Article: OB's are still outside, and are still broadcasts - KitPlus March 2017

15/06/2017

With the advent of new and emerging technologies, and with the one getting the most oxygen at the moment being video over IP, a number of people are asking whether the ability to move control rather further way from an event has, or will, change the nature of OB production.

Well, yes and no.

With the advent of new and emerging technologies, and with the one getting the most oxygen at the moment being video over IP, a number of people are asking whether the ability to move control rather further way from an event has, or will, change the nature of OB production.

Well, yes and no.

OB requirements always depend on what type of broadcast you're talking about. Whether it be sport, news, or live events; the technical requirements are largely a function of size and location. There are myriad variables that determine what is most appropriate for each situation in terms of technology, but the bottom line, is this - there's not currently a lot of change in OB requirements.

That's because, for major events in sport, most broadcasters still want to cover it live and, importantly, on site. Remote production over IP, which many are rightly talking about, has its place and will continue to grow but is, in my view, not quite ready yet for major events.

Notice I said major events. Remote production, which is already taking place, is actually an ideal production option for more niche or minority interests. Lots of such special events occur throughout the UK and Europe and I can easily see many of them increasingly being covered on a remote production basis. That approach is contingent on having the right kind of connectivity available, whether satellite or fibre. The availability of suitable fibre-based connectivity is less advanced in some areas than others, but where it is available, it's a highly compelling option.

Although remote production still has issues to be resolved, a lot of people are looking into it with great interest, predominantly as a way of reducing costs while still giving them the leverage to produce the amount of content they need to fill an increasing number of, for example, 24-hour sports channels. However, it's not quite a viable proposition for major events just yet, and here's why.

It will be quite a while before we see, for example, a major sporting event that doesn't have six or seven trucks sitting outside. Although there are obvious advantages to IP-based production, what a lot of people are forgetting is that it could in some cases come at the expense of the feel of a live event. Remote production, almost by the term's very definition, suggests a vague notion of detachment. There is subtle, sometimes overt emotion associated with big events and a feel that most viewers at home (or on a tablet or mobile these days) miss when it's not there, even if they can't quite put their finger on what's missing. It, in short, just doesn't feel right .

Presenters, cameramen, directors and crew are professionals, but they're human beings, too. Very few are able to stay utterly detached when they are live, in the moment. It shows through in the production. The excitement, drama - the human element, if you will - at least for major events, can potentially be diminished if produced largely from afar.

Don't misunderstand. Remote production over IP has huge potential for introducing monumental changes, for the better, in terms of providing more ingenious types of coverage at a lower cost. However, from our point of view, the production approach doesn't matter all that much. Whichever avenue you choose, you need cameras, lenses, tripods, pedestals and all the rest. Your method of getting the images and audio captured by those devices back to an OB or studio is entirely up to you and your situation.

But enough of the theorising, back to the technology. We are already seeing significant advances in, and the increased deployment of, RF, in particular more Mesh products to provide what I call smarter coverage. By smarter I mean, with a Mesh system you can start at A and complete an entire production right through to Z , as opposed to A to F . Stop. Move some equipment. Then do F to M . Stop. Move equipment again, and so on. New RF products can offer continual coverage and are increasingly being deployed as a technology of choice for OB productions large or small.

The only reservation I have in terms of RF and Mesh products is that the ability to transmit in 4K has yet to emerge. So far, I've not seen any product from any manufacturer that can genuinely deliver ultra-low latency 4K transmission, and I suspect it may still be some way off.

There are other ways to achieve low latency transmission, and new technologies will probably arrive before existing ones can adapt, but the bottom line is that the ability to transmit low-latency 4K has to happen. It's not there yet, but that's not to say it won't be in 12 months' time.

Modern production standards notwithstanding, in recent weeks we've nevertheless embarked on a significant investment in new stock, but much of it is a replenishment and extension of technology that our customers expect us to have on hand and for which demand, if anything, is increasing. However, we are also investing in more HD cameras because we have a huge demand for them, as well as 4K cameras and associated lenses for those who want to take it a step further.

Having said all of the above, it's fair to say there haven't been major tectonic shifts in terms of OB technology requirements in recent years, and that continues to be the case, at least in the near-term. In my view, the reason for this is two-fold, a lack of standardisation, i.e., a number of broadcast and production standards are still being worked out, particularly in terms of UHD and HDR. Althou

LINK:	http://presteigne.tv/news/item/ob-s-are-still-outside-and-are-still-br...
	See more stories from presteigne

Most recent headlines

05/01/2027

Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be demoed at CES 2026

Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...

01/06/2026

Dolby Sets the New Standard for Premium Entertainment at CES 2026

January 6 2026, 05:30 (PST) Dolby Sets the New Standard for Premium Entertainment at CES 2026 Throughout the week, Dolby brings to life the latest innovatio...

02/05/2026

Dalet Flex LTS Delivers Smarter Search, Faster Editing, and an AI-Ready Foundation for Modern Media

Dalet, a leading technology and service provider for media-rich organizations, t...

01/05/2026

NBCUniversal's Peacock to Be First Streamer to Integrate Dolby's Full Suite of Premium Picture and Sound Innovations

January 5 2026, 18:30 (PST) NBCUniversal's Peacock to Be First Streamer to ...

01/04/2026

DOLBY AND DOUYIN EMPOWER THE NEXT GENERATON OF CREATORS WITH DOLBY VISION

January 4 2026, 18:00 (PST) DOLBY AND DOUYIN EMPOWER THE NEXT GENERATON OF CREATORS WITH DOLBY VISION Douyin Users Can Now Create And Share Videos With Stun...

18/03/2026

Net Insight Names Larissa GrnerMeeus CPO

Newly named chief product officer (CPO), Larissa G rner Meeus will return to Net Insight on May 4. Larissa G rner Meeus will become CPO of Net Insight on May 4...

18/03/2026

SVG Europe's The Football Summit 2026: Select Sessions Now Available to Watch on SVG PLAY

SVG Europe's The Football Summit 2026 explored how the sports broadcasting i...

18/03/2026

SVG's SportsTech@NABShow Blog Goes Live as Countdown to Vegas Heats Up

The 2026 NAB Show kicks off one month from today and SVG is once again set to cover the show from every angle. SVG's SportsTech@NAB Show Blog is now live - ...

18/03/2026

The Premiere of Dead Lover Showcases Grave Robbing and Sex With a Giant Finger

(L-R) The cast and crew of Dead Lover at The Ray Theater for its premiere at the 2025 Sundance Film Festival. (Photo by Robin Marshall/Shutterstock for Sundan...

18/03/2026

Music Row Piano from Wiltone Productions

Yamaha C7 captured in Nashville Wiltone Productions have announced the release of Music Row Piano, a deeply sampled Yamaha C7 piano library that's been ...

18/03/2026

Techivation introduce T-Warmer Mk2

Bass-enhancement plug-in upgraded Along with a steady stream of new releases, Techivation have recently been revisiting some of the older plug-ins in their ...

18/03/2026

Tonal Balance Control 3 from iZotope

Mix-reference plug-in overhauled iZotope's powerful mix-referencing plug-in has just reached its third major version, and now boasts a new capture proce...

18/03/2026

Toontrack Transistor Organ EKX

Latest EZKeys 2 expansion arrives Toontrack's staggering collection of EZKeys 2 expansions has grown once again, and the latest instalment delivers a on...

18/03/2026

Jess Ho explores the politics of food in new SBS Audio podcast For The Culture

Jess Ho explores the politics of food in new SBS Audio podcast For The Culture 18 March, 2026 Media releases New SBS Audio podcast For The Culture, hosted ...

18/03/2026

Future-ready broadcasts with ATSC 3.0 and enhanced services from Rohde & Schwarz at NAB 2026

Future-ready broadcasts with ATSC 3.0 and enhanced services from Rohde & Schwarz...

18/03/2026

LCTWS 2026

London Calling - When The Industry Convened to Help Streaming Find its MoJo In this blog, Laura Rognoni reflects on key discussions from the Connected TV World...

18/03/2026

SMPTE Unveils 2026 NAB Show Educational Presentations

SMPTE Unveils 2026 NAB Show Educational Presentations Brie Clayton March 18, 2026 0 Comments SMPTE , the home of media professionals, technologists, a...

18/03/2026

Auditel Ad Campaign Shot on Blackmagic PYXIS 12K

Auditel Ad Campaign Shot on Blackmagic PYXIS 12K Brie Clayton March 18, 2026 0 Comments LED wall virtual production blends 12K open gate acquisition w...

18/03/2026