network, along with the guidance of my academic advisor Dr. Andrew Gladding, chief engineer for WRHU Radio Hofstra University, I decided to design and build an AoIP system using legacy broadcast hardware as a way to expand my knowledge of the subject. Two-month project As a high school freshman, I fell in love with audio engineering when I saw my first audio rack. A 10-channel analog mixer, a graphic equalizer and two amps were all it took to make me want to dive in and start twisting knobs and pushing buttons.  Analog equipment first enticed me into the craft, and its widespread accessibility helped me quickly hone my skills. The lessons I learned from using analog equipment as a young engineer have served me well, and as I now look forward to my professional career, I wanted to be able to offer future students the same opportunity.  For this reason, I designed an independent study for my spring semester that would accomplish this goal. The task was to use legacy Telos Axia hardware, specifically generation one analog and microphone nodes, to create a wireless audio over IP network from scratch. While this equipment may be somewhat outdated for many commercial applications, the fundamentals it reflects are still beneficial, and it acts as a great piece of intro hardware for future students. Additionally, I felt that having experience with the Telos Livewire infrastructure would be a major asset for my professional skill set. Using six IP-configured Telos Axia blades, a QOR frame, Cisco switches and wireless 1-Gig wireless point-to-point system, this equipment laid the blueprint for a makeshift, over-the-air AoIP network that we intended to use for a pop-up outdoor concert on Hofstra University’s campus. The build process for the network began in late February 2024, and the concert date was in late April, so I had two months to build, design and troubleshoot this system in preparation for a live band multi-mix.....

We won an Emmy! Yes, an Emmy award from the National Academy of Television Arts & Sciences for “Pioneering Technologies Enabling High Performance Communications Over Cable TV Systems." I'm technically not involved at all but if the mothership wins...we all win, right?! The last time I was involved in anything related to entertainment, it was a script I wrote in 3rd Grade for a play which was made into a school production. I'm not gonna lie, it would have made for some good TV! Anyway...about three decades ago, Broadcom set out to transform the cable TV industry through the use of digital QAM technology and significantly expand the number of TV channels available on cable TV. This foundational technology eventually led to the creation of the first 2-way high speed data protocol known as DOCSIS 1.0. Today’s multi-gigabit full-duplex DOCSIS 4.0 technology would not have existed if it was not the pioneering work done by Broadcom and our partners back in the 1990’s. (Note, that I openly plagiarized this paragraph ..please do not ask me any questions about the tech.) Thank you Tech Emmys for recognizing our innovation and collaborative work in paving the way for multi-gigabit broadband connectivity over cable systems. https://lnkd.in/gSVNDFUB Broadcom Broadcom Software

World of a Broadcast Engineer! In the fast-paced world of broadcasting, there's a group who work tirelessly behind the scenes to ensure shows and news programs make it to air. These are the Broadcast Engineers and wizards of the airways. From the control room to the transmitter site, the life of a Broadcast Engineer is one of constant motion and precision. Their days are filled with a mix of technical troubleshooting, meticulous planning, and the thrill of live production. Broadcast Engineers must be ready to spring into action at a moment's notice and troubleshoot any issues that arise during the broadcast. Whether it's an equipment failure, a sudden loss of signal, or an unexpected power outage, they're the ones who keep the show on the air, Broadcast Engineers play a crucial role in maintaining and optimizing the transmission equipment that sends the signal into the world. This means braving the elements to climb towers and inspect antennas, or delving into racks of equipment to perform routine maintenance and upgrades. Despite the challenges, many Broadcast Engineers are drawn to the profession by a love of technology and a passion for the craft. They thrive on the adrenaline rush and coffee and take pride in their ability to solve complex technical puzzles under pressure. For Broadcast Engineers, it's not just a job – it's a calling and one they wouldn't trade for anything else. #Engineers #broadcastengineers #jsbetech #Engineerjob

Setting up a satellite dish for TV broadcast transmission requires careful planning, specific equipment, and precise alignment to ensure proper signal transmission. Below is a guide to the essential requirements Requirements: Satellite Dish: A large parabolic dish, typically ranging from 1.8 to 3.8 meters in diameter, depending on your geographic location and the satellite you’re targeting. Low Noise Block (LNB) Converter: A device attached to the satellite dish to receive the satellite signal and convert it to a lower frequency for transmission to the receiver. Satellite Modulator: Converts the video and audio signals into a format suitable for satellite transmission. Encoder: Compresses video and audio signals into a format suitable for broadcasting, typically in MPEG-2 or MPEG-4. Upconverter: Converts the modulated signal to a higher frequency for transmission to the satellite. High-Power Amplifier (HPA): Amplifies the upconverted signal before it is sent to the satellite via the dish. Satellite Receiver: A device at the receiving end to decode the broadcast signal. Spectrum Analyzer: A tool used for analyzing and adjusting the signal to ensure optimal transmission quality. Mounting Equipment: Supports and brackets to securely mount the satellite dish, typically on a rooftop or a ground-based structure. Cables and Connectors: Coaxial cables and connectors to link the dish, LNB, modulator, and other equipment. Power Supply: Stable power supply to ensure all equipment runs continuously without interruptions. Alignment Tools: A satellite finder or signal meter to help in precisely aligning the dish to the satellite. for more information & technical support contacts us MOBILE:+255762186196 EMAIL:drnmedia07@gmail.com WEBSITE:www.dmstzonline.com

STAGETEC manages out-of-band control. Nowadays in a broadcast SMPTE 2110 based application, out-of-band control is sometimes specified. In 2005, a NEXUS NIC (Network Interface Controller) was introduced to the world, providing access to NEXUS, our decentralised audio router. Since then, orchestrators have had access over TCP/IP to NEXUS using NEXUS UDP protocol for control. As you should know, the NEXUS network nodes are conceptually a TCP/IP Layer 1 system to transport audio. The changeover to TCP/IP Layer 3 was easy when NEXUS IP-Link was introduced or the entire NEXUS was made networkable via switches, i.e. changing to the SMPTE 2110 format (or AES67 or Ravenna).  When broadcast customers demand out-of-band control they refer to a method managing media streams that are separate from the actual data flow of AV media. In traditional in-band control, actual AV media and management traffic may use the same path for communicating as a separate stream or the control information is embedded in the media stream itself. With out-of-band control, the control information is transmitted to the outside via a separate network connection, hence the system NIC. A standard broadcast backbone has a red (main) network and a blue (backup) network for its media streams. The control streams flow over a separate network that can be used as both a main and backup network for control. The advantage of out-of-band control is that it enables more efficient and flexible management of media streams. It also reduces the overhead in the media stream and allows real-time adjustments to be made without affecting the media data. This can lead to improved performance and greater reliability in media-over-IP systems (cybersecurity). The NEXUS out-of-band control parameters can be set using the existing NEXUS UDP protocol via a system NIC (NEXUS XCPU or RCX). Manage IP addresses, activate streams, retrieving presets and monitor these media streams. Remember that this NIC access was implemented in the NEXUS concept decades ago and available at the launch of ST 2110. The new generation of the NEXUS compact and future NEXUS integral series have also a separate or third NIC port for out-of-band control of the system. NEXUS - IP made reliable, Stagenet - IP made simple, STAGETEC - your reference in audio.

Embracing the Future: Navigating the IP Transition in Broadcasting As a freelance broadcast technician, I've seen the shift from traditional to IP-based broadcasting, a change that brings both challenges and opportunities. The most significant of these is the skills gap - an issue we must address to stay relevant in our ever-evolving industry. Why the Skills Gap Matters The transition to IP-centric broadcasting means we need to master network protocols, cybersecurity, and software-driven content management. This shift requires skills beyond the traditional broadcast engineer's repertoire. Steps to Bridge the Gap 1. Continuous Learning: Embrace online courses and workshops focused on IP technology and cybersecurity. 2. Certifications: Obtain certifications in network engineering to validate your expertise. 3. Community Engagement: Join forums and professional groups to share knowledge and experiences. 4. Collaboration: Utilize resources from industry bodies like the Society of Broadcast Engineers (SBE). The Road Ahead This transition is not just a challenge; it's our bridge to the future. By upskilling, we're not just enhancing our careers but also contributing to the industry's innovation. Let's use this opportunity to redefine our roles and ensure our place in the future of broadcasting. Share your journey and let's collectively navigate this exciting transition.

Building successful digital video products demands expertise in multiplexing, synchronization and communication protocols. By fine-tuning codecs, streaming protocols and DRM, our experienced engineers can ensure high performance, even under challenging conditions by combining advanced compression techniques with affordable processors. Learn more about the key considerations for designing video products. #VideoStreaming #ProductDesign #Engineering

If you're interested in #elv, #securitysystems, #audiovisual, #commandcenter , and #cctvsecurity, you're in the right place! Follow me for regular updates on these topics. And if you have any suggestions on what you'd like me to share, let me know in the comments! #linkedin #professionals #networking

UMEX/SimTEX 2024 Show Daily Day 2 Broadcast Solutions’ mobile situational awareness platforms enhance comms With knowledge from more than 400 projects, Broadcast Solutions offers mobile Operation Centres for Communication and Data Backup that can be integrated into vehicles, containers, and fixed facilities. Designed and manufactured by Broadcast Solutions, Mobile Situational Awareness (MoSA) platforms facilitate the deployment of tactical communication systems and integrate command, control, communications and computers (C4) suites. Mesh IP radio technology included in the company’s mobile command and operations centres provides the path for high bandwidth and resilient transmissions in the field. It combines the best in radio technology (COFDM, MIMO antennas) with mesh network topology. In such a wireless mesh network, each radio is a node that simultaneously plays the role of transmitter, receiver and repeater. Nodes connect directly, dynamically and non-hierarchically to as many other nodes as possible and cooperate to efficiently route data across the resulting network. With in-house developed products, meshLINK and meshSOFT, Broadcast Solutions excels in high-throughput wireless data communication using the latest IP-based Mobile Ad Hoc Networks (MANET). These mesh systems use devices that are simultaneously receivers and transmitters, building self-healing, self-detecting, stable, and intelligent networks that can be deployed in mobile, airborne, UAS, naval, or body-worn applications. Instead of the few dozen kilobits of bandwidth supported by legacy systems, the resulting mesh IP radio network provides dozens of megabits. This increase powers full-duplex IP networks that enable voice, data and even video communications. Combined with recent advances in coding and decoding algorithms (CODEC), such networks support the transmission of high-quality and even broadcast-quality HD and 4K streams. Technologies such as MPEG-4 and HEVC allow full-resolution video delivery at 24 frames or more per second. The meshSOFT control layer adds perfectly to the meshLINK systems, offering additional monitoring, control, and recall functionalities. meshSOFT is a multi-tool backend and adds control, management and analysis functions to a meshLINK or any other MANET system based on Silvus Technologies-based networks. meshSOFT runs on a mini-PC with dedicated hardware, offering access to all data and processes. The suite needs only one access point to control and manage the full network with all nodes. Once connected, the tool autodetects all participating radios, meshLINK video encoders and decoders. Additionally, High Point Aerotechnologies joins Broadcast Solutions as a co-exhibitor, showcasing their counter-UAS systems and integrations with the company’s MANET solutions. Visit Broadcast Solutions at stand 06 A02 Broadcast Solutions Group