Remote or outside broadcast (OB)
production can be defined as a multi-camera production occurring outside of a
studio context. Remotes come in all sizes. A small remote may consist of a
two-camera production operating out of a small production mini-van. A big
remote production ensemble may include 20 or more cameras and other remote
Today, remote production is increasingly used to help deliver more
content, to more screens, across more devices; and it is proving a key challenge for modern video producers and broadcasters.
The case for remote production is compelling. Remote production
reduces our carbon footprint, it maximizes utilization of existing studio
equipment at the home location, it keeps quality high and keeps costs low; and the
staff can work in a well-established and familiar production environment that’s
close to home; especially in a pandemic restrictive period.
Video producers are finding that with careful planning and with
the use of the right type of equipment and technology apps such as Vimeo,
Frame.io and Wipster, can maintain quality levels while at the same time
Advantages of Remote Production
Remote production cuts travel budgets save on shipping and
equipment, and gives more time to staff when production collaboration is made with
technologies like ‘BeBop Links. It maximizes a producer’s investment in
existing studio architecture increases content across a variety of delivery
methods and allows video producers to be more creative with content.
For example, Bebop Links are secure shareable URL links that
enable you to ingest content in real-time while editing your content in the
cloud. BeBop Links give you the ability to send or receive secure URLs to
collaborate with your team or anyone else, anywhere in the world. With it, it
is possible to receive media content and edit or add visual effects or graphics
in real-time and distribute to partners you authorize to download.
But such things come at a cost and the challenges that video
producers haven’t had to deal with before prior to the stay-at-home order as a
result of the COVID-19 pandemic.
“Latency is absolutely key to any live sports production – the
main consideration being the talent hearing what they need to hear to do their
job properly. They need to hear a combination of things: mainly instructional
talkback information from the production team plus the programme into which
they are contributing – a mix-minus themselves. They must be able to talk to
one another team member which involves bi-directional audio traffic.”
Video Transport enables video production teams to think beyond the constraints of cables, physical space, and distance—regardless of preferred workflow, it makes remotely located NDI or SDI sources instantly available via the public Internet, in production quality and with up to real-time latency.
Whether you are doing remote multi-camera production or integrating remote anchors into a live studio production or directing a virtual panel discussion, Video Transport provides the tools to bring your costs down as well as up your video production game and stay ahead of the competition.
When audio engineers mix live TV content, they combine local
content at the base where the production occurs, such as video from servers, audio
play-ins and studio content; with a number of outside sources.
This remote production team must be able to hear the programme
into which they’re contributing. To achieve this, video producers use a mix-minus feed for every outside source. Some ground-based staff also need specific
programme mixes that include their own voices, for example, when Presentation
is stationed in a noisy environment such as amid an enthusiastic and vocal
Remote production is useful for so many events such as corporate
events and conventions, town halls, experiential events, Live Sporting Events,
Live Series and Specials, entertainment shows, etc.
With countries around the world either already
facing or preparing for ‘second waves’ of COVID-19, it seems certain that a
heightened level of remote production and remote working will continue for the
foreseeable future. As one videographer observes, while cost-savings
and efficiency might have been the initial drivers of these approaches, “now
it’s also about the safety and wellbeing of production staff.”